March Sale 10 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

Illustrated cover 19

Bill Hammond

A Lullaby of Birdland

$230,000 - $330,000

Illustrated page 1 15 2

Michael Parekowhai Rainbow Servant Dreaming $10,000 - $15,000

30 March 2010

Important Works of Art 31 March 2010

Fine Jewellery, Valuable Watches, Objects of Virtu 1 April 2010

Antiques & Modern Design

IN Focus 3

Contents Webbâ&#x20AC;&#x2122;s Art Market Report

Important Works of Art

Fine Jewellery, Valuable Watches, Objects of Virtu

Antiques & Modern Design

112

Catalogue subscription form

141

Conditions of sale for buyers

142

A guide for buyers

143

Prices realised (Sale 309, Feb 2010)

144

Index of artists

146

Bidding slip

147

Illustrated left 10 ANN ROBINSON Spiral Vase Lead crystal 1/1 $ 35,000 - $ 45,000

IN Focus 5

Webbâ&#x20AC;&#x2122;s Art Market Report A Decade in Review Sophie Coupland, Director 6

The start of 2010 invites reflection not only on the past year but also on the first decade of the 21st century. Last year saw auction houses and dealers brace themselves in anticipation of cautious spending in the art market. Art at auction in New Zealand, however, was largely unaffected by international financial pressures, with gross turnover sitting at around $15.5 million, approximately equal to the tenyear average. The current New Zealand art market can be seen to be healthy and moderate, a happy state when one considers the downturn in the northern

hemisphere, where spikes in prices and heavy speculation engendered nervous cynicism about the overall health of the art market in the second half of the noughties, and where last year’s volatile economic climate significantly affected sales. Major international auction houses recorded a plunge in sales figures for 2009 with Sotheby’s down 66% and Christie’s down 35% on 2008. By contrast, Webb’s can report an increase of 15% in sales figures for the same period. Webb’s results support an overall trend in the New Zealand art market for steady if restrained growth, with top prices achieved for highquality works, especially those in excellent condition and with superior provenance.

opposite page: colin mccahon French Bay $142,600

this page: Peter Stichbury Lily Donaldson $ 45,600 (Record price for the artist at auction)

Hans wegner

a fine waka huia by jacob williAm heberley $ 32,700

a georgian walnut fall–front bureau $10,500

Pendeloque-cut diamond of 5.713ct

$150,000

Table and 10 Chairs $ 22,300

a nephrite hei tiki

Frances Hodgkins

michael parekowhai

The Farmer’s Daughter (Portrait of Annie Coggan) $262,300

Kapa Haka (Hiwera) $ 48,000

$ 5,300

IN Focus 7

Webb’s continued to achieve top results in 2009, servicing 40% of all secondary sales in New Zealand. To place this in a broader historical context, six of the top ten prices achieved in the New Zealand art market over the past decade were secured by Webb’s. We are pleased that Webb’s commitment to auction services continues to produce satisfying results for vendors. Works by leading New Zealand modern painters made up the majority of high-value art sales at Webb’s. Five of the top ten prices achieved by Webb’s in 2009 were for works by Colin McCahon, reaffirming our position as the leading auctioneer of works by Aotearoa’s most important modern painter. Webb’s secured seven out of 14 new record prices for individual artists at auction during 2009. Several important single-owner collections were offered in 2009, including a major private collection of New Zealand 8

contemporary art, as well as exceptional collections of Asian artworks and Maori artifacts. With strong attendance, sale rates as high as 85%, top estimates consistently achieved for key works and numerous records set, the auctions were the strongest the market has seen for some time. Results at Webb’s in 2009 and over the past decade confirm that quality, major artworks are selling well and that markets across the collecting genres of jewellery, antiques, wine and books remain sound and stable. With well-resourced business and marketing services, Webb’s is positioned to provide the most effective, professional and diverse sale options in the country. Entries are currently invited for sales in all categories. Specialists will be in the main centres of New Zealand throughout March and April to appraise pieces in anticipation of Webb’s mid-year sales.

Paul Hartigan

rolex

The Phantom $ 57,000 (Record price for the artist at auction)

A Gentleman’s All 18ct Yellow Gold Oyster Perpetual Day-Date Wristwatch $ 55,900

Katherine mansfield The Letters of Katherine Mansfield, John Middlleton Murry’s working copy $14,400

1990 domaine de la romanÉe-conti Romanée-Conti $10,800

don binney Kotare Over Hikurangi $ 251,000 (Record price for the artist at auction)

A whalebone rei puta From the Frances Ryman Collection $140,200

Note: Prices realised are inclusive of buyer’s premium and GST on the premium, rounded to the nearest $100. Reference: John Furphy of the Australian Art Sales Digest, aasd.com.au, for statistics.

IMPORTANT VINTAGE & COLLECTORS’ MOTORCYCLES

The vintage and classic motorcycle collectors’ event of the year. AN INVITATION TO CONSIGN AUGUST 2010 The auction will consist of no more than 40 important machines. As a response to the 2009 auction the catalogue already includes over 20 superb motorcycles. All entries to the sale will receive expert appraisal. Please contact Neil Campbell for details on how to participate in the auction and to discuss, in conf idence, any aspect of buying or selling motorcycles through Webb’s auctions.

1948 Indian Chief Realised $65,000 NOV 2009

Contact Neil Campbell

09 524 6804 021 875 966 ncampbell@webbs.co.nz

IN Focus 9

Contact Neil Campbell

09 524 6804 021 875 966 ncampbell@webbs.co.nz

Oceanic & African Art Webbâ&#x20AC;&#x2122;s has been appointed by a USA museum to manage the repatriation of a significant collection of Maori, Oceanic and Australian Aboriginal pieces to the region. Exceptional examples of sculpture, adornment, weaponry, ceremonial clubs, traditional dress and other

forms of indigenous art from Aotearoa and the broader Oceanic territory will be offered. The event offers collectors the opportunity to consider a selection of African Art from private Australasian, European and North American collections also with exceptional provenance.

A Rare Tongan Whalebone Chest Ornament, 19th century 175mm x 150mm $20,000 â&#x20AC;&#x201C; $30,000

IN Focus 11

FINE WINE AUCTION Drinking, rare and collector’s wines from New Zealand and around the globe. Sale date: 29 MAR 2010 6.30pm Catalogue online from 22 March Cellared, vintage French wines from first growth Bordeaux to vintage champagne; Italian greats from Ornellaia and Sassicaia; Spanish wines including Vega Sicilia 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, Graham’s, Taylor’s and Dow’s. 1990 Domaine de la Romanee-Conti

AN INVITATION TO CONSIGN 24 MAY 2010`

Contact Simon Ward

09 529 5600 021 642 777 wine@webbs.co.nz

Rare Books, Maps, Historical Photography & Ephemera AN INVITATION TO CONSIGN 13 JUN 2010 New Zealand’s leading auctioneer of rare and collectable books, Bethunes @Webb’s is currently inviting entries for its mid–year auction. Subjects covered will include: Maori history, culture and language; New Zealand history and biography; natural history and science; exploration and travel; and private press and fine books. Maps, photographs, postcards, posters and prints will also feature. Enquiries and consignments are invited on Mondays and Tuesdays.

Eric Craig – Album of New Zealand Ferns Realised $3,700, DEC 2009

Contact Francis McWhannell

09 5246804 021 232 6032 bethunes@webbs.co.nz

IN Focus 13

A2 / AN INVITATION TO CONSIGN

Entries are invited for sales across the collecting genres to be held MAY – JUNE 2010 Contemporary, Modern

and Traditional Art

Jewellery & Watches Modern Design, Antiques

& Decorative Arts Fine Wine Rare Books

Robin White Mabel, Mitchell’s Place, Waiotemarama, Hokianga screenprint 42/45 title inscribed, signed and dated 1977 710mm x 490mm $5,000 - $7,000 To be offered: A2 Art, 25 May 2010

Contact Sophie Coupland Emma Fox

09 524 6804 021 510 876 scoupland@webbs.co.nz

09 529 5601 021 646 828 efox@webbs.co.nz

Specialists in valuing: New Zealand & international art works Antiques & modernist decorative arts Maori Artifacts, Oceanic arts and antiquities Books, rare documents, maps & manuscripts Wine Single owner art & antique collections Corporate & institutional collections Comprehensive home contents Insurance indemnity Family division Asset assessment

Art & Antique Valuation Services Art Jessica Pearless jpearless@webbs.co.nz

Antiques & Collections Brian Wood bwood@webbs.co.nz

IN Focus 15

Important Works of Art Tuesday 30 March 2010, 6:30pm

Evening Viewing

Viewing

Wed 24 Mar

Thur 25 Mar Fri 26 Mar Sat 27 Mar

6:00pm—8:00pm

Sun 28 Mar Mon 29 Mar Tue 30 Mar

9:00am—5:30pm 9:00am—5:30pm 11:00am—3:00pm 11:00am—3:00pm 9:00am—5:30pm 9:00am—1:00pm

Buyers 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.

Important Works of Art 17

Stephen Bambury

Sound Test #1 acrylic, graphite, card on mdf title inscribed, signed and dated 1994 verso 337mm x 244mm

$8,000 - $10,000

Peter Robinson

Asian Head oil stick on paper title inscribed and inscribed CH CH 785mm x 1100mm

$5,000 - $8,000

Peter Siddell

Window pastel on paper signed and dated 1985 320mm x 490mm

Moeraki Boulder gelatin silver print title inscribed, signed and dated 1988 verso 355mm x 345mm A print from this edition is held by the Chartwell Collection, Auckland Art Gallery Toi O Tamaki $2,500 - $3,500

$4,000 - $6,000

Heather Straka

Division in Paradise oil on cotton on board title inscribed, signed and dated 2007 verso 305mm x 835mm

Peter Peryer

$6,000 - $9,000

Important Works of Art 19

Colin McCahon

Terry Stringer

North Otago monoprint title inscribed, signed and dated â&#x20AC;&#x2DC;73 120mm x 200mm

$4,000 - $6,000

Torso bronze on marble base signed and dated â&#x20AC;&#x2DC;77 and inscribed For Bernard 150mm x 95mm x 75mm

Don Binney

Peter Stichbury

Whatipu wax crayon on paper signed and dated 2002 410mm x 585mm

Untitled pastel on paper signed, c.1997 560mm x 760mm

$3,000 - $4,000

$1,500 - $2,000

$8,000 - $12,000

Important Works of Art 21

Ann Robinson

Spiral Vase lead crystal 1/1 signed and dated 2004, and inscribed N.Z. 635mm x 65mm x 65mm

$28,000 - $38,000

Dick Frizzell

Big Still Life oil on board signed and dated 12/3/87 980mm x 1220mm

$25,000 - $35,000

Important Works of Art 23

Guy Ngan

Celebration acrylic on board title inscribed, signed and dated 2000 900mm x 1200mm

Laurence Aberhart

$7,000 - $9,000

View #4, Fort Jervois, Ripapa Island, Lyttleton Harbour, 15 March 2000 gelatin silver print 170mm x 245mm Provenance: From The Prisoner’s Dream Series A print from this edition is held by the Chartwell Collection, Auckland Art Gallery Toi O Tamaki Note: Aberhart’s suite of five photographs collectively called The Prisoner’s Dream (1999 2000) consists of images taken from inside the jail on Ripapa Island, Lyttleton where Parihaka prisoners were incarcerated. $3,000 - $5,000

Rohan Wealleans 14

Rohan Wealleans

Residual Love mixed media on board title inscribed, signed and dated 2002 verso 1630mm x 740mm x 180mm

$10,000 - $15,000

In his practice, Rohan Wealleans constantly challenges his audience with works that refuse to be defined as any single genre. Traversing the boundaries between painting and sculpture, figurative and abstract, Wealleans has created an oeuvre that is highly original. Residual Love, originally exhibited at Ivan Anthony Gallery in a 2002 exhibition of the same name, employs Wealleans’ signature technique. Numerous layers of thick house paint are carved and rolled back to expose a marble-like, multifaceted, psychedelic, candy-coloured interior. Protruding from the shiny, baby-pink surface are bulbous mounds, substantial masses that push out, threatening to erupt from the picture’s surface in their own shower of dazzling hues. The tangible depth and contrasting push and pull of these forms are simultaneously robust and intricate, engaging a dialogue between objects and painting. Described by curator Robert Leonard as ‘pornographic abstraction’, these works reflect at once Wealleans’ fascination with B-grade ‘slasher’ horror films and his interest in exposing that which is hidden. Like flayed flesh that has been sliced and peeled back, the work is gruesome yet beautiful. Rohan Wealleans was the winner of the 2002 Trust Waikato National Contemporary Art Award, in 2005 he held the Frances Hodgkins Fellowship and in 2006 he was the paramount winner of the Wallace Art Awards. In addition to representation by leading New Zealand galleries, Rohan Wealleans is represented by Roslyn Oxley9 Gallery in Sydney. Sophie Coupland

Important Works of Art 25

Michael Parekowhai

Rainbow Servant Dreaming two-pot automotive paint on polyurethane 2005 640mm x 240mm x 150mm Illustrated: Michael Lett and Ryan Moore, Michael Parekowhai, Michael Lett Publishing, 2007 pg 428 - 429.

$10,000 - $15,000

In 2005, Michael Parekowhai held an exhibition at Roslyn Oxley9 in Sydney. The large gallery space was populated with fiberglass figures consisting of security guards, ballerinas and small grey men. This surreal exhibition carried the title Rainbow Servant Dreaming, the title of the lot we have on offer. For many Australians the term ‘dreaming’ is one with which they are intimately familiar. It is an Aboriginal term used to explain the journey and the actions of ancestors who created the natural world, and dreaming stories are repeated from generation to generation maintaining a link between the past and the present. For Parekowhai, the title is not so much a retelling as a repeating. Three very different figurative sculptures were repeated throughout the space. They all shared the highly glossed finish of automotive paint on fibreglass, which is slick and impervious to the elements. The imposing, unreceptive Kapa Haka security guard is based on the artist’s brother, Paratene. Flat–footed and burly, he stands arms crossed in defiance, holding us at bay and denying us entrance. The Song of the Frog, in contrast, is an elegant ballerina, lying supine and attenuated on the floor, eyes peacefully closed, and blissfully unaware of the viewer. The little grey men also imposing and aloof, though on a much smaller scale, are cold and upright. En masse across the wall, facing in and facing out, they mimic the busy city men based on the figures depicted in René Magritte’s famous surrealist masterpiece Golconda. Nameless, expressionless, cloned men who ‘work in the city’ fall from the sky like rain. Some face out, striding forward drone-like into the room, while the others, such as this example, turn their back and abut the wall, as though refusing to acknowledge their surroundings or environment. They wear the uniform of city men: bowler hat and long overcoat; they carry their accoutrements: umbrella and briefcase. In Parekowhai’s version, the addition of gloss grey paint further highlights their sameness, and emphasises their very anonymity, their ‘greyness’. Parekowhai has effectively extended the surrealist imagery of the Belgian master, and made it real. Emma Fox

Important Works of Art 27

Peter Stichbury

Preston Proudlove acrylic on canvas title inscribed signed and dated 2007 verso 1220mm x 915mm

$28,000 - $38,000

Impossibly perfect and subtly distorted, Peter Stichbury’s portraits comment on our own society’s obsession with manufactured beauty. The invisible brush strokes and fine attention to detail that have become synonymous with Stichbury’s work are no less impressive for their consistency. Whether his subjects are taken from reality or created within his own imagination, Stichbury pushes the boundaries of accepted attractiveness and explores our desire to see anatomically improbable individuals as our epitome. Stichbury transforms his subjects into caricatures of themselves and imbues each of them with distinct personality and clichéd individualism to highlight how truly distorted is our reality. Dating from 2007, Preston Proudlove is an example of Peter Stichbury’s more recent portraiture. Here his unusual use of sepia tones lends an air of age and nostalgia to the work. Proudlove has an aura of bygone aristocracy about him, like an old movie star or a young English Lord. Even his name, Preston Proudlove, seems infused with stature and high repute. His dark brows and perfectly coiffed hair indicate immaculate grooming and his posture, stiffly straight back, long neck and his ever-so-slightly-raised chin imply this man is as dignified as his name would suggest. He gazes to his left, his mouth slightly ajar, a perplexed expression bringing his eyebrows together, creating definitive frown lines on his otherwise wrinkle-free complexion. A shadow crosses his face, highlighting his sharp nose and defined cheekbones while simultaneously enhancing the bags under his eyes. Stichbury’s typical use of flat tones serves to fix Proudlove in an undefined space. The empty, black background pushes him to the forefront of the canvas even as he seems to be pulling away. The combination of Proudlove’s gaze and the shadows indicate there is more activity just outside the realm of the canvas. There is a sense of barely concealed anxiety in his enigmatic, botoxed face. This later work demonstrates Stichbury’s progression from earlier paintings (such as those from The Young Pleasure Seekers) that were plastic in the extreme – void of personality – to a more relaxed, almost frivolous approach. For all that his mysterious expression leaves us perplexed, it is undeniable that Proudlove is utterly brimming with personality. Sarah McCrory

Important Works of Art 29

Stanley Palmer

Towards Whangarei Heads oil on linen signed and dated ‘90 1620mm x 2250mm Illustrated: Riemke Ensing, Stanley Palmer: Poor Knights, Fisher Gallery 1992 pg 27. Exhibited: Fisher Gallery, Pakuranga, 23 October 22 November 1992 $25,000 - $35,000

Towards Whangarei Heads is painted from the vantage point of the Poor Knights Islands, a group of islands some 50 kilometres to the north-east of Whangarei, a protected nature reserve and popular deep-sea diving location. The islands themselves have a long and bloody history for the Maori tribes who have resided there. The Poor Knights group or Aorangi was home to around 300 to 400 Maori and was a popular seasonal bird-hunting ground. In the early 1820s, a massacre took place after a rival tribe was refused landing rights and an opportunity to stock up on food supplies. Never ones to forget a slight, the tribe of Hikutu launched a surprise night-time attack whilst the majority of the island warriors were warring in the Hauraki Gulf with Hone Heke. A two-day blood bath ensued, with many leaping to their deaths off the cliffs and any remaining survivors enslaved. When the chief Tatau returned, his five-year-old son, who had remained hidden on the island, told him what had occurred. Tatau performed last rites over the victims, and declared the island strictly tapu, leaving for good. There has been no continuous occupation of the islands since. Over time, the Poor Knights have been the subject of an intensive pesteradication programme, mainly of the islanders’ pigs, which were left to run wild, and have become part of the Hauraki Gulf Maritime Park. The island group was declared a nature reserve in 1977 and ultimately enlarged to include a marine reserve extending some 800 metres beyond its shores. It is widely regarded as one of New Zealand’s most important offshore reserves and access is available only to scientific expeditions. All the more remarkable it is, then, that Stanley Palmer gained access to the islands through the local tribes and was permitted to visit and to photograph the surrounding landscape. A lifetime commitment to conservation, and especially that of our offshore islands and our coastline, has been an ongoing concern in Palmer’s works. The metaphor of man as an island has been widely used in New Zealand literature and art. Palmer himself is interested in the inherent fragility of our environment, the lack of control it affords us and what happens at the edges over which we have no control: of the ocean and the sky and the land. Emma Fox

Important Works of Art 31

Walter Wright

Maori Canoe Race, Lake Rotorua oil on canvas signed 365mm x 885mm

$15,000 - $25,000

Walter Wright’s narrative depictions of Maori life around the turn of last century are rare and important historical documents. Maori Canoe Race depicts waka (canoe) races on Lake Rotorua; waka racing was a sport enjoyed by both Maori and Pakeha from the mid-19th century and a regular feature of regattas. The canoes or waka tiwai were referred to as waka peke (leaping canoes) when raced by jumping over logs raised slightly above the water surface. For men, there was also the option of diving under the hurdle while the canoe was slid over the top. The winner of the race was the first crew to reach the end while still in their canoe with both paddles. The following extract describing the Kawhia Regatta, published in the Te Aroha News, 1885, provides a vivid insight into such an event: “The first of these was a canoe hurdle race, a kind of aquatic steeplechase. The hurdles are formed by driving two posts into the ground at low tide; a cross-bar is rested on the poles, and shows up above the water about nine inches at high tide. The Maori’s have to shoot their canoes over the various hurdles along the course. The skill and dexterity with which this is done is admirable. Before crossing the obstacle, the Maoris jump into the stern of the canoe, and so raise the bow; they as quickly transfer themselves to the bow, and thus the hurdle is cleared. There were many collisions in this race, and not a few were upset. The fun was fast and furious during the whole of the contest, and laughter reigned supreme. Perhaps the most imposing spectacle of the day was the race in the war canoes, which were manned by about twenty-five men each, sparsely clad, but in full war paint. This was a grand spectacle, and is every year becoming more rare, and will soon, like the moa, sink into oblivion. The victorious crew were welcomed with a ‘haka’ by the women of the tribe.” Despite the author’s prediction that this sport would cease, there is an annual sporting and cultural festival at Turangawaewae, Ngaruawahia, where canoe races, including canoe hurdling, are part of the sporting events. A photograph entitled Maori War Canoe Hurdle Race, Lake Rotorua by photographer Ludwig Louis Politzer is in the collection of the State Library of Victoria, Australia, (illustrated) and superb early footage of canoe hurdling at Rotorua is able to be viewed at the Te Ara, The Encyclopaedia of New Zealand, website: www.teara.govt.nz/en/canoeing-and-rafting/1/1 Emma Fox

Rita Angus

Canterbury Landscape watercolour signed Rita Cook 240mm x 310mm

$15,000 - $20,000

Important Works of Art 33

Bill Hammond 19

Bill Hammond

A Lullaby of Birdland acrylic on five kauri panels title inscribed, signed and dated 1996 920mm x 595mm, 920mm x 625mm, 920mm x 625mm, 920mm x 800mm, 920mm x 795mm; 920mm x 3440mm overall Exhibited: Brooke Gifford, Christchurch, 1996 Provenance: Private Collection, Christchurch $230,000 - $330,000

Spanning five kauri panels, Bill Hammond’s A Lullaby of Birdland offers the viewer a surreal landscape that is populated by his idiosyncratic anthropomorphic avian forms and pitted with shadowy trees, picnic tables, cellos, a chaise lounge, a taxidermy kiwi and a grandfather clock. The painting stretches more than three metres and this physical scale transforms it into an ostensible environment that envelops the viewer and adds an element of credibility and verisimilitude to an otherwise otherworldly milieu. Five large bird-figures take centre stage in the work, performing music and reading, while the trees support a silent audience as clusters of smaller bird-forms perch in their branches. The apparent random selection of objects gives the work a surreal element, which is in turn heightened by the notable distance and disjuncture between the figures who do not acknowledge each other or the viewer. This physical space and separation combined with the interiority of the figures contributes to the overall calm serenity of the piece. Hammond’s use of a shifting horizon line suggests five seemingly individual views of ‘Birdland’ and, for the most part, each scene is indeed circumscribed by the parameters of the panel with only the last two being linked by a tree that spreads its branches across them. However, Hammond successfully manages to achieve a sense of cohesion through the use of recurrent elements such as the dribbling paint, the small fern fronds, the cellos and the bird forms. Colour also aids the unity of the work, which is dominated by sombre shades of blue, grey and black while three of the panels are further connected by the addition of searing red. On the last panel, a hybrid figure stands regally beside her cello. Demurely clothed in a floor-length, sweeping red dress, she appears either to have concluded a performance or to be about to commence one and is perhaps responsible for playing the lullaby to which Hammond evocatively alludes in the title of the painting. The sombre restricted palette enhances the meditative charm of the painting that is at once both poetically distant and instantly alluring. Thin rivulets of dark paint run gently down each of the five panels – painterly marks that are carried into the indeterminate background of the work, which is comprised of loose washes of thin paint. Indeed, these organic swathes of paint drift across the five panels like clouds of mist or light rain conjuring images of the New Zealand bush, which is similarly apparent in the presence of the trees, ferns, avian forms and the chromatic harmonies of blues and greys. This mysterious bush, however, is one that the spectator can observe but never enter. Completed in 1996, A Lullaby of Birdland featured as the major painting in Hammond’s show at Brooke Gifford Gallery in Christchurch. A smaller canvas painting from the same show entitled The Fall of Icarus was purchased by the Christchurch Art Gallery and remains in their permanent collection. The two works are both characterised by a pervasive tranquility and boast a number of similarities in terms of palette choice, painterly trickles and the absence of any sense of connection between the bird-figures and the outside world. Jemma Field

Bill Hammond

Important Works of Art 35

Dick Frizzell

Ocean Beach oil on canvas title inscribed, signed and dated 24/08/00 1050mm x 1350mm Exhibited: Gow Langsford Gallery, Auckland 2000 $30,000 - $40,000

After living and working in Auckland for 40 years, Dick Frizzell relocated to Haumoana, Hawke’s Bay in 2003. His immersion in a landscape at once familiar from his youth and so patently different from the hubbub of the inner city, rekindled a desire to paint himself back into the landscape. The landscape, Ocean Beach, belongs to a series of paintings celebrating the unique features of the area. Traditional landscape paintings of Te Mata Peak and Cape Kidnappers are joined by more quirky representations of roadside fruit stall signs. They consist of little more than a rough shelter and an honesty box and their positions are noted well in advance by the basic hand-painted signs offering plums, pumpkins and caulis! This painting depicts the view along Ocean Beach overlooked by Frizzell’s home and studio. The work is diffused with a pink glow, a hazy aura of warmth, and the salt-saturated air blurs our long-distance view of the peaks beyond. The extreme foreground with its weather-beaten macrocarpas and solitary farm dwelling is crisp in comparison: the yellowing pasture testament to the long hot summers. Hamish Keith states in the recent publication Dick Frizzell: The Painter, “It is never difficult to see where his work is coming from, or the larger things it might be about. There’s a robust joy in what he does... It is this confident sense of belonging that makes Dick Frizzell’s work so comforting.”1 Emma Fox 1. Dick Frizzell, Dick Frizzell The Painter Godwit Publishing 2009. pg 17.

Important Works of Art 37

Peter Stichbury

Leer acrylic on canvas title inscribed, signed and dated 1998 verso 1115mm x 1115mm

$20,000 - $30,000

In Peter Stichburyâ&#x20AC;&#x2122;s painting Leer, four figures hold hands in a complex circular arrangement. The intense light focuses our attention on where the hands are grasped or merely laid across one another. Handshakes have long signified trust and equality, as well as a deal being made, a friend being greeted or an enemy being intimidated. A hand can be held lovingly or held in restraint, shaken in commiseration or in congratulation. The gazes of each of the figures add a further level of complexity. The figure on the front right is Samantha Mitchell, a former partner of Stichbury and a practising contemporary artist. Unlike the rest of them whose gazes are outward, she stares intensely at the figure in the dazzling white shirt. He is Florian Habicht the filmmaker, who most recently was the inaugural recipient of the Harriet Friedlander Scholarship. Behind them in the shadows is Nicholas Butler who starred in Habichtâ&#x20AC;&#x2122;s digital feature-length film noir Woodenhead in 2003. While the fourth figure is unidentified, she is no doubt, like the other three, an art school companion of Stichburyâ&#x20AC;&#x2122;s. Our eye is taken in a continuous searching pattern, around the sequence of handshakes, which for Stichbury convey an idea of psychological and/or spiritual interconnectedness. Emma Fox

Tony Fomison

Inward Eye oil on canvas title inscribed, signed and dated c.1-15.2.88 and inscribed, 79 Lincoln Street, Grey Lynn verso 330 x 410mm

$25,000 - $35,000

Important Works of Art 39

Michael Smither

Fern Frond acrylic on board signed with artist’s initials MDS and dated ‘86 1200mm x 875mm

$55,000 - $75,000

In this striking image of fern fronds silhouetted against a bright blue sky, Michael Smither shows his remarkable ability to extract something individual and arresting from everyday subjects. Whether they are manmade objects, like a friend’s bright blue flipper, or natural forms like worn rocks on the New Plymouth seashore, Smither is able to make us see them afresh and with added impact. Surely it is his remarkable vision and powers of selection combined with his technical skills as a painter and colourist that contribute to his achievement. In an age saturated with photographic imagery, he still manages to capture our attention and make his images enduring and meaningful. This ability appeared right at the start of his career and has continued without faltering to the present day, over a period of 50 years. His work has defied art trends and fashions and is based on what he sees and celebrates in the world around him. Viewed as a whole, his work encapsulates much that makes living in New Zealand the unique, sometimes quirky experience we all can recognise but are often unable to define. Fern Frond takes as its subject one of the most common types of flora in New Zealand: the bracken fern of the asplenium genus. Instead of showing the fronds in characteristic full leaf, Smither depicts the stems arching upwards in graceful curving movements and the crowns producing new leaves. It is the living, growing plant he captures not a botanical specimen or a still life in a vase. Here he has affinities with his predecessor Rita Angus who often chose to paint her studies of flowers and flora growing in the garden so that their organic nature was manifest. Like Smither, she too could extract that extra dimension from her subjects, defining them with precision and bringing out the essential forms and colours by a process of reduction and analysis. To give impact, Smither has back lit the stems and unfurling fronds achieving a strong contrast between the shadowed and the lit areas against the blue sky. Though unseen, the sun is a major force in the painting and its light and warmth vital ingredients in the growth and vigour of the fern. This is an image of nature nourished by clean air and light and tinged by the blue of the sky that is unmistakably of this country and the South Pacific. A comparable bracken fern appears in Smither’s triptych Star Wars of 1988; he described it as an image of peace in contrast to the apocalyptic central figure of Reagan whose eyes are transformed into nuclear missiles blinding him to the destructive consequences of his political ambitions. Seen in this context, Smither shows another affinity with Rita Angus as pacifist and himself as an artist willing to use his art to promote values he cares about and believes in passionately. These added layers of meaning enter the work unobtrusively and help to give it significance that goes beyond realist concerns. Michael Dunn

Important Works of Art 41

Louise Henderson

Cubist Portrait Study of a Woman oil on canvas signed; dated 1957 verso 495mm x 420mm

$12,000 - $18,000

Sydney Lough Thompson

In a Brittany Harbour oil on board signed 370mm x 450mm

$25,000 - $35,000

Important Works of Art 43

Milan Mrkusich

Painting 1, ‘50 oil and wax on laminated paper board title inscribed, signed and dated Oct ‘50 verso Provenance: Collection of Ron Grant, one of four original founders of Brenner Associates, Auckland 675mm x 920mm $25,000 - $35,000

Painting 1, ‘50 belongs to a series of works produced whilst Mrkusich was at Brenner Associates, which was founded in 1949. Brenner Associates specialised in a form of total design, offering complete architectural services for which Mrkusich undertook a variety of design work. Painting 1, ‘50 has been in the collection of Ron Grant one of the original founders of the firm, since 1950. As noted by Edward Hanfling and Alan Wright in the 2009 monograph on Milan Mrkusich’s work Mrkusich: The Art of Transformation, the influence of Mrkusich’s design work for Brenner Associates is clearly evident in his paintings from the period. Painting 1, ‘50 demonstrates a clear investigation into the qualities of line, colour and surface. When paintings and drawings made by Mrkusich in his own time are positioned next to architectural projects from the period including shop window installations or exhibition displays it is interesting to note the crossover between the two lines of work. His handling of three dimensional and two dimensional space signifies an acute awareness of spatial perception, exemplified in Painting 1, ‘50. Mrkusich delicately crafts a spatial reality with a vantage of viewpoints in this work. Attention is paid to the specifics of colour and form in this composition, which is finely worked into a combination of oil paint and wax applied to board in transparent layers. Linear formations are delicately scratched in to the surface to form a relief. Colour, alongside line, is a vital entity in Painting 1, ‘50. Earthy, rich tones of chocolate browns, blacks and deep blues recede in to the background of the composition forming geometrically angular, planar surface. The light, powdery blues, whites and pinks gently hover in oval and circular formations in the foreground, skimming over and above the finely divided space. Jessica Pearless

Important Works of Art 45

Bill Hammond

Ancestral E acrylic on canvas title inscribed, signed and dated 2005 1205mm x 905mm Exhibited: Bill Hammond, Jingle Jangle Morning, Christchurch Art Gallery, Te Puna o Waiwhetu, 20 July - 22 October 2007. City Gallery, Wellington, Te Whare Toi, 16 November - 10 February 2008. Illustrated: Bill Hammond, Jingle Jangle Morning, Christchurch Art Gallery, 2007, pg 177. Note: This work was illustrated as a postcard to accompany the aforementioned exhibition and publication. Provenance: Private Collection, Wellington $150,000 - $200,000

Set against a pale green ground, Bill Hammondâ&#x20AC;&#x2122;s Ancestral E features a variety of mythical beasts that are a fusion of human, animal and bird elements. The largest three figures who dominate the composition have recognisably human faces but a multitude of avian heads is seen protruding from the backs of their skulls. Smaller winged creatures fly through the middle of the piece, some of which have ornithological features along with human arms, seahorse bodies and serpentine tails. However, what could potentially be a nightmarish illustration of a mutant world is obviated by Hammondâ&#x20AC;&#x2122;s virtuoso use of chromatic subtleties, decorative patterning and contrasting brushwork that produces a harmonious composition and a painting which is serene overall. Rather than having realistic flesh tones or feathers, each of the creatures is indelibly inked with a series of plant and tree motifs. Running over their bodies in delicate rhythms, these organic designs add a pastoral facet to the work by linking the creatures to the natural world while also heightening the dreamlike quality of the painting. In contrast to the controlled brushwork seen in these passages, thin lines of paint are allowed to run and trickle throughout the work. As is typical of Hammond, his painted creatures appear oblivious to one another as well as showing no awareness of the viewer. Entering the canvas from all four sides with a sense of purpose and determination, his fantastical hybrid forms swirl around the parameters of the work and glide through the centre. The plain background of the piece is only slightly modulated by some visible brush strokes, creating the effect of a seemingly depthless realm within which the forms gently recede and come forward. Ancestral E is blanketed by an eerie yet magnetic calmness, a quality which can often be expected of Hammondâ&#x20AC;&#x2122;s work. It is the result, in this painting, of his use of a rather subdued palette and of the self-contained nature of his figures who allow the viewer to observe them with quiet acquiescence. Ultimately, Hammond presents a skilful snapshot of his phantasmagorical world of mythological creatures who shift and move to their own tempo and time. Jemma Field

Important Works of Art 47

Tony Fomison

Hill Top Watcher oil on shaped canvas title inscribed, signed and dated 1976 490mm x 840mm

$120,000 - $160,000

The horned creature that is Tony Fomison’s Hill Top Watcher, 1976, could simply be described as a strange barbarism. Neither a skull nor a spectre, not dead or alive, this wasted bullock is like a creature one imagines Dante might have encountered on his descent into the inferno. Like a beast from the Dark Wood, Fomison has created an image of the soul’s sin externalised. In his essay for the 1994 Fomison retrospective, Ian Wedde discussed the painting as a declension of the show’s title work - a painting of a rather gothic looking court jester entitled What shall we tell them? 1976. Hill Top Watcher, painted in the same year is the jester’s darker shadow, conveys something of Fomison’s interest in cultural anthropology and ethnology – which here slides into the realm of the grotesque. Assertively primeval, Hill Top Watcher hints at Fomison’s artistic origins. Rather like a creature that might be revealed from beneath the dirt on an archaeological dig, the skull is encased in a crossbone-like frame. Indeed Fomison enjoyed a brief career as an archaeologist between 1959 and 1962 when he undertook a survey for the Canterbury Museum and the New Zealand Historic Places Trust, tracing many Maori rock shelter drawings. Dark and brutal, Hill Top Watcher conveys a sense of stark horror, a feeling that infuses the work of an artist such as Goya, with whose art Fomison was surely familiar. After attending Art School in the early to mid 1960’s, Fomison spent a period of time as a travelling vagrant in Europe where he studied the masters of art history housed in the great European galleries and earned his living by chalking copies of these works onto street pavements in Paris. Lying outside the customs and conventions of New Zealand art history, Fomison’s work is often described with references to the diverse archives of material with which the artist was conversant. His work maintains it charge by taking these references and inverting them, exploring through a convex mirror images of our humanity and thereby presenting us with the dark underbelly of life. Pennie Hunt

Important Works of Art 49

Colin McCahon

North Otago Landscape acrylic on paper 295mm x 540mm Provenance: Accompanied by a statement written by Gordon H. Brown at the request of FHE Galleries. 22 March 2003 Note: This work was commissioned as a possible bookjacket design for An Introduction to New Zealand Painting 1839 - 1967 by Gordon H. Brown and Hamish Keith. Collins 1968. $35,000 - $45,000

Shane Cotton

Taiamai acrylic on canvas title inscribed, signed and dated 1997 455 x 610mm

$25,000 - $35,000

32 Elizabeth Thomson Alpine Landscape polychrome bronze leaves on gesso panel 1760mm x 1900mm Exhibited: Commonwealth of Art: Traditions, Imagination, and Independent Nations, National Art Gallery of Malaysia, 25 August - 30 October 1998. Illustrated: accompanying catalogue pg 84. $18,000 - $25,000 Important Works of Art 51

Charles Goldie 33

Charles Goldie

Mihipeka Wairama, Tuhourangi Tribe oil on canvas signed and dated 1912 245mm x 195mm Illustrated: Alister Taylor and Jan Glenn Charles Goldie His Life and Painting, Alister Taylor 1977 pg 227.

$160,000 - $200,000

Goldie is best known for his highly finished portrayals of old-time Maori complete with traditional tattoos and ornamented with taonga such as greenstone pendants. Although he painted these subjects throughout his career, he was at his peak in the early years of the 20th century when his most famous works were created. Mihipeka Wairama, signed and dated 1912, is an excellent example of his Maori portraits of that period and is set off by its original frame. His sitter Mihipeka Wairama came from the Tuhourangi people who had been largely displaced from their ancestral home at Te Wairoa by the Tarawera eruption of 1886. The majority of the survivors were taken in at Whakarewarewa village where they re-established their lives and earned a living from the tourist trade. It would have been there that Goldie first met Mihipeka. In fact, in 1908 she was listed on the Eastern Maori Electoral Roll as living at Whakarewarewa, Rotorua. She was one of a number of Tuhourangi identities who feature in Goldie’s paintings; others include Kapi Kapi whom he depicted on many occasions and once, aged 102, as a ‘survivor of the Tarawera eruption’. Undoubtedly the dramatic events of 1886 impacted on the tribe and gave a tragic dimension that allowed Goldie full scope for the reflective and stoic mood of his images. Mihipeka Wairama became one of his favourite models and is depicted in his famous No Koora te Cigaretti of 1912; this is the same year as the current work. Roughly translated as ‘No good the cigarettes’, it suggests that Mihipeka preferred something stronger in a briar pipe to the less-powerful cigarette Goldie showed her smoking. In both these paintings of Mihipeka, Goldie depicted only her head and shoulders; in both she wears the same blanket draped around her shoulders but it is left open to reveal her deep green dress and a neck scarf. In both, too, she wears the same pounamu ear-pendant; but whereas in No Koora te Cigaretti she is shown full-face, in the current example he depicts her in what is called ‘lost profile’, with just part of her far eye and cheek visible. Although a small work, less than life-sized, it has considerable impact because Goldie has silhouetted his sitter against a plain grey background and shown her close up. In the portrait, he displays the impeccable academic technique he learned in Paris at the Académie Julian in the 1890s. He has modelled the features and costume with careful gradations from light to dark to suggest form and texture. By sharpening the focus on the face and salient details like her moko, he draws us into the work. The effect of illusionism, of trompe l’oeil, is carried through to details like the pendant where the cast shadow makes the space between it and her neck tangible; also, we can seemingly trace the indentations of her moko with our fingers and feel the woolly softness of her blanket. While undoubtedly a portrait, Mihipeke Wairama is more than a record of the subject’s features. Goldie captures a mood of introspection and gives us some psychological insights into the sitter. Here the chiaroscuro he handles so well aids the effect by casting her eyes and brow into pools of shadow. By showing her gazing away from us, he gives a pensive, indeed melancholic feeling to his depiction. She is not thinking of the present but contemplating memories of those who have passed away and of times gone by, before the Tarawera eruption. This contributes a poignant dimension to the image and takes it beyond photographic reportage. Capturing mood and suggesting a narrative were central to much late-19th-century art, when Rembrandt was fashionable, and supply the essential ingredients of a good Goldie portrait. Michael Dunn

Important Works of Art 53

Shane Cotton 34

Shane Cotton

Blackout Movement acrylic on three stretched canvases title inscribed, signed and dated 2001 1600mmm x 4800mm overall Exhibited: Shane Cotton: Survey 1993 - 2003, City Gallery Wellington, 17 July - 19 Oct 2003 Illustrated: Shane Cotton: Survey 1993 - 2003, City Gallery Wellington and Victoria University Press, 2004, pg.82 - 83, 96. Reference: ibid pg 26. $200,000 - $300,000

Executed on three monumental canvases, Blackout Movement is representative of the shift in scale, palette and iconography that occurred in Cotton’s work following his year as the Frances Hodgkins fellow in 1998. Falling into the loose group of Kenehi (Genesis) paintings, Blackout Movement presents the viewer with a sprawling expanse of black that is tempered by a string of symbols and words. Blackout Movement elegantly addresses some of Cotton’s key concerns including his poignant exploration of the relationship between the colonial missionaries and the Ngapuhi iwi. The title of the work explicitly alludes to this tumultuous relationship, referring to an early 19th-century prophetic sect in the Hokianga of the same name. The first spiritual leader of the sect was Penetana Papahurihia, who was a direct descendent of visionary seers and was one of many Maori to incorporate aspects of Christianity into their traditional rituals following European contact.1 The phrase ‘Blackout Movement’, which was also used by Cotton for the title of an exhibition in 2001, can similarly be seen to recognise the tradition of black paintings in New Zealand’s art history, punctuating the oeuvres of artists such as Petrus van der Velden, Colin McCahon and Ralph Hotere.2 The right-hand canvas of this tripartite work hosts the Lord’s Prayer, translated into te reo Maori and repeated 16 times running down the length of the canvas in small, white freehand text. Irregularly spaced, segmented by thin red striations and dotted by a series of mountain peaks, this mesmeric mantra is organically transcribed onto the dark, sober ground. Cotton’s written repetition of the religious prayer conjures thoughts of the Catholic rosary which is spoken repeatedly for both penance and prayer. Translated from English to Maori, it references the early Christian missionaries who were responsible for bringing the so-called ‘light of God’ to the dark, fledgling colony of Aotearoa New Zealand and its native people. Thus, the work illustrates Cotton’s consistent exploration and acknowledgement of the complexities of the relationship between colonials and Maori. In doing so, Blackout Movement highlights Cotton’s personal bicultural heritage and, more generally, the historic identity and what Cotton terms the ‘bi-spirituality’ of colonial New Zealand. Issues of identity reappear on the left canvas in the form of a bold and arresting circle that appears comparatively graphic against Cotton’s handwritten prayer. Ornate ‘olde English’ letters are stencilled around the exterior of the circle spelling out the title of the work Blackout Movement while encircling a twisting mass of eels. This gang-patch motif first surfaced in Cotton’s work in 2000 and seemingly underscores a search for identity, for a sense of belonging and for camaraderie. The interwoven pool of eels is a motif that appears in Ngapuhi tribal rituals while also being an ancient symbol for infinity which appears in Egyptian hieroglyphs and Anglo-Saxon metalwork.3 The central canvas of the piece is lyrical and sparse. Hovering in the centre of the austere, black field in a small, richly red oval, outlined in white, a couple dance. The bubble form is repeated near the bottom of the canvas where a lone male figure is seen wielding a gun, his ghostly twin transposed over a mountain to the right. It is in the lower recesses of the central panel that Cotton’s characteristic landscape forms are given some airing. Here, small illuminated patches of misty white reveal distant fragments of mountainscapes that undoubtedly map some of New Zealand’s iconic ranges, elegantly alluding to New Zealand’s unique cultural ties to the land. Jemma Field 1. Lara Strongman, ‘Ruarangi: The Meeting Place between Sea and Sky – A Consideration of Shane Cotton’s Work 1993–2003’, pp. 15–32 in Shane Cotton Survey 1993–2003, exh. cat., City Gallery Wellington 2003, Victoria University Press, 2003, p. 26. 2 ibid. 3 ibid., p. 27.

Shane Cotton

Important Works of Art 55

A. Lois White

A Solitary Place watercolour title inscribed and signed verso 345mm x 275mm

$10,000 - $15,000

John Pule

Maholo acrylic on unstretched canvas title inscribed and signed verso 2010mm x 1700mm

$30,000 - $40,000

Important Works of Art 57

Bill Hammond

Allen Maddox

Forest, Bird and Sea acrylic on canvas title inscribed, signed and dated 2004 600mm x 400mm

Untitled oil on hessian on canvas 910mm x 880mm

$55,000 - $75,000

$12,000 - $18,000

Important Works of Art 59

Ralph Hotere

St Marie de la Mer oil on mirror title inscribed, signed and dated July 2002, and inscribed Carey’s Bay; title inscribed, signed and dated July 2002 and inscribed Careys Bay verso There is a legend along the Cote d’Azure about a Black Madonna who floated down the Rhone from Central Europe, probably Poland, and landed at Saint Maries de la Mer where a stone church was built in the 12th century. Chiselled into one of the cornerstone blocks, is a heart insignia which I’ve used in paintings since 1978, when I spent some time in Avignon and the Carmague, and where Van Gogh also painted his Saint Maries fishing boat painting. Ralph Hotere 2002 verso 1200mm diameter

$120,000 - $180,000

This work by Ralph Hotere both confirms and inverts some of the betterknown aspects of his practice. Confirmed is his lyrical grace, achieved even through quite reduced means. The depiction of a woman floating on the dappled surface of some expanse of silvery water continues a familiar theme of his representations of women. Although silhouetted, her voluptuousness recalls Hotere’s earlier depictions of women, both actual and iconic, such as the Willendorf Venus. Here, she is legendary: a Black Madonna. The inscription on the reverse of the work (inscribed left) tells the story. The mark-making style of the work is familiar, particularly from Hotere’s drawings and lithographs. The drama that is present here (with his stripping back of parts of the silvered surface) suggests a restlessness that is augmented by the effect of light hitting the surface of the mirror – now granted additional movement and complexity by the interplay of reflective and transparent areas. Yet the figure herself remains light, a figure of grace and joy. Supported by a Queen Elizabeth II Arts Council Travel Grant, the trip Hotere recalls undertaking in 1978 has been of tremendous importance to his subsequent development as one of New Zealand’s leading artists. Although spirituality is always a feature of his practice, there seems to be an augmented spiritual dimension to his work that dates from around this time. This work, as a recollection of a meaningful and powerful experience for the artist, contributes to an oeuvre rich in its connection to nonphysical worlds. More than religious symbolism (the sacred heart, the cross, the intriguing depiction of the Madonna), it is as if Hotere’s playfulness with the media he is using and the way in which this is manifested in diverse qualities of light form a metaphor for the presence of the otherworldly in earthly life. An inverted known feature of his practice is the relationship to light and surface in the work. Although there is an echo of the modest, found materials of the famous suite of Aramoana paintings, here the glass surface is silvered not blackened and the artist addresses that reflective surface rather than paints out transparent panes. Thus, this work is a literal and allegorical evocation of mystical illumination rather than a sombre critique of darkness. The humanity that is such a feature of Hotere’s practice is easily recognisable here. He combines earthiness and gracefulness in a work where the dappling of light from the surface of the mirror, the different marks of drawing or subtraction and the interrelation of symbol, memory and representation convey an almost fable-like atmosphere: an atmosphere most fitting for a figure of legend and devotion such as the Black Madonna. Dr. Peter Shand

Important Works of Art 61

Emily Wolfe

Untitled Screen oil on three fold screen, double sided 1700mm x 1170mm

$12,000 - $18,000

Panton Chair by Misery acrylic on Panton Chair Classic by Verner Panton, 2010

$1,000 - $2,000

Panton Chair by WORLD mixed media on Panton Chair Classic by Verner Panton, 2010

$1,000 - $2,000 43

Panton Chair by John Reynolds

acrylic on Panton Chair Classic by Verner Panton, 2010 Not available for illustration at time of publication. $2,000 - $3,000

John Reynolds, Misery and WORLD have each been commissioned to transform an iconic Panton Classic chair, supplied by Auckland design showroom Cite, as part of the chairâ&#x20AC;&#x2122;s 50th birthday celebrations in 2010. Designed by Verner Panton, in collaboration with Vitra, he came up with the first prototypes in the 1960s and the Chair went into series production in 1967. Unlike the Panton Chair Standard in solid plastic, Panton Chair Classic is made of rigid expanded plastic and has a lacquered surface. Vitra continues to manufacture licensed original reproductions of this design. All proceeds from the sale of the chairs will be donated to Unitec, Department of Design and Visual Arts. The artists, Cite and Webbâ&#x20AC;&#x2122;s are donating their respective contributions.

Important Works of Art 63

Frances Hodgkins 44

Frances Hodgkins

A Nut Brown Maid watercolour inscribed A Nut Brown Maid, F. M. Hodgkins £3-3-0’, in another hand, verso Exhibited: Canterbury Society of Arts, Christchurch, 1896 280mm x 200mm $45,000 - $65,000

From 1896 to 1900, portraits of Maori claimed a prominent position in Frances Hodgkins oeuvre. This interest came about, in part, as a result of lessons in 1893 from the Italian artist G P Nerli, whose work had been exhibited at the New Zealand and South Seas Exhibition held in Dunedin in 1889–1890. Her favoured technique of wet on wet was reinforced by the fluid impressionist watercolour technique that was practised by Nerli and Frances’ father, the painter William Hodgkins. Rather than straightforward ethnographical depictions, these works are characterised by a depth and sensitivity of handling. In A Nut Brown Maid, Hodgkins’ skill as an artist is succinctly expressed. A young girl gazes complacently outward, her big brown eyes arresting in their directness. Her complexion and skin tone are an attractive shade of warm brown, her cheeks showing just the slightest rosy tint, her full lips almost mauve. Dark hair falls in soft waves, framing her face. Her fashionably tied shawl, draws our eyes to the focal point of her face. The work is reminiscent of Hodgkins’ early portraits such as The Girl with Flaxen Hair (1893), both works exhibiting her ability to portray the ‘essential’ qualities of her subjects. The indistinct background denies us a contextualising view and “thus makes it easier to excise any disturbing problems of poverty or social inequality from the situation”.1 E H McCormick suggests that Hodgkins was drawn to depict Maori subjects because she saw them as equivalent to the peasants of Europe whose portrayals were prominent in the Studio and Academy. It is generally agreed that she did not idealise or romanticise her portraits, instead focusing on the shy charm and grace of mostly women and children. The early sketching tours, to which this portrait belongs, took place between heavy teaching commitments and were periods of intense economising for Hodgkins. She had accepted a commission to illustrate the Otago Witness and this, coupled with her cramped living conditions, made it difficult for her to find time to paint. The works that she did paint in this period are all the more remarkable for their vitality and lightness of handling. In 1901, she left for Britain lamenting to her mother in a letter “that when I arrive back in New Zealand I will begin to collect some ‘genuine native studies’”.2 The subject matter had caught the imagination of Europeans and she felt there was a general interest in the life and times of the Maori. A Nut-brown Maid was exhibited at the Canterbury Society of Arts exhibition, which opened on 27 May 1896. It was catalogue number 310 and the price was three pounds three shillings, as inscribed on the verso of the backing board. She did exhibit other works of the type with comparable titles, for example, Brown Eyes, 1897, and A Little Brown Maid, 1900. Emma Fox with the assistance of Michael Dunn. 1 Iain Buchanan, Michael Dunn and Elizabeth Eastmond, Frances Hodgkins: Paintings and Drawings, Auckland University Press, 1994, p. 121. 2 Linda Gill, Letters of Frances Hodgkins, Auckland University Press, by p. 121.

Important Works of Art 65

Paul Hartigan

Primary School enamel on board title inscribed, signed and dated 1979 verso Exhibited: Picturesque, A Survey Show, Peter Webb Galleries, 1979 Aspects of Recent New Zealand Art: New Image, Auckland Art Gallery Toi O Tamaki, 1983 Illustrated: Francis Pound, The New Image Painters, Art New Zealand, Summer 1982, pg 32. 470mm x 450mm $12,000 - $18,000

In 1982, the Auckland Art Gallery held an exhibition called Aspects of Recent New Zealand Art: New Image. It was an exhibition that dealt with a group of new artists working in the figurative tradition. The artists included Paul Hartigan, Dick Frizzell, Denys Watkins and Richard Killeen. Primary School was included in the show alongside Tyre Doctor which is also on offer in this catalogue (Lot 48). Whilst the artists all produced remarkably different artworks, it was their similarities on which Francis Pound focused in his article in Art New Zealand which pre-empted the exhibition. All used what were considered nonart images and materials: in this work, the fish are not from the sea but, rather, are a childhood confection and the material not oil paint but slick, glossy, sticky enamel. Hartigan has used edible things before, animal biscuits and jubes, attracted to their bright sweetness, and things, which as emblems of childhood, bring feelings of nostalgia. The creamy background and bright primary colours of the fish are, for Hartigan, as much a study in colour theory as a depiction of familiar objects. The work comes from a vibrant and important period of New Zealandâ&#x20AC;&#x2122;s art history. Emma Fox

Robert Ellis

Entrance to the City oil on board signed and dated â&#x20AC;&#x2DC;65; title inscribed, signed and inscribed No. 7 verso 920mm x 710mm

$15,000 - $20,000

Important Works of Art 67

Peter McIntyre 47

Peter McIntyre

Shearers oil on board inscribed Peter McIntyre verso 335mm x 280mm

$10,000 - $15,000

This working study by popular New Zealand artist, Peter McIntyre, was completed for a painting featured in A H and A W Reed’s publication, Peter McIntyre’s New Zealand (1964). The palette-knife application of paint and choice of subject are typical of McIntyre’s work in the early 1960s, when he sought to transform the small detail of rural New Zealand life into an emblem of nationalism. Published close to Christmas in 1964, Peter McIntyre’s New Zealand sold 5,000 copies in seven days.1 The publication describes a journey from Northland to Otago, featuring 56 coloured illustrations, 70 pen-and-ink sketches and an accompanying text, exemplifying a popular nationalist canon celebrated from one end of the country to the other. This publication drew attention to a spirit of post-war nationalism. Publishing editor for Reed during the 1960s, Ray Richard, recalled: “When Reed began publishing books post-World War II, they commenced at a rapid rate with numerous books based upon indigenous writers and circumstances. It was all very patriotic and inward looking but the country was only too glad to admire itself and to see itself reflected in the volume of books, and they probably began with the outdoors as the basis for their popularity.”2 In the late 1950s, Reed had sought to extend its retailing into the tourist industry with the publication of a number of photography books and this provided the model on which Peter McIntyre’s New Zealand was based. Of particular relevance was the success of Reed’s large-format photography book, New Zealand (1963), with a text by Listener editor M H Holcroft and photographs by Kenneth and Jean Bigwood.3 Like Peter McIntyre’s New Zealand, the Bigwood publication included numerous images of the rural community, the activities of sheep station farmers and small New Zealand towns. The commitment in both publications to the integrity of country life and farm labouring is clearly evident in McIntyre’s Shearers and was equally apparent in the Bigwoods’ photograph, Shearing Time. This romanticised depiction of rural life and working people had its origin in 19th-century realist painting but in post-war New Zealand it also revealed a powerful nostalgia for the rural community during a period of significant urban migration: “Farmers continued to comprise the most coherent and self-conscious social group, united by a distinctive form of production and by an entrepreneurial ethic.”4 Economically, farming also remained of paramount significance to New Zealand and remained the largest single occupation for many years after the war.5 Although New Zealand’s commitment to nationalism has largely been documented and discussed through the emergence of a local modern movement in the late 1950s and ’60s, an equally valid component of this nationalism was represented by McIntyre’s art and paintings such as Shearers. The contribution that Peter McIntyre’s New Zealand made to the emergence of a national identity in post-war New Zealand remains evident today. While the country has changed immeasurably since 1964, its self-image, on television and in magazines and the popular media, remains remarkably close to that created and celebrated by Peter McIntyre. Dr Warren Feeney 1 2 3 4 5

A W Reed, The House of Reed 1957‑1967, Wellington: A H and A W Reed, 1968, p. 30. Author interview with Ray Richards, 16 May 1995. Kenneth and Jean Bigwood and M H Holcroft, New Zealand, Wellington: A H and A W Reed, p. 1963. Graham Dunstall, ‘The Social Pattern’, in The Oxford History of New Zealand, Edited by Geoffrey Rice, Auckland: Oxford University Press, 1992, pp. 460‑461. Dunstall, p. 460.

Important Works of Art 69

Dick Frizzell

Tyre Doctor enamel on board title inscribed, signed and dated 10/10/81; inscribed Cat 40 verso 1000mm x 1000mm Illustrated: Allan Smith, Portrait of a Serious Artiste, GP Publications 1997, unpaginated Dick Frizzell and Fane Flaws, Dick Frizzell: The Painter, Godwit Publishing 2009, pg 114. Francis Pound, The New Image Painters, Art New Zealand, Summer 1982, pg 29

$20,000 - $30,000

Michael Smither

Street Scene, A Study of a Baby verso oil on board signed with artist’s initial’s MDS; signed with artist’s initial’s MDS and dated 1964 verso 670mmx 565mm

$18,000 - $25,000

Important Works of Art 71

Colin McCahon 50

Colin McCahon

Pangatotara oil on board signed and dated â&#x20AC;&#x2DC;43; title inscribed and dated 1943 verso 496mm x 386mm Provenance: Private Collection, Auckland, passed by descent from artist to the present owner. Exhibited: The Group Exhibition, Ballantyneâ&#x20AC;&#x2122;s Gallery, Christchurch 1943; A Survey Exhibition, Auckland City Art Gallery March - April 1972; Robert McDougall Art Gallery, Christchurch 30 May - 16 June 1972; Manawatu Art Gallery, Palmerston North; Govett Brewster Art Gallery, New Plymouth; Gates and Journeys, Auckland City Art Gallery 11 Nov 1988 - 26 February 1989; National Art Gallery 6 April - 18 June 1989; Dunedin Public Art Gallery 6 July - 17 September 1989; Robert McDougall Annex Gallery, Christchurch 2 October - 10 December 1989. Reference: Colin McCahon database (www.mccahon.co.nz) Record Number: cm000636, Note: Pangatotara 1 is held in The Fletcher Trust Collection $65,000 - $85,000

Important Works of Art 73

Ralph Hotere

Pine Arch of Wounds oil on board title inscribed, signed and dated â&#x20AC;&#x2DC;71 715mm x 685mm

$40,000 - $60,000

Michael Smither

Harry Pregnant oil on board signed 770mm x 770mm Exhibited: Michael Smither, Domestic Paintings, Peter McLeavy Gallery, 1973 Purchased: from the aforementioned exhibition. $25,000 - $35,000

Michael Smither married poet Elizabeth (Elsie) Harrington in 1963. Both Elsie and her brother Keith were called Harry: Elsie because she disliked her given name and Keith because it was the style of the day to call boys by their surnames. It was not until after she became a published poet that she changed her name by deed poll to Elizabeth. This painting of Harry was worked on over all three of her pregnancies: 1964 (Thomas), 1967 (Sarah) and 1970 (Joseph). The Domestic paintings by Smither are amongst his most intimate and recognisable works. Not only are they deeply personal and autobiographical, but Smitherâ&#x20AC;&#x2122;s explorations of familial relationships resonate with the viewer. This work employs the characteristics of formal portraiture, with the severe side profile and acidic colouring silhouetted against a plain black background. Nothing is allowed to distract us from the intensity of the sitter and the artistâ&#x20AC;&#x2122;s relationship with her during that time. Emma Fox

Important Works of Art 75

Tony Fomison

Dan Wilson on His 21st oil on jute canvas title inscribed, signed and dated 29 March - 8th April 1968 850mm x 570mm

$80,000 - $100,000

Painted in Christchurch in 1968, after Fomison’s return from three years in Europe, this dark and disturbing image of a gurner – a man pulling an ugly face– draws on his first-hand study of 16th and 17th century old masters such as Morales and Caravaggio. It has the stark black and white contrast of Caravaggio and his followers, noted for their graphic depictions of saints and martyrs with dramatic light effects. Fomison, who had studied these images and others by Renaissance artists carefully, bought reproductions and later made copies of abject and frightening subjects such as the Dead Christ by Holbein. Fomison, having majored in sculpture at Art School, found painting a difficult technical process and at first was more comfortable with drawing. He recalled in 1974: ‘Overseas I had found a way of painting that is my way of painting, derived completely from my drawings. I had got on to the right track after being put on the wrong track at Art School.’ Rejecting colour and visible brushwork, Fomison drew his image in black on a white underpaint. He allowed the white ground to show through in the light areas while painting the background black so that it absorbs the shadowy areas of the head. This makes the grinning face emerge spectre-like from the darkness. It is as if a flashlight has been turned on in a windowless cellar and revealed this unforgettable vision close to us. Fomison wanted impact and he wanted his viewers to look hard at his paintings. He said in 1974: ‘to get a person to look for more than five minutes at a painting, that’s what it’s all about.’ Here he achieves that objective while creating something new and distinctive in Canterbury painting where regional landscape still held sway at local art exhibitions. As a person, Fomison did not fit comfortably into polite Christchurch society and rejected its values. His was an alternative lifestyle, outside the law, and fuelled by drugs on which he became dependent. He lived much of the time in dark spaces of the mind, where he felt an affinity with those outside society, the mentally ill, the deformed and those suffering from disfiguring diseases. Using photographs as aids, he made compelling and unsettling images like this example in which he raised troubling questions about New Zealand society and its values. With time, his art became increasingly critical and polemical, aiming to confront and question the viewer. (The inscription on the painting appears to be a dedication to a friend or acquaintance, or perhaps a gift.) Michael Dunn

Important Works of Art 77

Gretchen Albrecht

Michael Hight

Out of the Deep acrylic on shaped canvas title inscribed, signed and dated â&#x20AC;&#x2DC;89 1200mm x 2405mm

Haldon oil on canvas title inscribed; title inscribed, signed and dated 2003 760mm x 2100mm

$20,000 - $25,000

$20,000 - $30,000

Colin McCahon

Look Down, O Lord...(Psalm 39) charcoal and water based crayon on paper title inscribed, signed and dated Sept 30 â&#x20AC;&#x2DC;69 and inscribed: Look down, O LORD to my help, let them be confounded and ashamed that seek after my soul. to take it away; LOOK DOWN, O LORD TO MY HELP. Reference: Colin McCahon Database (www.mccahon.co.nz) Record Number cm001173 1593mm x 552mm

$30,000 - $40,000

Important Works of Art 79

Rita Angus

Lilies oil on board signed and dated 1957 600mm x 500mm

$35,000 - $45,000

A keen gardener, Rita Angus produced numerous floral and botanical studies throughout her career. Her flower studies and use of flowers allude to the allegorical and symbolic meanings of flowers, a common feature of Medieval and Renaissance art. Rita Angus’ botanical works are intimate and sensitive reflections on her natural surroundings. The flowers are akin to ‘portraits’, alive despite their inanimate nature. Although flowers are employed for their aesthetic beauty and for their abstract and natural forms, Angus exploited the natural world for its mystical and symbolic imagery. Plants and flowers are rarely purely representational in her art: in some of her most widely recognised and reproduced works, such as the Goddess paintings, the symbolic connotations of flowers are key to a full reading of the work. In Rutu, 1951, (which is part of the collection of Te Papa Tongarewa) she holds a water lily symbolising the ancient Egyptian civilisation, which so interested and influenced Angus as well as being associated with enlightenment and resurrection. In other works, the iris is employed to imply faith, wisdom and hope. Lilies, the subject of this oil study from 1957, commonly symbolise innocence and purity, chastity and virtue. In ancient mythology, the lily was also regarded as a symbol of sexuality and fertility. Here, a single white lily rises majestically above the other plants, the white blossom illuminating the composition. Each petal and leaf is delicately rendered with a small cluster, golden hued and petite, beneath. Drawn in a soft manner, without the sharp clarity of Angus’ more signature style, the forms are carefully observed and demonstrate her skill in depicting nature. Numerous flower varieties were painted by Angus in the 1940s and 1950s including the widely published Crocuses (1944), Passionflower (1953) and Iris (1953). In each, the accuracy is striking and further enhanced by their delineation from their surroundings. These flowers share the startling clarity and assured lines for which her other, larger paintings are known. A major, travelling, retrospective exhibition, Rita Angus: Life & Vision, was held over 2008 and 2009 and an accompanying scholarly text edited by William McAloon and Jill Trevelyan celebrates Rita Angus’ legacy of art in New Zealand. Sophie Coupland

Important Works of Art 81

Nicholas Chevalier

A View of Mt Cook watercolour signed and dated 1882 605mm x 905mm

$15,000 - $20,000

Sydney Lough Thompson

Lot River in Flood at Espalion, Southern France oil on canvas signed 600mm x 485mm

$12,000 - $15,000

Peter McIntyre

Macrocarpa Tree at Waiwera oil on canvas signed 395mm x 495mm

$10,000 - $15,000

Sydney Lough Thompson

French Riviera oil on canvas signed 365mm x 445mm

$15,000 - $20,000

Important Works of Art 83

Petrus Van Der Velden

Dutch Peasant Girl with Basket oil on canvas signed; inscribed Formerly in the Collection of Dr Neville Hogg and typed artist information affixed verso 280mm x 240mm Provenance: From the collection of Dr Neville Hogg. Purchased from Webbs 11 August 1993, lot 79 $12,000 - $15,000

Horace Moore-Jones

Table Top, Gallipoli watercolour, ink wash and graphite on paper signed and dated August 1914; inscribed: Painted by Sapper Moore Jones. The price $10-10-0. $55-0 was painted by A.A.G. The other half was a wedding gift from Sapper himself as the wedding Sept 25th 1917 was the anniversary of his own wedding. The position was taken by No 2 Troup (sic) of the 9th W.M.R. on Aug 7th 1915, lead thro’ the gulley by Serg. Max Christie followed by Fred Deans. Silently, near midnight, single file. The position was recognised as impracticle for infantry, but, said Sir Ian Hamilton, in his dispatches, “No words can do justice to the achievement of Brig. Gen Russell and his men.” The scarped heights were scaled and the plateau was carried by midnight, on original note; original framing receipt dated April 27th 1918; original receipt dated April 29th 1918 and original news clipping, all affixed verso. 315mm x 227mm

$25,000 - $35,000

Jeffrey Harris

Figure in Profile Before a Landscape mixed media on paper signed and dated 1985 1210mm x 800mm

$9,000 - $12,000

Milan Mrkusich

Head Study gouache on paper signed and dated 62 - 12 440mm x 255mm

$3,000 - $5,000

Paul Dibble

Fantail Piwakawaka bronze 2/5 title inscribed, signed and dated 2009 580mm x 315mm x 240mm

$6,000 - $9,000

Important Works of Art 85

Karl Maughan

Bunnythorpe oil on linen title inscribed, signed and dated 2007 verso 1065mm x 1065mm

Michael Smither

Okahu Bay Boats oil and alkyd on board signed with artistâ&#x20AC;&#x2122;s initials MDS and dated â&#x20AC;&#x2DC;02; title inscribed, signed and dated 2002 verso 620mm x 306mm

$8,000 - $10,000

$7,000 - $9,000

Toss Woollaston

West Coast Roadway watercolour 420mm x 565mm

$4,000 - $6,000

Margaret Stoddart

Trees watercolour signed with artistâ&#x20AC;&#x2122;s initials MOS and dated 1894 465mm x 320mm

Ralph Hotere

$9,000 - $12,000

Window in Spain pencil on paper title inscribed, signed and dated Madrid III â&#x20AC;&#x2DC;78 320mm x 230mm Provenance: Formerly in the collection of the artist Trevor Moffitt $6,000 - $9,000

Rudi Gopas

Port Chalmers gouache title inscribed; signed and dated 1950 on original card affixed verso 460mm x 560mm

$4,000 - $6,000

Important Works of Art 87

217 221

149 208

219

186

144

205

Fine Jewellery, Valuable Watches, Objects of Virtu Wednesday 31 March 2010, Two sessions, 2:00pm & 6:00pm Lots 100 – 136 Lots 137 – 142 Lots 143 – 147 Lots 148 – 262

Wrist & Pocket Watches Accoutrements & Mining Jewellery Objects of Virtu Fine Jewellery

evening viewing Wed 24 Mar Viewing Thur 25 Mar Fri 26 Mar Sat 27 Mar Sun 28 Mar Mon 29 Mar Tue 30 Mar Wed 31 Mar

6:00pm—8:00pm

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.

9:00am—5:15pm 9:00am — 5:15pm 11:00am—3:00pm 11:00am—3:00pm 9:00am—5:15pm 9:00am—5:15pm 9:00am—12:30pm (sharp)

Fine Jewellery & Watches 89

2.00pm Affordable & Estate Jewellery Lots 1000-1200 A particularly good selection predominantly without reserve or to be cleared at auctioneer’s discretion

6.00pm Wrist & Pocket watches

Important Conditions Sale for Watches: Please note: as many of the timepieces are old, or their history is unknown, Webb’s offers no guarantee as to mechanical condition or condition of seals etc. A timepiece described as ‘fine’ or ‘as new’ is an opinion as to appearance only. All watches are sold as viewed. It shall be assumed that all buyers have inspected the lots and that they are happy with them in all respects. Watches cannot be returned on the grounds that repairs or service have been carried out, or parts (including straps or bracelets) have been supplied, by anyone other than the named maker. Notwithstanding the foregoing condition, named wristwatches are sold on the basis that the movement (or movement and case where both would normally have been manufactured by the named maker) were manufactured by the named maker. It is recommended that buyers have watches serviced promptly to ensure that damage does not arise from faulty seals or any other aspect of mechanical condition. 100 OMEGA, A Gentleman’s Seamaster Wristwatch. Stainless case and bracelet. “Aqua Terra”. Black face with polished batons, date window and sweep second. Quartz movement. Water resistant. 150mm. As new appearance. $1,200 - $1,500

101 BREITLING. A Gentleman’s Vintage 18ct Rose Gold Triple Register Chronograph Wristwatch.

“Premier” Ref: 788 s/n 666896. Circular outline case. Silver face with Arabic numerals, sweep second and three chronometric dials. Brown Leather strap. C.1950’s. Manual mechanical movement. $4,000 - $5,000 see colour illustration page 93

102 An Unusual Fob Watch In a Heart Shaped Case of Silver.

Keyless cylinder, white face with Roman numerals. The case of Continental 935 silver enhanced with engraving. Hand set button in the band. $250 - $350

103 ROLEX. A Lady’s Vintage Wristwatch. Precision, circular case of 9ct gold to lobed chevron link 9ct bracelet. Diamond textured silver face with polished batons and subsidiary seconds. Manual mechanical movement. $500 - $600 104 CHOPARD, A Lady’s All 18ct Yellow Gold Wristwatch. Rectangular champhered case to herringbone mesh bracelet. Burnished gold face. Blue end-stone to crown. Manual mechanical movement. Ref: 5086 S/N 137857. C.1979. $2,000 - $3,000

105 MAXIMUS, A Lady’s Art Deco 9ct White Gold Wristwatch Set With Diamonds. Tonneau outline case, the upper and lower sections both set with 5 single cut diamonds within a geometric pattern. Silver face enhanced with engraving, Arabic numerals within an oval frame. 15 jewel manual mechanical movement. Tan leather strap. $400 - $600 see colour illustration page 93

106 A Lady’s Platinum Cased Wristwatch Set With Diamonds.

Octagonal outline, the bezel set with a line of old mine cut diamonds enclosing a silver face with Roman numerals. Manual mechanical movement. Black leather strap. $850 - $1,000 see colour illustration page 93

107 A Lady’s Art Deco Period Wristwatch Fully Set With Diamonds. All platinum rectangular champhered case with lugs of geometric design to a box link articulated bracelet, all set with rows of round brilliant cut diamonds. Manual mechanical movement, silver face with Arabic numerals. $2,000 - $2,500 see colour illustration page 93

108 LORENZ, A Gentleman’s 18ct Yellow Gold Cased Wristwatch. Circular outline, black face with Roman numerals to bezel. Quartz movement, black leather strap. $400 - $500

109 ROLEX. A Lady’s All 18ct Yellow Gold Oyster Perpetual Datejust Wristwatch With Diamond Set Bezel. Ref: 69268 S/N S684064. (1995) White face with Roman numerals, diamond indexes, sweep second and date window. President bracelet. With original box and papers. Two spare links can be provided by vendor if required. As new appearance. $13,500 - $15,000 see colour illustration page 93

110 PATEK PHILIPPE, A Gentleman’s Vintage Gondolo Wristwatch. S/N 832302 case no 617695 (c.1938). 18ct yellow gold curved rectangular case. Silver face with Roman quarters, polished batons and subsidiary seconds. Rectangular mechanical 18 jewel movement (9-90?). Black leather strap with PP buckle. Exceptional appearance for its age. $14,000 - $18,000 see colour illustration page 93

111 AUDERMARS PIGUET, A Gentleman’s Royal Oak `Quantieme Annuel’ Stainless Steel Automatic Wristwatch. Ref: 25920ST/0/0789STC1 S/N E20566 number 212. Blue-grey textured face with white batons, date hand and subsidiary month dial. With original box and papers, spare links and instruction book. As new appearance. This limited edition watch was presented by Ernesto Bertarelli to Allan Coutts in appreciation of his contribution to America’s Cup Team Alinghi. Valuation available on request. $9,000 - $10,000 see colour illustration page 93

113 A Lady’s Art Deco Wristwatch Set With Diamonds. Tonneau outliné in 18ct white gold, the lugs enhanced with ajoure, set with lines of brilliant and single cut diamonds. Hexagonal silver guilloché face with Arabic numerals. Manual mechanical movement. Base metal two row ropelink bracelet. $700 - $800

114 CHOPARD 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. $4,500 - $5,500

115 ATLANTIC, A Gentleman’s 18ct Yellow Gold Cased Wristwatch. Circular outline case, striped silver face with quarter bars, sweep second. Manual mechanical 21 jewel Swiss movement. Black lizard strap. $900 - $1,200

116 OMEGA, A 14ct Yellow Gold Cased Wristwatch and Strap of Unisex Design. Rectangular outline, oval silver face with Roman numerals. Ref: D6707 K31056. Movement 17 jewels No.21160748. Textured link 14ct bracelet. 47.8g. $1,000 - $1,400

117 BAUME, A Lady’s Vintage 9ct Rose Gold Half Hunting Cased Wristwatch.

111A AUDEMARS PIGUET A Gentleman’s 18ct Pink Gold Cased Automatic Wristwatch.

Jules Audemars. Date. Ref: 15120.OR.00. AO88CR.01. Circular outline white textured face with Roman numerals and date window. Crystal back. Brown crocodile strap. As new with box and papers showing purchase Oct.2007. $12,000 - $14,000 see colour illustration page 93

Manual mechanical 15 jewel movement, white face (hairline faults) with Roman numerals. Handset button in the band. Outer numerals black enamel. 9ct gatelink bracelet. $600 - $700

118 BAUME & MERCIER, A Lady’s All 18ct Yellow Gold Automatic Wristwatch.

Oval outline case, Ref: 38242-2 No.382035, integrated mesh bracelet. Gold face with polished batons and date window. 51.8g. $1,500 - $1,800

112 CARTIER A Lady’s Panthere 18ct Yellow Gold and Stainless Wristwatch.

Ref: 112000R/012527. Rectangular stainless case with gold bezel integrated gold and stainless gatelink bracelet. With box purchase certificate and Cartier service record. $1,200 - $1,400

119 LONGINES, A Gentleman’s Gold Plated `Grand Classique’ Wristwatch. Ref: L4635-2 S/N 28476213. Circular outline case to bar lugs and gatelink mesh bracelet. White face with Roman numerals. Quartz movement. $200 - $300

Fine Jewellery & Watches 91

120 INTERNATIONAL WATCH CO (I.W.C.). A Gentleman’s Stainless Steel Automatic Wristwatch.

126 LONGINES, A Gentleman’s 14ct Yellow Gold Cased Rectangular Vintage Wristwatch.

Ref: 3513-017, S/N 2585078. Circular outline to mesh bracelet. Matt silver face with Arabic numerals, sweep second and date window. With original box, spare links and papers dated March 1997. $2,350 - $2,750

121 A Gentleman’s Vintage 18ct Rose Gold Cased Chronograph Wristwatch.

Fancy curved lugs, convex lens. Manual mechanical movement. Gold face with polished batons and subsidiary seconds. Brown lizard strap. $1,800 - $2,200 see colour illustration page 93

127 ROLEX, A Lady’s Vintage 9ct Rose Gold Cased Wristwatch.

Circular outline case with stop and return buttons in the band. Matt gold face with two subsidiary chronometric dials, sweep second and tachymetric scales. Manual mechanical Swiss movement. Brown lizard strap. $900 - $1,200

Circular outline with shaped bezel. Gold “telephone dial” face with Arabic numerals. Manual mechanical 15 jewel movement. Case No 11296. Brown leather strap. $450 - $650

122 An 18ct Yellow Gold Half Hunting Cased Fob Watch.

128 A 14ct Yellow Gold Cased Open Face Pocket Watch.

Illinois Watch Co. 17J `Marquis Autocrat`, 12 size thin model. Decorated silver face with Arabic numerals and subsidiary seconds. Keyless lever. Movement No 4345599. c.1923/24 $650 - $850

Keywound cylinder, white face with Roman numerals. Outer numerals blue under pink enamelled guilloché (bruising at 12 o’clock). The case enhanced with engraving. With key. $550 - $750

123 ETERNAMATIC, A Gentleman’s 18ct Yellow Gold Wristwatch.

129 BREGUET, A Gentleman’s 18ct Yellow Gold Cased Automatic Wristwatch.

Rectangular case and integrated textured mesh bracelet. Gold Face with polished batons and sweep second. Nonoriginal quartz movement. 86.64g. $1,500 - $1,800

Ref: 3325 No 3869F. Circular outline, textured face with polished chapter ring having Roman numerals. Sweep second and date window. Black lizard strap with 18ct deployant clasp. Blue cabochon end stone to crown. $12,000 - $14,000 see colour illustration page 93

124 RAYMOND WEIL, A Gentleman’s Chronograph Wristwatch. Circular outline stainless steel and gold plated case. Manual mechanical movement. Black face with Arabic numerals, sweep second, date window and 3 chronometric dials. Tachymetric scale, stop and return buttons in the band. Crystal back. Black leather strap. With original box. $1,400 - $1,700 see colour illustration page 93

125 ETERNAMATIC, A Gentleman’s 18ct Yellow Gold Cased Automatic Wristwatch. Circular outline, silver face with polished batons, sweep second and date window. 21 jewel automatic movement. London import mark for 1965. Black leather strap. $1,400 - $1,600

130 LANGE & SÖHNE, An 18ct Yellow Gold Cased Open Face Pocket Watch.

Keyless lever, white face with Roman numerals and subsidiary seconds. Handset button in the band. Face and movement signed Lange & Söhne Glashutte. Movement No 45936. Cuvette also 18ct. 104g. $2,000 - $2,500 see colour illustration page 93

131 CARTIER, A Gentleman’s `Tank FranÇais’ 18ct Yellow Gold Cased Automatic Wristwatch. Ref: 1840 S/N CC773363, burnished gold rectangular outline, guilloché silver face with Roman numerals, sweep second and date window. Blue cabochon end-stone to crown. As new appearance. Black crocodile strap with 18ct Cartier buckle. $6,500 - $7,500 see colour illustration page 93

124

135 PAIR 110

107 126 106

109

130 129

111

131

104 101 Fine Jewellery & Watches 93

136

132 ROLEX, A Lady’s Vintage 9ct Rose Gold Cased Wristwatch.

Accoutrements & Mining Jewellery

Circular outline with faceted bezel. Guilloché silver face with Arabic numerals. Manual mechanical 15 jewel movement. Brown leather strap. Supplier Prouds. $450 - $650

137 A. KOHN, A Pair of 15ct Yellow Gold Cufflinks. Linked oval plates, one plain the other engraved. Signed, with original box. $200 - $250

133 A Vintage 14ct Yellow Gold Cased Wristwatch Conversion.

138 A Good Set Of 6 Dress Studs. Circular outline in 18ct yellow and white gold to a cupped mother-of-pearl panel centred by a collet set blue sapphire coloured cabochon. With box. $650 - $850

Circular outline keyless lever. White face with Arabic numerals and subsidiary seconds. Handset button in the band. 12 o’clock at crown position. Black leather strap. $375 - $425

134 A Lady’s 14ct Yellow Gold Cased Fob Watch Enhanced With Pearls and Diamonds.

Keyless cylinder, white face with Arabic numerals, the bezel set with seed pearls. The case back of crimson enamel guilloché bordered by pearls and set with senaille cut diamonds. Suspended by a brooch in the form of a writhing serpent about a sword, also enhanced with crimson enamel and diamonds. Three small diamonds deficient, minor bruising to enamel. $600 - $800 see colour illustration page 105

135 BVLGARI, A Pair of Wristwatches. Lady’s and Gentleman’s `Retangolo’ Stainless Steel. Ref: RT45S and RT39S Nos L10093 and L30088; both with faces of retro design. The gentleman’s an automatic movement with date window. The lady’s a quartz movement. As new appearance with original box and two sets of papers indicating both bought 24/11/05 from DFS. Valuation available on request. $3,750 - $4,750 (2) see colour illustration page 93

136 OMEGA, A Gentleman’s All 14ct Yellow Gold Automatic Wristwatch. Integrated textured case and strap, cushion outline face with sweep seconds and polished batons. 69.3g. $2,500 - $3,000 see colour illustration page 93

139 A Gauntlet Motif Lapel Pin Set With A Diamond. Yellow and rose gold, the fingers clasping a round modern brilliant cut diamond of around 0.15ct. With fitted box. $375 - $475

140 A Good Miner’s Brooch. Crossed pickaxes and shovel in 9ct gold washed with gold of a higher carat, set with a piece of gold-bearing quartz and suspending an articulated bucket. $350 - $450 see colour illustration page 101 141 A Pair of Cuff-Links Set With Gold-Bearing Quartz. Panel, chain and toggle design in 15ct yellow gold, each set with an oval gold-quartz cabochon. $500 - $700 see colour illustration page 101

142 A Brooch Set With A Natural Piece of Gold Bearing Quartz and Two Gold Nuggets. The brooch of 9ct yellow gold fully backing the piece of quartz, the nuggets set on either side. $400 - $600 see colour illustration page 101

Objects of virtu

The House of Fabergé Following the Russian revolution and the execution of the Imperial family in 1918, the Bolsheviks closed the Fabergé Company. Peter Carl Fabergé escaped to Switzerland where he died in 1920. His sons Eugène and Alexander attempted to re-kindle the business in Paris in 1924 but without success. The naming rights were acquired by Fabergé Inc USA in 1951, and in 1989 the renowned German Jewellers Victor Mayer (founded in 1890) became the only authorised workmaster with rights to the Fabergé trade mark. The methods used mirror faithfully the craftsmanship and techniques used by the original workmasters and each piece carries a guarantee of authenticity. From 1885 to 1917 some 50 eggs were produced as Imperial gifts for the Czarina and Dowager Empress at Easter. The Russian Orthodox festival was the most important of the year and was celebrated with the exchange of gaily coloured eggs – their perfect form and promise of new life symbolizing rebirth through resurrection. The Imperial eggs all contained a spectacular “surprise” revealed when the egg was opened. That tradition has been continued with the pieces by Victor Mayer. 143 A Russian Enamel and Silver-Gilt Cup and Saucer. Decorated with floral and foliate motifs in blue, green, mauve and turquoise champlevé enamels. Marks (Cyrillic) LF7, right facing head, 916 (for 88 Zolotniks) and alpha (St Petersburg). C.1954-58?. D. 11cm. $750 - $850

see colour illustration page 97

144 FABERGÉ - Victor Mayer Workmaster, The Czarina Egg.

145 FABERGÉ - Victor Mayer Workmaster, The Bunny Egg.

18ct yellow gold and crimson guilloché enamel, the egg on stand rising from a frosted rock crystal foot with gold base. The hinged top opens to reveal the traditional “surprise”; an Easter Bunny seated within a garland of flowers enhanced with enamel. The egg further decorated with a floral surmount enhanced with pink enamel and set with a Top Wesselton (E/F) internally flawless diamond of 0.04ct. Numbered 44 of a limited edition of 75 pieces. With fitted cabinet and certification. H.10.5cm. RRP $34,500. $18,000 - $20,000

see colour illustration page 97

146 A Very Stylish Sterling Silver and Enamel Royal Artillery Motif Compact.

Oval outline, the lid decorated with midnight blue guilloché enamel bisected by a red zig-zag upon which is raised an applied Royal Artillery motif. The gilded interior fitted with a mirror to the lid, rouge and powder containers to the base. Hallmarks Birmingham 1932 and supplier PAGE, Plymouth. 93 x 53mm. $400 - $600

see colour illustration page 104

147 An Exquisite Austrian Silver, Black Enamel and Carved Crystal Table Snuff Box. Rectangular outline in sterling silver decorated with black vitreous enamel. The lid enhanced with engraved floral, foliate and medallion motifs about a central oval crystal panel with reverse intaglio carving of a vase of flowers illuminated by light reflected from the gilded interior. Austrian marks post 1921 and unidentified makers mark: triangle with Deco style lettering F N Co? $4,500 - $5,500

see colour illustration page 105

18ct yellow gold and crimson guilloché enamel, the egg on stand rising from a circular onyx foot. The hinged top with diamond set thumb-piece opens to reveal the traditional “surprise”; an inner egg pavé set with diamonds of the finest quality (Top Wesselton or E/F, Internally Flawless). The inner egg may be removed and attached to a chain of 18ct white gold beneath a bale in the shape of a crown set with further diamonds and an enamel work dome. TDW 7.36ct. Numbered 22 of a limited edition of 25 pieces. With fitted cabinet and certification. H.12cm. RRP $155,000 $80,000 - $90,000 see colour illustration page 97 and detail of inner egg illustrated on title page

Fine Jewellery & Watches 95

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. 96

148 A Late Regency Period Gold Portrait Bracelet With Historical Provenance. Wide herringbone mesh links (tests approximately 18ct) to a central oval cannetille and filigree panel set with minecut diamonds enclosing an oval portrait in oils of a child, within a glazed compartment. The child is John Levien, the son of Mary Levien (née Goldsmid b.1793. d.1858) who married John Levien Snr. in 1817. Her father Abraham Goldsmid (1756-1810) was a financier and intimate friend of both George III and the Prince Regent, offering advice and financial assistance during the Napoleonic Wars. The bracelet has passed by direct descent to the vendor. With documentation of provenance. $6,000 - $8,000

see colour illustration page 105

149 A Splendid Brooch of Tudor Rose Design Set With Over 9ct of Diamonds. The five petal open rose head of 18ct white gold centred by a round modern brilliant cut diamond estimated as 1.46ct F/H, VS+; the stamens and petals set with a further 356 diamonds of mixed cuts and estimated total 7.57ct. Gemologist’s report and valuation available on request. $27,500 - $32,500 see colour illustration page 88

150 A Loose Pendeloque Cut Diamond of 0.60ct. A fine quality stone supplied by Hirsh of London. See report for full details. Gemologist’s report and valuation available on request. $2,000 - $2,500

151 A Harlequin Necklace of Black and Grey South Seas Cultured Pearls. Round, semi-round and baroque graduated from the centre 8.5-15.5mm, secured by a silver ball clasp. Gemologist’s report and valuation available on request. $1,850 - $2,450

152 A Victorian Silver “Mayoral” Locket and Chain. The locket of oval outline, the front cover decorated with yellow and rose gold motifs, suspended by a flat link chain. $450 - $550

153 A. KOHN, A Bow Brooch Set With Pink Coral Beads. The ribbon bow of 15ct yellow gold set with lines of `Angel Skin’ coral and four seed pearls, suspending a pendeloque red coral drop. Signed A. Kohn and with original box. $500 - $700

see colour illustration page 101

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Fine Jewellery & Watches 97

154 A Bracelet Set With Carved Shell Cameos. The line of 7 oval panels of 14ct yellow gold each set with a 17 x 25mm oval carved shell cameo of various mythical charioteers. $500 - $700 155 A Victorian Bracelet Set With Polished Agates. Designed as a line of 6 oval rococco repoussé pinchbeck panels, articulated by joining links and each set with an oval polished agate of various hues and patterns. $450 - $650 see colour illustration page 101

156 A Pair of Danish Enamel and Silver-Gilt Earclips by Georg Jensen.

Flowerhead motif decorated with green enamel. Export mark G J Ltd and import mark for London. $200 - $300

162 A Necklace of South Seas Cultured Black Pearls. The slightly graduated 10-12.8mm round pearls secured with a ball clasp of 18ct white gold shot set with brilliant cut diamonds. Gemologist’s report and valuation available on request. $1,750 - $2,250 see colour illustration page 109

163 A Stylish and Heavy Bangle of 18ct Gold. Italian “Michelette” design in white and yellow gold enhanced with X motifs. 59g. $2,500 - $2,800 164 A Pair of Earclips Enhanced with Diamonds. Each of Creole design ribbed 18ct yellow gold to a central white gold strip further enhanced with a band of 7 round modern brilliant cut diamonds. 18.3g. $800 - $900

157 A Long Necklace of Cultured Pearls.

165 An Art Deco Bar Brooch Set With Diamonds.

Matched round 7-7.5mm, white, secured by a clasp of 14ct white gold of flowerhead design set with 7 round cut rubies. 820mm. $450 - $650

158 A South Seas Grey Pearl and 18ct Yellow Gold Necklace The sprung wire necklace suspending a 15 x 13mm South Seas Cultured Grey pearl of good quality having a gold and diamond set bale. $700 - $800

159 A 15ct Yellow Gold Prince-of-Wales Link Chain With Tiger-eye Pendant.

Gold/silver doublet, the mid-section of ajouré set with eight small diamonds centering on a rub-over set oval old cut diamond of around 0.40ct. With box. Austrian import marks post 1922. $400 - $600

166 A Ring Set With Two Rows of Diamonds. The bridge of 18ct white and yellow gold set with 10 round modern brilliant cut diamonds in two rows. Gemologist’s report and valuation available on request. $1,200 - $1,400 167 A Ring Set With A Fine-White Diamond of Approximately 1.10ct.

The chain of 440mm suspending a 29 x 36mm oval polished tiger-eye cabochon in a frame of 9ct yellow gold. $750 - $950

The round modern brilliant cut diamond assessed as F/G I1 is set in 18ct white and yellow gold. Gemologist’s report and valuation available on request. $4,000 - $5,000

160 A Necklace of White South Seas Cultured Pearls.

168 A Ring Set With An Emerald-Cut Diamond of Approximately 1.30ct.

The slightly graduated 10-14mm semi-round/oval pearls with good blend and thick nacre are secured by a 9ct yellow gold ball clasp. 440mm. $5,000 - $6,000 see colour illustration page 105

The diamond assessed as J/L, SI2 is set in a ring of 14ct white gold within a border of small diamond brilliants, the split shank shoulders enhanced with further lines of brilliants. Gemologist’s report and valuation available on request. $3,000 - $5,000 see colour illustration page 108

161 A Brooch Set With An Amethyst and Seed Pearls.

Oval outline in 9ct yellow gold; the double row border of half pearls enclosing an oval cut amethyst. $300 - $500

169 An Estate Ring Set With A Solitaire Emerald Cut Diamond of Around 1.10ct. The diamond set in a traditional ring of platinum and 18ct white gold, the stepped shoulders each enhanced with 6 single-cut diamonds. Gemologist’s report and valuation available on request. $7,500 - $8,500 see colour illustration page 101

170 A Pendant/Enhancer Set With A Black Opal, Diamonds and Precious Stones.

Oval outline with an Art-Deco influenced geometric fan surmount in 18ct white and yellow gold, centred by a 13 x 10mm oval black opal cabochon showing blue/green/ indigo and red colour play and further set with round cut diamonds, rubies, blue sapphires and emeralds to suit the design. Gemologist’s report and valuation available on request. $2,750 - $3,250 see colour illustration page 105

171 A Five Strand Diamond Bracelet. Each strand of 18ct white gold being an articulated row of bar and chenier links set with round modern brilliant cut diamonds. TDW 3.47ct. Gemologist’s report and valuation available on request. $5,750 - $6,750 see colour illustration page 104 172 A Ring Set With A Diamond of 1.01ct Together With Further Diamonds. The round modern brilliant cut diamond assessed as 1.01ct H SI2 is set in 18ct white gold the shoulders set with three rows of Princess and round modern brilliant cut diamonds of fine quality D/F VS-SI2 with an estimated total 1.32ct. TDW 2.33ct. Gemologist’s report and valuation available on request. $6,000 - $8,000 see colour illustration page 109

173 A Crescent Brooch Set With Diamonds and A Fire Opal. Silver-gold doublet set with a line of old cut diamonds graduated from the centre together with a round cut fire opal. $400 - $600 see colour illustration page 101

174 A Necklace of Heart Motifs Set With Diamonds. Designed as a line of articulated 18ct white gold heart motif panels graduated from the centre. The 7 mid-section panels set with baguette and brilliant cut diamonds, the remaining panels pavé set with diamonds. TDW 11.95ct. Gemologist’s report and valuation available on request. $19,000 - $22,000

176 A Two Diamond Ring of Total Approximately 0.70ct. Ideal for a re-make as a pair of earstuds, the round modern brilliant cut diamonds set in a crossover of 18ct gold and platinum with small shoulder diamonds. $1,400 - $1,800

177 A Ring Set With Emerald Cut and Princess Cut Diamonds of Good Quality. The three emerald cut diamonds assessed as F/G, VS2 and total 1.06ct are graduated from the centre of the 18ct white gold setting. The shoulders each set with 3 Princess cut diamonds assessed as G/I VS2-SI2. TDW approximately 1.80ct. Gemologist’s report and valuation available on request. $4,000 - $5,000

178 A Dainty Cluster Ring Centred By A Diamond of 0.71ct. The round modern brilliant cut diamond set in a ring of 18ct white and yellow gold within a circular border of brilliant cut diamonds with further brilliants in a row on each shoulder. TDW 1.10ct. Gemologist’s report and valuation available on request. $3,500 - $4,000 see colour illustration page 101

179 An 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. $8,000 - $9,000 see colour illustration page 104

180 A Pendant Set With An Aquamarine of 23ct With Diamonds. The emerald-cut aquamarine of 23.05ct is set in 18ct white gold, the border, surmount and bale all set with round modern brilliant cut diamonds of TDW 0.61ct. Gemologist’s report and valuation available on request. $3,250 - $3,750 see colour illustration page 109

see also following lot

228 A Tennis Style Line Bracelet Set with Diamonds.

18ct white gold, each centred by a Princess cut diamond, the sides close set with pairs of baguette cut diamonds to a shaped border of round modern brilliant cut diamonds. TDW 1.29ct. Gemologist’s report and valuation available on request. $2,500 - $3,000

Oval outline in 18ct yellow gold, each set with an oval ruby cabochon within a border of round modern brilliant cut diamonds of TDW 1.32ct. Gemologist’s report and valuation available on request. $2,800 - $3,400 see colour illustration page 101

235 A Ring Set With Three Rows of Diamonds. The band of 18ct white gold set with a central row of Princess cut diamonds point-to-point such that the outer rows of round modern brilliant cut diamonds can be close set. TDW 2.28ct. Gemologist’s report and valuation available on request. $2,800 - $3,400 see colour illustration page 108 236 A Diamond Cluster Cocktail Ring. Three tier geometric outline with ajouré set with round modern brilliant cut and tapered baguette cut diamonds to suit the design. 18ct white gold. TDW 1.16ct. Gemologist’s report and valuation available on request. $1,850 - $2,250 see colour illustration page 108

Fine Jewellery & Watches 107

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240 244 Fine Jewellery & Watches 109

237 A Pair of Drop Earrings Set With Champagne and White Diamonds.

243 A Ring Set With Three Emerald-Cut Diamonds of Total Approximately 1.75ct.

Each designed as an articulated graduated fall of three loops set with white brilliant cut diamonds, the finial loop enclosing an articulated drop set with a pendeloque champagne diamond. TDW approximately 2.00ct. Gemologist’s report and valuation available on request. $3,850 - $4,850 see colour illustration page 104

The diamonds assessed as G/I, VS1-2, very good make comprise a centre stone of around 0.75ct with stones of around 0.50ct on either side. 18ct white and yellow gold. Gemologist’s report and valuation available on request. $6,000 - $7,000 see colour illustration page 105

238 A Heart Shaped Cocktail Ring of Art Deco Design.

18ct white gold enhanced with ajouré set with brilliant cut diamonds to a channel set line of French cut rubies enclosing a heart shaped diamond of approximately 0.45ct (E/F, VS2+) bordered by polished black onyx. Gemologist’s report and valuation available on request. $5,800 - $6,800 see colour illustration page 101

239 A Dainty Art Deco Bracelet Set With Diamonds. The expanding gatelink 18ct white gold bracelet centred by a panel of geometric ajouré set with round brilliant cut diamonds. $750 - $850

240 A Circlet Pendant Set With Diamonds and Blue Topaz. The circlet of 18ct yellow gold and platinum set with diamonds and blue topaz suspending an inner three panel drop and finial two panel drop all suspended by twin chains to a three diamond bar and fine figaro link silver neck chain. With box. Gemologist’s report and valuation available on request. $1,750 - $2,250 see colour illustration page 109

241 An Edwardian Winged Brooch Set With Diamonds.

Gold/silver doublet, the circular central panel of a pearl bordered by diamonds is supported by outstretched wings set with rows of diamonds. The diamonds of mixed mine and senaille cuts. $600 - $800

242 A Pair of `Floating Snowflake’ Earrings Set With Diamonds. Circular outline in 18ct white gold, the borders of round modern brilliant cut diamonds each enclosing a glazed compartment containing a floating six pointed snowflake pavé set with further diamonds. Gemologist’s report and valuation available on request. $2,200 - $2,600 see colour illustration page 104 110

244 An Attractive Cluster Ring Set With Old Cut Diamonds.

Oval outline three tier design in 18ct yellow gold and platinum with dome-back to the inner cluster. Centred by an old oval cut diamond bordered by mine-cut diamonds enclosed by an outer border of rose and mine-cut diamonds. Appears to be a remake of a late Georgian/ early Victorian ring using original stones and design. $2,000 - $2,500 see colour illustration page 109

245 A Pair of Drop Earrings Set With Diamonds. Each designed as a foliate panel in 18ct white and yellow gold, set with round modern brilliant cut diamonds and suspending an articulated three panel diamond drop. TDW approximately 1.70ct for the pair, of fine quality (F/G, VS). Gemologist’s report and valuation available on request. $3,000 - $5,000 see colour illustration page 104 246 A Victorian Cornelian-Agate and Silver Gilt Locket Brooch.

Oval outline with polished agate panels to front and back suspended by a bar with a bow of agate. Hallmarks for Birmingham 1896. $250 - $350

247 A Pair of Solitaire Diamond Earstuds of 0.73ct Total. The round modern brilliant cut diamonds set in 18ct yellow gold. Gemologist’s report and valuation available on request. $1,850 - $2,250 see colour illustration page 105

248 A Gypsy Ring Set With A Round Modern Brilliant Cut Diamond of Approximately 0.70ct. The diamond assessed as H/I, SI1 is set in 18ct yellow gold. Gemologist’s report and valuation available on request. $1,800 - $2,800

249 A Crossover Ring Set With Diamonds. The ring of 18ct yellow gold set with a row of four old mine-cut diamonds of TDW around 0.65ct. Gemologist’s report and valuation available on request. $800 - $1,000 250 A Dress Ring PavÈ Set with Round Modern Brilliant and Early European Cut Diamonds. Domed oval outline in 18ct yellow gold and platinum pavé set with nine diamonds of mixed round cuts and of good quality (E-H SI1-I1) and ranging down from the largest stone of 0.50ct. TDW 2.30ct. Gemologist’s report and valuation available on request. $3,800 - $4,800

251 A Ring Set With A Solitaire Diamond of Approximately 1.00ct. The round modern brilliant cut diamond assessed as J/K, SI2 is set in a contemporary mount of 14ct white gold. $3,850 - $4,850

252 An Opal Pendant. The oval milk opal cabochon of approximately 3ct, showing a good, active, full spectrum colour play is set in 9ct yellow gold. Gemologist’s report and valuation available on request. $700 - $800 see colour illustration page 105

253 A Bracelet Set With Sapphires and Diamonds. Designed as a tapered line of hinged ribbed panels of yellow gold (approximately 14ct), the mid-section set with a line of 10 oval cut blue sapphires graduated from the centre, separated by pairs of round modern brilliant cut diamonds. Gemologist’s report and valuation available on request. $2,800 - $3,400 see colour illustration page 105

256 A Striking Necklace Set With Sapphires and Diamonds. Designed as an articulated line of 57 pear shaped links of 18ct white gold, mildly graduated from the centre, each set with a pendeloque cut blue sapphire bordered by round modern brilliant cut diamonds. TSW 23.40ct, TDW 3.87ct. Gemologist’s report and valuation available on request. $8,500 - $9,500 see colour illustration page 108

257 A Victorian Locket of Yellow Gold Enhanced With Enamel and A Pearl.

Oval outline (tests 15ct or better), the cover decorated with an applied star motif inlaid with blue enamel about a central half pearl. The back engraved with a Celtic weave. The interior for two photographs. 17.8g. $650 - $850

258 A Pair of Solitaire Diamond Earstuds of Approximately 1.08ct Total. The round modern brilliant cut diamonds assessed as J/L, SI2 are set in 14ct yellow gold. Gemologist’s report and valuation available on request. $2,500 - $3,000

259 A Ring Set with A Solitaire Princess Cut Diamond of Approximately 1ct The diamond assessed as 1.00ct G SI1vg make is set in a simple modern ring of 18ct white gold and platinum. Gemologist’s report and valuation available on request. $6,000 - $7,000

260 A Victorian Snake Motif Signet Ring.

15ct yellow gold set with a central oval lapis lazuli panel supported and enclosed by two coiled serpents. Hallmarks London 1857. $400 - $500

254 A Traditional Three Stone Diamond Ring.

261 A Ring Set With A Diamond of Approximately 1.00ct.

The round modern brilliant cut diamonds of matched size and TDW 1.66ct are set in a bridge of 18ct white gold. Gemologist’s report and valuation available on request. $6,250 - $7,250 see colour illustration page 108

The contemporary design arched ring of platinum with pavé diamond shoulders capturing the 1ct round modern brilliant cut diamond in a `Tension’ setting. Gemologist’s report and valuation available on request. $5,000 - $7,000

255 A Swallow Motif Brooch Set With Diamonds.

262 A Striking Ring of Avant-Garde Contemporary Design.

The swallow in flight of 18ct white gold set with 13 round modern brilliant cut diamonds of approximate TDW 1.31ct, the head set with a round cut emerald. Gemologist’s report and valuation available on request. $1,500 - $2,000 see colour illustration page 104

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

Fine Jewellery & Watches 111

112

Antiques & Modern Design Including the Estate of JL & CR Pearce of Waikanae

Thursday 1 April 2010, 6:00pm Lots 300 – 362 Lots 363 – 429 Lots 430 – 479 Lots 480 – 545 Lots 546 – 622

Modern & Contemporary Design Glass, Ceramics & Oriental Sterling Silver & Silver Plate New Zealand Interest & Miscellaneous Furniture, Rugs & Decorator Items

Evening Viewing Wed 24 Mar

6:00pm—8:00pm

Viewing Thur 25 Mar Fri 26 Mar Sat 27 Mar Sun 28 Mar Mon 29 Mar Tue 30 Mar Wed 31 Mar Thur 1 Apr

9:00am—5:30pm 9:00am—5:30pm 11:00am—3:00pm 11:00am—3:00pm 9:00am—5:30pm 9:00am—5:30pm 9:00am—5:30pm 9:00am—12:00 noon

Buyer’s Premium A buyer’s premium of 15% will be charged on all items in the Antiques & Modern Design section of this catalogue. GST (12.5%) is payable on the buyer’s premium only. This sale is preceded by an uncatalogued collectable sale at 4:00pm. All lots illustrated online at www.webbs.co.nz.

antiques and modern design 113

Modern & Contemporary design 300 A Heavy Facet Cut Blue Art GlasS Bowl

with internal gold decoration. W.130mm. $40 - $60 see illustration page 116

301 A Swedish Orrefors Wide Clear Glass Vase

with wheel cut decoration depicting a young girl gazing at the moon and stars. W.160mm. $100 - $150

302 An Unusual Lladro Large Pottery Table Centrepiece

in the form of a semi bust of a young girl with plaited pigtails. She rests her chin on her hands and supports a basket on her head. Printed mark. H.370mm. $500 - $800 see illustration page 123

303 A Lladro Large Green Glazed Pottery Fish Vase

with raised rosette scale decorations. W.360mm. $250- $350

304 A Stylish Black Painted Cast Plaster Table Lamp

depicting a semi clad native maiden in a canoe. Circa 1950. Note: paddle shaft missing. W.490mm. $150 - $200

305 An Art Deco Chrome Plated Model of an Aeroplane

airborne, on octagonal stand. H.280mm. $80 - $150

306 A Japanese Modern Bronze Figure of a Prancing Horse

the horse stands on a grey marble plinth, its head turned back. Signed on back legs (Tomokazu). H.170mm. $350 - $450 see illustration page 118

307 A Kosta Heavy Art Glass Bowl

with panels and oval facet cut decoration. Numbered 56693 and signed Lindstrand. Dia.175mm. $150 - $200 see illustration page 116

308 A Kosta Olive Green Art Glass Vase

each with all over muted monochrome glaze, one turquoise, one puce. H.230mm. $80 - $100

with bright orange and blue artistic pattern. Dolphin mark with artist’s initials. W.430mm. $50 - $100

312 A Poole Pottery Large Boat or Leaf Shaped Serving Dish

with a pattern of stylised fruit on a bright orange ground. Dolphin mark with artist’s initials. W.430mm. $50 - $100

313 A Poole Pottery Large Shallow Bowl

with flower and leaf border decoration on a bright orange ground. Dolphin mark with artist’s initials. Dia.265mm. $50 - $100

314 A Good Bohemian 20th Century Large Facet Cut Glass Beaker Vase

amber with red overlay decoration. H.210mm. $100 - $200 see illustration page 116

315 A Whitefriars Large Blue Grey Blown Glass Vase

of classical amphora shape with double handles. H.330mm. $200 - $300

316 A Whitefriars Tall Green Glass Vase

of tapered baluster form. H.250mm. $100 - $150

317 A Tall Green and Blue Art Glass Vase

with internal bubble and waisted sectional form. H.220mm. $60 - $120 see illustration page 116

318 Two New Zealand Art Glass Studio Bowls by Nigel Schroder

one pink mauve with small internal bubble decoration, the other, larger, deep blue with similar bubble effect. 2004. Dia.140mm & 160mm. $50 - $100 see illustration page 116

319 A New Zealand Blown Art Glass Bowl by Nigel Schroder

114

with concentric ring decoration and hoop handle. H.310mm. $50 - $100

311 A Poole Pottery Large Boat or Leaf Shaped Serving Dish

of tapered four sided form. Paper label. H.220mm. $50 - $100 see illustration page 116

309 An Australian Studio Anna Pair of Spherical Vases

310 A Stylish Carlton Ware Tall Orange Monochrome Glaze Coffee Pot

of flared form, in blue and pink, with internal bubble decoration. 2004. W.255mm. $50 - $80

320 A West German Pottery Two Handled Vase

with raised Aztec style decoration and impressed gold ring borders. Circa 1950s. H.250mm. $60 - $80

321 An Interesting German 20th Century Studio Pottery Vase

of fat ovoid shape with striated brown glazing. The neck with a tied ribbon of silver set with two large cabochon amethysts and inscribed (in German) in memory of Uncle Fritz, 30 August 1979. Initials and Krosselbach to the base. H.270mm. $100 - $150

322 A Danish Royal Copenhagen Pottery Wall Plaque

of rectangular shape, featuring two unglazed stylised birds in low relief, with matt brown glaze details and a blue and iron glaze border. Printed mark with initials BA. H.296mm W.230mm. $250 - $350

328 A Stylish 1930 Carlton Ware Noire Royale Coffee Set

329 A Grimwades Twelve Piece Part Tea Service Designed by Ike Mattison

323 A Crown Lynn Legend Wall Plate

featuring gilt raised Maori and New Zealand flora and fauna motifs on a speckled brown ground. $350 - $450

324 Three Crown Lynn Potteries Ceramica Green Stone Pieces

comprising two vases and an ashtray, all decorated with embossed leaf pattern in grey green. Circa 1975. Note: hairline crack. Vases H.105mm & 175mm. Ashtray W.135mm. $50 - $100

325 Six Matching Crown Lynn Image Pattern Cups and Saucers

Cook & Serve, Pat No 457. $80 - $120

326 A Stylish Titian Studio Moonlight Under the Palm Tree Jug

in yellow and black glaze. H.160mm. $300 - $400

327 A Studio Design Coffee Set by J & G Meakin

comprising tall coffee pot and creamer, with six cups and saucers. Initials RD impressed. Coffee pot H.240mm. $50 - $100

hand painted in bright polychrome, comprising two cups, four saucers, a milk jug, four sandwich plates and a sandwich tray. Note: some paint loss. $400 - $600 see illustration page 119

330 A Pair of British Roskyl Baluster Form Vases

with garden decoration. H.170mm. $80 - $150

331 An Arthur Wood Large Jug

comprising six cups and saucers, fat bodied coffee pot, and matching milk jug and sugar pot. Each with gilt rim, handle and circular foot, the cups and jug with pale green internal glaze. Coffee pot H.210mm. $600 - $800 see illustration page 122

with colourful floral decoration. H.200mm. $80 - $150

332 A Devon Ware Fieldings Large Jug

with colourful fruit decoration. H.200mm. $80 - $150

333 A Devon Ware Fieldings Jug

with colourful stylised floral and tree designs. H.140mm. $50 - $100 see illustration page 119

334 A Devon Ware Fieldings Jug

with floral decoration on a yellow ground. H.170mm. $80 - $150

335 A Devon Ware Fieldings Jug

with polychrome geometric decoration on yellow ground. Note: minor paint loss. H.190mm. $80 - $150 see illustration page 119

336 A Rare Maling Luxor Baluster Vase

with coloured decorations (to shoulder and base) on a yellow ground. $400 - $500 see illustration page 119

337 An Alfred B Pearce & Co Milk Jug

with bold geometric decoration in orange, yellow and black. H.110mm. $50 - $90

338 A Woodbridge Art Ware Vase

of squat baluster shape, decorated with horizontal bands of black, grey, orange and yellow. H.120mm. $50 - $100 see illustration page 119 antiques and modern design 115

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339 A Barker Bros Arabesque Jug and Bowl Set

comprising two jugs and a sugar bowl, with bold colourful stylised landscape designs in enamel by John Guildford. Up to H.120mm. $350 - $500 see illustration page 119

340 A Clarice Cliff Fantasque Trees and House Pattern Honey Pot

in bright polychrome. Note: lid absent. H.75mm. $100 - $150 see illustration page 119

341 A Clarice Cliff Tripod Vase

with moulded and painted hollyhocks forming the feet, and colourful trickle glaze to the body. H.150mm. $400 - $600 see illustration page 119

342 A Clarice Cliff Raised Tulip Design Vase

of globular form, moulded in relief with stepped stylised tulips. All over blue mottled glaze. Mark stamped to base. H.150mm Dia.150mm. $300 - $500 see illustration page 123

348 A Stylish Art Deco Chrome Plated Heater

349 An Interesting Solid State Spherical TV Set

of triangular flared and tapering form. Probably Swedish. Circa 1970. H.260mm. $50 - $100 see illustration page 116

in pale golden bronze with blow moulded dentations. W.340mm. $50 - $100 see illustration page 116

345 A Swedish Flygsfors Coquille Table Centre Bowl

in clear, white and deep mauve glass. W.280mm. $100 - $150 see illustration page 116

346 An Unusual Set of Four Murano Glass Ashtrays

in moulded jasper end of day glass of red, brown and goldstone. W.90mm. $50 - $100

347 A Limited Edition Poole Studio Charger by Nicola Massarella

most probably a one-off, the large dished surface painted with a bold cubist style face. The rear signed Niki and marked Poole Studio Limited Edition. Note: Nicola Massarella worked with Tony Morris on one-off productions. Dia.410mm. $1,200 - $2,000 see illustration page 118

in wood and leather. Late 20th century. H.660mm W.740mm D.740mm. $900 - $1,100

351 A Marilyn Sainty Black Tub Chair

in wood and leather. Late 20th century. H.660mm W.740mm D.740mm. $900 - $1,100

352 A Mid 20th Century Teak Coffee Table

with slatted stretcher base. W.1290mm D.480mm. $200 - $300

353 A Scandinavian Tall and Wide Cupboard

344 A Large Oval Boat Shaped Table Centre Vase

by JVC Nivico. Working. Circa 1975. Dia.300mm. $150 - $250 see illustration page 118

350 A Marilyn Sainty Black Tub Chair

343 A Pale Mauve Art Glass Vase

the HMV Radiant Fire on two black feet, with polished reflector, wire guard, and two bars with diffusing rod. H.300mm. $100 - $150

in figured timber, the two semicircular end cupboards with adjustable shelving, the two central cupboards flanked by detailing ending in tapered legs. H.1170mm W.1800mm D.460mm. $800 - $1,500 see illustration page 118

354 A Poul KjĂŚrholm PK 24 Chaise Lounge

in stainless steel, wicker and leather. With Fritz Hansen (A/S) label with text Design: Poul KjĂŚrholm, Made in Denmark 1995. $8,000 - $12,000 see illustration page 126

355 A Kaj Kristensen Dining Suite

comprising a drop leaf extension table with shaped ends, and four hoop back chairs with black upholstered details. Mid 20th century. Table when open W.2000mm D.900mm. $1,000 - $1,500 see illustration page 118

356 A Le Corbusier, Pierre Jeanerette & Charlotte Perriand LC2 Two Seater Sofa

in polished chrome plate, fabric upholstery, loose cushions with polyurethane and polyester padding. Cassina/Maestri. W.1260mm. $1,200 - $1,500

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357 A Swedish Modern Style Flygsfors Hanging Ceiling Light by Jan Johansson

with white and orange overlay glass shade and wooden fittings. H.330mm. $80 - $120

366 A Lalique France Blue Petals Circular Ashtray

367 A Lalique France Small Clear Pin Dish

358 A Swedish Medical Lamp

in white enamel and chrome. Adjustable to H.1650mm. $300 - $400

359 A European Mid 20th Century Mahogany Bar with Integrated Refrigerator

labelled Exclusive Design for Atlas & Silkeborg Møbelfabrik, Bjørn & Bernadotte. H.790mm W.1120mm D.535mm. $400 - $800

361 A European Mid 20th Century Teak Sideboard

the stepped base with a fall front compartment flanked by two drawers. The upper section with four sliding doors opening on adjustable shelving, slides, and a mirrored compartment. H.1100mm W.2000mm D.550mm. $800 - $1,000 see illustration page 118

362 A European Teak Sideboard of Simple Design

on square sectioned legs, with three drawers above three cupboards. H.890mm W.1840mm D.430mm. $700 - $1,200

Glass, Ceramics & Oriental 363 An Iridescent Squat Hand Blown Glass Vase

with engraved signature. 1986. H.105mm. $150 - $200 see illustration page 122

364 A Frosted Glass Vase by R Lalique

the tapering outer walls decorated with three moulded nude figures amongst flowers and birds, on an octagonal shaped base. Engraved script mark R Lalique - Paris France. H.148mm Dia.85mm. $800 - $1,000 see illustration page 122

365 A Lalique France Honfleur Pattern Press Moulded Shallow Bowl

with a clear glass well, the petal shaped rim with a border of frosted leaves. Engraved script mark. Dia.210mm. $400 - $600 see illustration page 122

the painted design on a ground of blue and green. Full signature and Potter to HM the Queen impressed. H.105mm. $400 - $600

370 A Walter Moorcroft Anemone Design Squat Circular Vase

the painted design on a ground of blue and green. Painted initials and impressed marks including Potter to HM the Queen. H.110mm. $250 - $350

371 A Walter Moorcroft Hibiscus Design Baluster Shaped Vase

the painted design on a ground of green. Unmarked. H.160mm. $200 - $300

372 A Walter Moorcroft Clematis Design Baluster Shaped Vase

the painted design on a ground of deep blue. Blue marks. H.130mm. $200 - $300

373 An Early 20th Century Ruskin Pottery Baluster

Shaped Vase with yellow lustre glaze. Note: some underglaze crackle degrading. H.170mm. $100 - $150

374 A Good Ruskin Pottery Squat Globular Vase

with speckled black and cobalt blue all over glaze. Impressed mark. 1905. H.120mm. $300 - $400

375 A Royal Doulton Red Flambé Porcelain Cat

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of globular form with large double anemone moulded glass stopper. H.160mm. $250 - $350 see illustration page 122

369 A Walter Moorcroft Anemone Design Small Globular Vase

comprising cupboards, open shelving, drawers and glazed display. H.1900mm W.2410mm D.400mm. $800 - $1,200

with frosted bird standing at centre. Signed on base. W.100mm. $180 - $250 see illustration page 122

368 A Stylish Lalique Glass Perfume Bottle

360 A Danish Modular Wall Unit

engraved script mark. Dia.180mm. $400 - $600

in seated position, marked. H.120mm. $200 - $250

376 A Royal Doulton Red Flambé Porcelain Duck

with black feet and details, marked. H.150mm. $200 - $250

377 A Royal Doulton Red Flambé Porcelain Small Duck

with black feet and details, marked. H.70mm. $80 - $120

378 A Rare Set of Wade Ducks

including Mr and Mrs Duck, Dilly and Dack. Up to H.70mm. $500 - $600 see illustration page 119

386 A Good and Rare 19th Century Linthorpe Art Pottery Sea Urchin Vessel by Christopher Dresser

387 A Rare Late 19th Century Minton Majolica Monkey Teapot

379 A Charlotte Rhead Bursley Ware Basket

with tube line floral decoration to the interior. W.150mm. $150 - $200

380 A Charlotte Rhead Bowl

with tube line floral decoration to the exterior. Dia.185mm. $200 - $300

381 A Crown Devon Fielding’s Two Handled Ovoid Vase

with gilt and green decoration to the base, and colourful stylised floral designs to the body. H.140mm. $80 - $150

382 A Pair of Royal Doulton Shallow Two Handled Dishes

with polychrome flamingo decoration. Dia.148mm. $100 - $200

383 A Japanese Satsuma Covered Censer

the baluster form painted with a continuous battle scene of Samurai and their mounts, below a moulded dragon figure. Signed. Note: faults. H.210mm. $80 - $120

384 Three Japanese Satsuma Gilt Small Coffee Cups and Saucers

all with impressed Satsuma mark, finely gilded interiors, and hand painted dot and zigzag borders. Each cup finely painted with a Samurai warrior in battle armour. Probably part of a set. Circa 1910. Saucer Dia.100mm. $150 - $200

the domed body with raised spine bumps under a rich brown variegated glaze. Impressed marks on base under glaze are indistinct. Circa 1880. H.220mm. $3,000 - $4,000 see illustration page 122

superbly modelled and painted in yellow, green, cobalt, burgundy etc. The monkey sits clutching the pot, his removable head the lid, his tail the handle. Impressed marks on base under glaze. Note: the once broken bamboo style spout has been tidily glued, and there is a small loss to the back of the monkey’s head. H.170mm W.240mm. $600 - $900 see illustration page 122

388 An Interesting Old Majolica Pottery Leaf Pattern Dish

with raised berry, flower and leaf decoration under a green and brown glaze. W.250mm. $300 - $400

389 An English Mid Victorian Two Tone Brown Stoneware Liquor Barrel

with applied crest, swags, knights and lion decoration. H.380mm. $100 - $150

390 A Rare Mid 18th Century Dr Wall Period Worcester Porcelain Chocolate Cup with Cover

the cup and cover decorated with Japanese Imari fans in the traditional palette. Underglaze blue painter’s mark. Note: original finial absent, fashioned replacement glued in place. H.120mm. $250 - $350

391 A Good Victorian Staffordshire Large Turkey Dish and Drain Tray

both with blue transfer printed Willow pattern and in excellent condition. Circa 1850. W.520mm. $250 - $350

385 A Very Good Pilkington Royal Lancastrian Bottle Vase

with silver lustre decoration of leaf tendrils and rosettes on a cobalt ground, painted by WS Mycock. 1923. H.220mm. $400 - $600 see illustration page 119

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392 A Rare and Important Wedgwood Fairyland Lustre Vase Designed by Daisy Makeig-Jones

the high shouldered ovoid body with brilliant Willow pattern decoration, featuring imps and a candle lighthouse. Brown and gilt printed Portland Vase mark to base with pattern number Z5360. H.215mm. $5,000 - $7,000 see illustration page 122

393 A Rare 18th Century Chelsea Porcelain Fruit Plate

with finely painted floral spray decoration, brown edge and anchor mark. Circa 1765. W.220mm. $200 - $300

394 An English 18th Century Porcelain Octagonal Plate

hand painted with flowers and butterflies on a cream glaze ground. Possibly London, Bow China Works. Note: some faults. W.210mm. $150 - $200

395 An Interesting Late 19th Century Doulton Lambeth Stoneware Crocus Pot

with incised and applied decoration. Impressed marks and incised initials (apparently of artist Lucy Barlow). 1882. H.150mm. $300 - $500

396 A Royal Worcester Porcelain Tall Classical Urn Vase

with finely painted and gilt fruit scene by artist H Ayrton. Note: professional repairs to the neck and foot, the body good. H.310mm. $1,500 - $2,000 see illustration page 131

397 A Late 19th Century Pair of Vienna Porcelain Two Handled Urn Vases on Square Bases

each with panels transfer printed with classical figures, Angelica Kaufmann style. Also panels painted in dark green, burgundy and cream. Extensively decorated with gilt floral designs. Blue beehive mark. Note: one vase slight damage to base. H.300mm. $250 - $350 see illustration page 131

398 A German 19th Century Heavy Cut Glass Beaker

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with purple stained overlay panels wheel cut to display various famous architectural sights (Steinbad etc) and the name FR von Teplitz. H.120mm. $50 - $100

399 A Good Bohemian 19th Century Tall Overlay Glass Vase

with a deeply cut pattern featuring six dark green spade shaped panels each decorated with floral and leaf motifs. H.300mm. $100 - $150

400 An American Late 19th Century Pair of Mount Washington Blue Satin Mother of Pearl Vases

each with quilted overlay pattern and ruffled rim. H.210mm. $80 - $150

401 An Oriental Porcelain Ewer Jug

decorated with incised fish, a bird and stylised scroll patterns beneath a celadon type glaze. H.185mm. $250 - $300

402 A Chinese Antique Provincial Jar

with incised scroll patterns beneath a celadon type glaze. Note: some faults. H.178mm. $300 - $400

403 Three Chinese 18th Century Small Porcelain Dishes

two unmarked Qianlong with underglaze blue decoration. The other, later, painted with a sage figure standing in waves, with flying bats. Dia.110mm - 160mm. $100 - $150

404 Two Chinese 19th Century Small Porcelain Bowls

one with Canton polychrome enamel decoration and underglaze blue figure panels. The other with flowers and symbols. W.70mm & 80mm. $100 - $150

405 An Chinese Early 19th Century Porcelain Miniature Meiping Shaped Vase

with polychrome enamel figures and underglaze blue decoration. Note: chip on neck rim, extending into body of vase. H.135mm. $100 - $150

406 A Chinese Blue and White Porcelain Snuff Bottle

of oval section shape, decorated with a stylised continuous landscape in underglaze blue. H.80mm. $250 - $300

407 A Chinese Late 19th Century Celadon Charger

the interior all over carved with flowering pond plants enclosing five fish swimming amongst pond weeds. Note: some faults. H.72mm Dia.364mm. $800 - $1200

408 A Fine Chinese Scholar’s Rock

the river worn stone mounted on a finely carved stand of swirling clouds. H.240mm. $250 - $350

409 A Very Interesting Chinese Scholar’s Rock

a tree trunk of petrified wood on a finely carved rosewood stand. H.200mm. $250 - $350

410 An Excellent Chinese Scholar’s Rock

the river worn quartz small boulder mounted on a finely carved rosewood plinth of intricate wave forms. H.200mm. $250 - $350

411 A Good Chinese Scholar’s Rock

consisting two weather worn quartz pieces suggesting pagoda buildings, mounted on an intricately carved teak plum blossom stand. H.170mm. $250 - $350

412 A Japanese Carved and Stained Ivory of a Sage with Basket

signed. H.45mm. $200 - $300

413 A Carved and Stained Ivory Netsuke of a Changing Face Man

trying to dislodge a rat clinging to his hair. Signed. H.65mm. $250 - $400

414 A Carved and Stained Ivory Netsuke of a Woman with Gourd

signed. H.50mm. $200 - $250

415 A Carved and Stained Ivory Netsuke of a Seated Man

holding a birdcage in his right hand. Signed. H.30mm. $120 - $180

416 A Carved and Stained Ivory Netsuke of a Changing Face Man

the horned figure standing, holding a club and a mask shield. Signed. H.50mm. $250 - $350

417 A Japanese Carved Snake Circular Bead or Toggle

Dia.22mm. $120 - $180

418 A Japanese Meiji Period Giant Bamboo Shop Sign

with deeply incised kanji characters. Note: shrinkage crack. H.900mm. $50 - $100

419 A Japanese Meiji Period Pair of Bronze Vases

of gently tapering cylindrical form, each inlaid with variously coloured metals depicting a cockerel perched on a flowering prunus bough. Circa 1900, maker Hattori Co. H.182mm. $1,500 - $1,800

420 A Chinese 18th Century Export Porcelain Plate

the centre and border decorated in Japanese Imari style and colours. Note: some paint loss. Dia.230mm. $180 - $250

421 An Imari Phoenix Bird Export Cup and Saucer

trimmed in lustre, the birds painted amongst flowering foliage. Note: minor faults. $50 - $100

422 A Fine Quality Derby Porcelain Plate in Japanese Imari Style

with painted and gilt flowers on four fan shaped panels. Cobalt blue and gilt panelled border. Circa 1890. Dia.210mm. $100 - $150

423 A Royal Crown Derby Porcelain Potpourri with Lid

decorated with painted panels and gilt border in the Japanese Imari style. Printed red mark and date cipher. 1907. H.110mm. $100 - $150

424 A Royal Crown Derby Tall Porcelain Ewer Jug

with Japanese Imari style decoration, scroll handle, and oval foot. Cobalt blue neck and base. H.220mm. $100 - $150

425 A 19th Century Porcelain Ink Stand

the oval tray decorated with floral sprays, and gilt, peach and burgundy designs. With two matching lidded jarlets and a candle holder. Circa 1880. Note: one jarlet restored. Tray W.320mm. $100 - $150

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426 A Fine Quality Edwardian Coalport Small Porcelain Jardinière

the cobalt blue body decorated with two miniature painted landscape scenes in shaped cartouches. Lemon base and neck with gilded borders and goat’s head mask handles. Circa 1905. H.150mm. $200 - $300

434 A Sterling Silver Pair of Toast Racks

435 A Gorham Sterling Pair of Squat Candlesticks

427 A Sèvres Porcelain Four Piece Set

comprising matching teacup, saucer, sandwich plate and cake plate, all transfer printed and gilt decorated with cherubs and floral patterns. Royal blue border. Château des Tuileries and other marks. Circa 1910. $80 - $150

428 A Good Late 19th Century Coalport Pair of Porcelain Wall Plates

each with a central hand painted landscape scene, cobalt blue ground, and ornate gilt scroll border. Green mark to both, one inscribed Stybarrow Crag, the other Derwent. Dia.220mm. $200 - $300

429 A Gilt and Velvet Framed Pair of Jasperware Oval Plaques

each with a classical beauty on pastel green ground. Rectangular frames H.268mm W.195mm. $200 - $250

Sterling Silver & Silver Plate

the well of the tri-footed tray with floral sprays and scrolling leaves enclosing a circular vacant cartouche. Birmingham 1868. Dia.280mm. Weight 583g. $450 - $600

431 A George III Sterling Silver Shallow Bowl

with reeding to the rim. London 1801. Dia.228mm. Weight 386g. $250 - $300

432 A Late Victorian Sterling Silver Bonbon Dish

of shaped oval design, with pierced and raised floral and scroll decoration. Birmingham 1899, maker HW Ltd. W.115mm. Weight 22g. $50 - $100

433 A Sterling Silver Cigarette Box

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rectangular with moulded Celtic decorations. Birmingham 1970. $250 - $350

plain, each vase shaped holder on a domed circular base (filled). H.90mm. $350 - $500

436 An Edwardian Sterling Silver Octagonal Sugar Castor

plain, with simple piercing. Birmingham 1901. H.165mm. Weight 104g. $300 - $450

437 A Victorian Sterling Silver Pair of Squat Candlesticks

the baluster urn shaped nozzles with removable sconces, each supported on a stepped and fluted circular base. London 1895. H.80mm. $400 - $600

438 A Sterling Silver Pair of Reed Handled Oval Salts by Walker & Hall

each with fluting to the walls. Sheffield 1905. Note: liners absent. H.45mm W.108mm. $100 - $160

439 A George IV Sterling Silver Foliate Handled Milk and Sugar

430 A Victorian Sterling Silver Salver

Sheffield 1963. $100 - $140

the squat lobed forms with fluting below broad rims, which are decorated with moulded foliate patterns in low relief, each vessel standing on a petal shaped foot. Gilding to the interior walls. London 1821, maker EB. $800 - $1,200 see illustration page 123

440 A Late Georgian Pair of Telescopic Candlesticks in Sheffield Plate

showing copper bleeding through the silver plate. The stems raised on stepped circular bases and supporting baluster urn sconces. Moulded ridging to the rims repeated to the bases. Circa 1820s. H.220mm. $300 - $450 see illustration page 127

441 A Sterling Silver and Mother of Pearl Mounted Scent Bottle

London 1926. Note: screw lid with some faults. H.82mm. $80 - $120

442 A Good Harrison Bros Alpha Plate Large Two Handled Serving Tray

of eight sided plain shape, with sloping border. Inscribed and dated 1948. Sheffield. W.550mm. $100 - $200

443 A Sterling Silver Oval Serving Tray by Walker & Hall

with cut out handles and gadrooned edging. Sheffield 1937. W.440mm. Weight 1062g. $300 - $500

444 A Sterling Silver Three Piece Condiment Set by Walker & Hall

with oval foot, and reeded decoration to handle and edgings. London 1934, maker JBC Ltd. W.150mm. Weight 115g. $200 - $300

446 A Sterling Silver Sauce Boat by Walker & Hall

with scroll handle, beaded edging and three paw feet. Birmingham 1945. W.170mm. Weight 232g. $200 - $300

447 A Sterling Silver Swing Handle Fruit or Cake Basket by Walker & Hall

in solid hexagonal Art Deco style, on matching foot. Sheffield 1922. W.200mm. Weight 696g. $150 - $250

448 A Sterling Silver Pair of Scallop Shell Shaped Butter Dishes

one with original glass liner. Birmingham 1906, maker WB Ltd. W.120mm. Weight (each) 45g. $80 - $150

449 An Edwardian Sterling Silver Small Baluster Shaped Vase by Walker & Hall

with circular foot and flared rim. Chester 1907. Note: some dents. H.72mm. Weight 66g. $50 - $100

450 A Sterling Silver Matching Pair of Column Candlesticks

on square stepped bases, with reeded, fluted and beaded decoration. Also acanthus leaf raised decoration and shaped sconces. One candlestick Sheffield 1910, maker WL & S. The other London 1913, maker RP. H.160mm. $350 - $500 see illustration page 127

with floral, rosette and reeded bands of decoration, the lid with raised scroll motifs. Hallmarked on base. Note: some faults. H.43mm. $40 - $80 see illustration page 127

452 A Silver Plate Topped Dressing Set Bottle

H.172mm. $40 - $50

453 A Sterling Silver Five Piece Tea and Coffee Service by Walker & Hall

with original blue glass liners to the open salt and mustard pot. Each on three lion paw feet. London 1953. $100 - $150

445 A Sterling Silver Sauce Boat in Georgian Style

451 A Dutch 19th Century Silver Small Rectangular Lidded Box

the squat circular bodies with gadrooned edging, on matching feet. The tea, coffee and hot water pots with bakelite finials and handles. Sheffield 1930. Coffee pot H.200mm. Total weight 1036g. $450 - 650

454 A Late Victorian Sterling Silver Small Salver

of circular shape, with beaded edge, on three scroll and paw feet. The centre engraved with pattern of ornate floral roundels and scrolls. London 1874, makers JEW & J Barnard. Dia.175mm. Weight 240g. $350 - $500

455 A Rare Scottish Georgian Sterling Silver Small Decanter Coaster

the centre engraved with rosettes, scrolls and initials, and stamped with hallmarks. Also hallmarks stamped around the base. Original wooden base with baize. Edinburgh 1829/1830. Dia.135mm. $200 - $300

456 A 1920s Silver Mounted Circular Travelling Clock

the case in oak with the front covered in sterling silver. Two nickel ball feet. The movement numbered 53, probably German. Birmingham 1924. Dia.100mm. $100 - $200

457 A Sterling Silver Comport of Stylised Art Deco Form

on circular pedestal foot. The bowl with a pierced baluster gallery border and flat scroll handles. Two baluster connected arms complete the design. Sheffield 1920, maker MH & Co Ltd. H.130mm. Weight 389g. $200 - $300

458 A Silver Plated Art Deco Style Auckland Gun Club Trophy Pedestal Bowl

the bowl with handles and engraved Presented by Molloy & Derham, 13.4.27. H.132mm Dia.178mm. $80 - $160 antiques and modern design 129

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459 A Georgian Sterling Silver Tea Caddy Spoon

with large oval bowl, fiddle pattern handle, and punched engraving. Birmingham circa 1800, maker probably Joseph Willmore. H.75mm. $60 - $100

460 A Good Georgian Style Sterling Silver Tea Caddy

the cartouche shaped body with rope twist borders. London 1939, maker Goldsmiths & Silversmiths Co. H.80mm W.140mm. Weight 510g. $400 - $600 see illustration page 127

468 A 20th Century Sterling Silver Cigarette Holder Case and 9ct Gold Mounted Cigarette Holder

469 A 9ct Gold Mounted Cigarette Holder

461 A Georgian Sterling Silver Nutmeg Grater

of cylindrical shape, with hinged cover and base. No hallmarks but period engraved AK ex dono TK. Circa 1800. H.27mm. $180 - $300 see illustration page 127

462 A Sterling Silver Small Cylindrical Box

both with circular bowls and fiddle pattern handles. Arbroath circa 1830, maker Andrew Davidson. H.150mm. See Wyler page 227. $800 - $1,000 see illustration page 127

464 A Sterling Silver Small Comport Stand

with circular foot and pedestal base, the top with a pierced lattice border. Birmingham 1902, maker SD & Co Ltd. $70 - $100

465 A Late Georgian Pair of Decanter Coasters in Sheffield Plate

with typical applied floral scroll edging, ringed body and original wooden bases with baize covers. Circa 1830. W.190mm. $180 - $280

466 A Silver Plated Pair of Small Decanter Coasters

with fluted petal edges and wooden circular bases. W.100mm. $80 - $120

467 A Cased Sterling Silver Pair of Four Slot Toast Racks

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Birmingham 1913, maker L Ltd. $120 - $180

with central silver topped cut crystal bottle. The rectangular stand on four feet, and with gadrooned floral and shell border. Birmingham 1899, maker H & R Ltd. W.220mm. $400 - $600

471 A Chinese Silver Lotus Vase

London 1823. H.35mm. $200 - $240

463 A Rare Scottish Early 19th Century Sterling Silver Pair of Sauce Ladles

the gold collar with stylised foliate engraving. Note: some loss to the amber hued stem. H.65mm. $40 - $60

470 A Good Victorian Sterling Silver Ink Stand

the case Birmingham 1922. $120 - $180

the tapering lobed flower form with six embossed and repoussé flower stem decorated panels, and ring handles to the sides. The petal shaped base embossed with floral sprigs on repoussé ground. Stamped marks. H.155mm. Weight 277g. $500 - $650 see illustration page 127

472 A Cased Sterling Silver Butter Dish with Knife

the pierced octagonal body on four legs, with flat scroll handles. Original cut glass liner present. Birmingham 1937, maker L Ltd. W.150mm. $80 - $150

473 Three Cased Sterling Silver Sets of Six Hors d’Oeuvres Skewers by Walker & Hall

each skewer with hallmarked silver shank and red bakelite oval handle. Sheffield 1904. Note: two skewers missing from one case. $150 - $200

474 A Cased Sterling Silver Set of Coffee Spoons with Matching Tongs

all with twisted shank decoration and hallmarked. Sheffield 1917, maker JD & WD. $80 - $120

475 A Victorian Sterling Silver Harlequin Set of Kings Pattern Cutlery

comprising six double struck table forks (London 1892), six similar pattern double struck table spoons and matching dessert forks (Sheffield 1898), and six table knives and matching dessert knives (no marks). 30 pieces total. $800 - $1,000

476 Three Georgian Sterling Silver Fiddle Pattern Table Spoons

matching engraved crests. London 1806, 1819 & 1820. $250 - $350

477 A Good Victorian Sterling Silver Pair of Open Salts

each on three hoof feet and with original blue glass liner. Birmingham 1875, maker George Unite. $200 - $300

478 A William IV Sterling Silver Pair of Heavy Salad Servers

with double struck Kings pattern. London 1836, maker George Webb. $300 - $400 see illustration page 127

485 A West African Carved Wooden Fetish Doll

486 A North African Leather Bound Sword

manufactured by WF Stanley. $850 - $1,100

488 A Good Victorian Rosewood Cased Drawing Set

with large bowl and cast figural handle. London 1908. H.185mm. $100 - $150

the leather grip terminating in a brass knob finial. In a patinated leather sheath. H.760mm. $200 -$250

487 A Cased Theodolite and Stand

479 An Ornate 17th Century Style Apostle Spoon

with long hair, silver earrings, and leather clothing studded with beads and cowrie shells. H.360mm. $150 - $200

mostly complete, with high quality instruments including compass, dividers, parallel ivory ruler, ivory scale rules etc. London undated, maker Newton & Co. Box H.40mm W.300mm D.130mm. $200 - $300

489 A Georgian Mahogany Tea Caddy

New Zealand Interest & Miscellaneous 480 An Interesting Collection of Twelve Royal Navy Shooting Medals

all won by JJ Duddin and dated 1961-1962. One medal sterling silver, the others silver plated or bronze. $50 - $100

490 A Remarkable and Very Rare Early 20th Century Louis Vuitton Trunk

481 An Edward VII British Infantry Officerâ&#x20AC;&#x2122;s Sword

the 1896 pattern German made sword has an engraved blade and is in excellent condition. With plated scabbard and rayskin handle. Maker Weyersberg, Kirschbaum & Co. Blade H.840mm. $600 - $800

482 A Large Polished Elephant Tusk

on golden wire stand. W.960mm. Weight 13.876kg. $2,000 - $3,000 see illustration page 126

483 A Kenyan Pair of Iron and Wood Throwing Spears

H.2550mm. $80 - $150

484 A Good Liberian Carved Wooden Ancestral Mask

with wild dog motif, and shell and fibre decoration. H.680mm. $100 - $150

of rectangular shape, with brass escutcheon and drop handle, the interior fitted with three original tin lined boxes. Circa 1800. W.240mm. $250 - $350

of narrow form, made expressly to hold a set of the Encyclopaedia Britannica. Printed with LV and rosette pattern. With reinforced edges, and brass corners and fittings. Note: wear commensurate with age. H.330mm W.330mm. $2,500 - $3,500 see illustration page 126

491 A Good Louis Vuitton Suitcase

All over printed with LV and rosette pattern. With brass corners and fittings, reinforced leather edges, and fitted interior. Numbered 934749. H.490mm W.610mm. $2,800 - $3,200 see illustration page 126

492 A Good Louis Vuitton Suitcase

All over printed with LV and rosette pattern. With brass corners and fittings, reinforced leather edges, and fitted interior. Numbered 984669. H.420mm W.610mm. $2,800 - $3,200 see illustration page 126

493 A Childâ&#x20AC;&#x2122;s Snow Sled

of wood and metal, painted red. $80 - $100

antiques and modern design 133

494 An Impressive Large Carved Crucifix

in original paint finish. Circa 1900. H.1310mm W.880mm. $2,000 - $2,500

495 A Tall Carved and Painted Wooden Christ Figure

probably early 20th century. He stands with arms in a gesture of blessing and has inlaid glass eyes. H.650mm. $200 - $300

504 A Thai Giltwood Seated Buddha Figure

505 A Mid Victorian Gilt and Lacquered Octagonal Shaped Work Box

496 An Old Carved and Painted Wooden Madonna and Child

French-Vietnamese. H.480mm. $200 - $300

497 An Old Carved and Painted Wooden Madonna and Child

French-Vietnamese. Note: some limb damage. H.560mm. $250 - $350

498 An Old Large Painted Plaster Modelled Saint Francis Figure

with the Christ Child standing on his prayer book. FrenchVietnamese. Note: minor chips and faults. H.920mm. $800 - $1,200

499 An Old Well Carved and Painted Wooden Female Saint Figure

French-Vietnamese, with hands in a gesture of prayer. H.530mm. $200 - $300

500 A Late 19th Century Carved and Painted Priest Figure

the bearded priest with inlaid glass eyes, standing with a bible in his left hand. H.400mm. $200 - $300

501 An Old Carved and Painted Wooden Priest Figure

the bearded priest standing with red cloak and hat. H.320mm. $280 - $350

502 An Old Carved Wooden Priest Figure

with a bowl and bible, standing on a globe plinth. Some paint traces showing. H.300mm. $280 - $350

503 A Well Carved 19th Century Bone Saint Head

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with painted beard and inlaid glass eyes. H.60mm. $50 - $100

elevated on a shaped and stepped base. Note: some small losses. H.720mm. $250 - $350

with Chinoiserie gilt and painted figure decoration, and brass carrying handles, the interior with fitted slides, carved bone spindles, bobbins and various other sewing implements. Note: some lacquer damage to drawer. W.330mm. $200 - $300

506 An Interesting Collection of Early 20th Century Surgical Equipment

including a cased syringe pump set with all tubes and ivory nozzles. Together with Certificates of Merit for PH Mules, related ephemera from the University of Edinburgh, and various menus and Cunard Line cards. $300 - $500 see illustration page 123

507 A Set of Nine Levis Perforated Metallic Splints for Adults and Children by J Ellwood Lee & Co

H.60mm - 380mm. $200 - $300 see illustration page 123

508 An Old Oak Stethoscope

with tapered hollow trumpet tube, signed P Mules. H.165mm. $80 - $150

509 A Wooden Surgical Box by Burroughs, Wellcome & Co

with an assortment of instruments including clamps, probes, scalpels, saws, scissors etc. Over fifty items. $200 - $300

510 A Collection of Eight Small Boxes of Surgical Apparatus

including scalpels, knives, phials, bottles, tubes etc. $200 - $300

511 An Old Oak Cased Set of Eleven Silver Hollow Metal Surgical Probes

with pull out wire interiors. $200 - $300

512 Two Metal Cased Sets of Shaped Surgical Apparatus

of various sizes. $200 - $300

513 Seven Old Hypodermic Syringes

of various sizes. Six in metal cases. $200 - $300

514 A Good Unmarked Solid 18ct Gold Riverton Racing Club Cup with Cover

on a turned wooden base. Inscribed for the Easter Meeting and won by horse Wingatui. Cover with horse and jockey finial. The bowl sits on three crossed riding crops rising from a circular domed base. Housed in a fitted blue velvet lined oak case. Circa 1927. Sold with sepia photograph of Wingatui in oak frame stand with silver riding plate and horse shoe mounted. Cup H.300mm. Cup and cover weight 488g. $12,000 - $18,000 see illustration page 127

523 A Large Granite Glazed Stoneware Garden Urn

524 A Small Terracotta Garden Urn and Stand by G Boyd

with painted Kia-Ora decoration. H.190mm. $50 - $100 see illustration page 127

carrying saddle and crop. H.1020mm. $250 - $350

517 An Amusing Equestrian Carving

in the form of a horse’s hoof supporting four horses’ heads. Note: some damage. H.390mm. $120 - $180 see illustration page 127

518 PJ Mene, Hunting Dog Small Group

gilt bronze with impressed marks. Supported on a shaped red marble base. Note: old faults to base. H.65mm W.150mm D.70mm. $500 - $600

519 A European 19th Century Well Carved Wooden Figure of a Young Shepherd with Goat

in the classical style, standing on a black lacquer plinth. H.190mm. $200 - $300

H.160mm. $200 - $300

521 A Sperm Whale Tooth

H.110mm. $80 - $120

522 Two Small Sperm Whale Teeth

H.100mm. $80 - $120

the tall cylindrical forms modelled after tree trunks with fern leaves. Provenance: Kereone Station. Note: some faults. H.420mm. $250 - $400

529 A Carder Bros Urn Top

with painted decoration. Note: handles absent. H.240mm. $100 - $150

530 Two Glazed Field Pipes

the squat circular form modelled after a tree trunk with fern leaves. Provenance: Kereone Station. Note: some faults. H.152mm Dia.252mm. $120 - $200

528 A Pair of Drury Pottery & Fireclay Works Small Planters

520 A Large Sperm Whale Tooth

of salt glazed earthenware in tree trunk form. Circa 1900. Note: some chip damage. H.240mm. $100 - $150

527 A Drury Pottery & Fireclay Works Fern Pot

of salt glazed earthenware in tree trunk form. Circa 1900. Note: crack. H.240mm. $100 - $150

526 A New Zealand Pottery Plant Holder and Stand

516 A Decorative Carved and Painted Wooden Jockey

Note: handles absent, damage to base. H.340mm. $400 - $600

525 A New Zealand Pottery Plant Holder and Stand

515 A Kauri Shield Mounted with a Horse Shoe

with classical egg and dart decoration. On square sectioned base with laurel wreath decoration. H.1160mm. $500 - $800 see illustration page 123

one New Zealand Brick & Tile Co, the other Carder Bros. H.660mm. $180 - $250

531 A Collection of Seven Early New Zealand Studio Pottery Items by Elizabeth Matheson

comprising two jugs, four vases and an ashtray, all with simple glaze and with Matheson’s insignia incised. Plus another of unknown origin. Note: small chip. $80 - $150

antiques and modern design 135

532 An Interesting New Zealand Salt Fired Pottery Item by Anja Chappell, Wife of John Chappell

fired in the kiln of Mirek Smisek. $40 - $60

533 A Large Ovoid Pot by Len Castle

542 An Old Lithographic Reproduction of A Good Joke by CF Goldie

543 An Old Lithographic Reproduction of A Good Joke by CF Goldie

with rust coloured glaze breaking over volcanic blue, the neck with four pierced holes. H.380mm W.320mm. $900 - $1,200

534 A Good Large Stoneware Bowl by Len Castle

of rounded square form. Rolled edges with heavy black glaze and centre with blue and brown mottled effect. Impressed mark. W.380mm. $600 - $800

535 A Decorative Large Shallow Bowl by Zeke Wolf

with a bold painted and incised Strelitzia floral design. Dia.430mm. $200 - $300 see illustration page 116

536 A Decorative Large Shallow Bowl by Zeke Wolf

with a bold painted and incised pattern of roses on a cobalt ground. Dia.390mm. $200 - $300 see illustration page 116

537 A Large Pottery Circular Shallow Bowl by Zeke Wolf

featuring oranges on a cobalt blue ground. Dia.380mm. $200 - $300 see illustration page 116

538 A Large Unglazed Terracotta Shallow Dish by Zeke Wolf

with incised five fish pattern. Dia.395mm. $200 - $300 see illustration page 116

539 An Unusual and Fabulous Folk Art Model of a Windmill Festooned with Local Sea Shells

including pieces of paua. Note: minor damage. H.370mm. $150 - $250

framed as a tray in mahogany and rosewood, with four bun feet. Circa 1850. W.610mm. $100 - $150

541 Two New Zealand Late 19th Century Christmas Cards by Willis, Wanganui

136

with lithographic prints, one of Rangitoto, Auckland, the other of a karaka specimen. Both in gilt frames. Images H.110mm W.140mm. $80 - $100

in a parquetry rewarewa frame with carved relief paddle decoration. H.440mm W.370mm. $150 - $200

544 A Railway Studios Advertising Poster

for Club Coffee, W Gregg & Co Ltd, Dunedin. Note: some damage to border. H.1010mm W.760mm. $350 - $500 see illustration page 116

545 A Paul Dainty Corporation Poster for the Rolling Stones Australian Tour, 1973

framed. Note: fold lines. H.970mm W.750mm. $800 - $1,000 see illustration page 116

Furniture, Rugs & Decorator items 546 HJ Yeend King, River Scene with Figure

oil on canvas, in elaborate gilt frame. Signed. 19th century. H.340mm W.390mm. $1,500 - $2,000

547 Artist Unknown, Farmer and Cattle

oil on canvas. H.350mm W.420mm. $250 - $350

548 Artist Unknown, Portrait of Mrs Eleanor Gwynne

after Sir Peter Lely. Oil on canvas, in gilt grame. Victorian. H.760mm W.630mm. $800 - $1,000

549 Artist Unknown, Rural Scene

540 A Victorian Intricate Beadwork Panel

in a handsome oak frame with carved relief paddle decoration. H.440mm W.370mm. $150 - $200

in Landseer style. Oil on canvas, in heavy gilt frame. Victorian. H.370mm W.440mm. $400 - $600

550 Fred G Cotman, English Village

watercolour sketch, in gilt frame. Early 20th century. H.280mm W.420mm. $200 - $300

551 GA Thorley, Portrait of Hugh le Mesurier

three quarter format. Oil on canvas. Signed by artist and dated 1944. H.990mm W.900mm. $500 - $700

552 Three Mid 19th Century Coloured Engravings of Various Views of Hong Kong and Kowloon

with gouache and watercolour highlights, in original gilt frame. Inscription verso and date 1848. H.430mm W.330mm. $200 - $300

554 A Victorian Two Page Engraving of Blenheim Castle

in modern metal frame mount. H.530mm W.800mm. $150 - $200

555 An Italian 18th Century Print of a Male Statue Figure in Erotic Pose

in old maple and gilt frame. H.350mm W.240mm. $60 - $100

in typical defiant standing pose. Original frame and label. Circa 1820. Image H.370mm W.280mm. $150 - $200

557 A French Early 19th Century Engraving of Blücher of Waterloo Fame by J Swaine

H.300mm W.250mm. $50 - $100

558 An Ornate Italian Carved and Gilt Wooden Picture Frame

the border with eight glass panels finely decorated with gold leaf scrolls and inset over a simulated blue foil ground. H.320mm W.270mm. $200 - $300

559 A French-Vietnamese Old Carved and Pierced Candle Holder

with gilt and painted red and black decoration. H.460mm. $50 - 80

560 Two Similar Louis XVI Period Tripod Pricket Candlesticks

steel grey painted finish with gilt moulded embellishments. H.970mm & 890mm. $750 - $1,000

with iron lock and carved front and side panels, the front with initials TH and date 1728 (in fact, probably 19th century). The later stand with a frieze drawer on turned legs and stretchers. Note: some restoration called for. H.765mm W.630mm D.490mm. $300 - $400

563 A Swedish Early 19th Century Small Mirror

in gilt and painted wood. Note: some faults. H.530mm W.276mm. $300 - $400

564 A Swedish Early 19th Century Small Mirror

in gilt and painted wood, finished in royal blue. H.540mm W.275mm. $300 - $400

565 A Good French Mid 19th Century Mantel Clock

556 A French 19th Century Engraving of Napoleon

of simple neoclassical design, in traditional paint finish. H.1070mm W.1210mm. $250 - $350

562 An Oak Book or Bible Box on Stand

all framed together. London 1847. H.920mm W.1030mm. $250 - $350

553 A Mid 19th Century Portrait Drawing of a Young Girl Seated on a Couch

561 A Pair of French Directoire Bed Ends

with variegated marble base supporting four matching columns and top. Gilt brass finials, spandrels, column caps etc. Sunburst pendulum. French barrel movement stamped Médaille d’Or, F Martin. Paris 1900. H.380mm. $800 - $1,000

566 A French 19th Century Ebonised Mantel Clock

in cast spelter, with female artist figure, griffins, and relief swags and scrolls. Four cast paw feet. Barrel movement by Japy Freres. Note: running, but in need of adjustment and some restoration. H.420mm W.400mm. $250 - $350

567 An Unusual American Late 19th Century Wall Clock

in walnut, with nautical themed decoration of raised carved rope border and twin dolphin column base. H.690mm. $400 - $600

568 A Late 19th Century Hanging Decorative Hall Mirror

with incised and ebonised gilt patterned frame, and gilt brass fitting to hold a gas bracket. The arched mirror decorated with a border of convex reducing roundels. H.690mm W.370mm. $100 - $200

antiques and modern design 137

569 A Victorian Pair of Walnut Balloon Back Chairs

with carved legs on a platform base, and a single drawer to the shaped front. The upper section with two cupboards flanking two drawers, and carved upstands supporting a mirror. H.1770mm W.1240mm D.590mm. $600 - $800

571 A European Large Rustic Pine Tub

with natural wood bindings. H.710mm Dia.760mm. $200 - $300

572 An Early 19th Century Mahogany Fold Over Card Table

with crossbanded edging, the frieze with ebonised inlaid detail. On replaced tapering legs with spade feet. H.750mm W.900mm D.440mm. $800 - $1,200 see illustration page 131

573 A Regency Rosewood Fold Over Card Table

with demilune support on platform base, and four carved sabre legs on brass casters. Note: some faults. H.730mm W.900mm D.450mm. $1,000 - $1,500 see illustration page 131

574 An Impressive Sheraton Revival Rosewood Mirror Back Sideboard

the upper section with a central arched and bevelled mirror below a mirror and shelf, flanked by two smaller mirrors and two shelves. The shaped base with extensively inlaid bow front cupboards flanked by small drawers, bevelled glass mirrors and open shelves. H.2600mm W.1530mm D.490mm. $1,800 - $2,500

575 A 19th Century Mahogany Wine Table

with shaped petit point top. $100 - $150

138

in elm, with shaped back, top rail, and stretchered base, Ming style. H.1160mm. $600 - $1,000

incorporating display shelves, drawers and sliding doors. With pierced and carved decoration. Early 20th century. H.980mm W.930mm D.930mm. $300 - $500

580 A Late Victorian Davenport

in walnut, with stringing and leather inset top. H.840mm W.530mm D.540mm. $600 - $900

581 An Early 19th Century Mahogany Sofa Table

crossbanded with satinwood inlays, with two brass handled drawers, and reeded legs with brass caps and casters. When open H.720mm W.1530mm D.710mm. $2,000 - $3,000 see illustration page 130

582 A Good Late 18th Century Pembroke Table in the Manner of Hepplewhite

opening to an oval. With restrained inlaid detail, square sectioned tapered legs, and single frieze drawer. Note: slight damage to top. When open H.710mm W.1030mm D.800mm. $800 - $1,500 see illustration page 130

583 An Early 19th Century Oak Longcase Clock

with an inlay of Britannia to the door. The arched top painted dial with a couple in a landscape and stylised spandrels, the eight day movement striking a bell. The dial named T Cooke. H. 2340mm W.520mm D.270mm. $2,800 - $3,200

584 A Dark Oak Coffer on Stand

on turned and stretchered supports. The coffer with three carved panels and highly decorated carved and moulded borders. The stand incorporating two drawers of an earlier date. H.1250mm W.1410mm D.520mm. $3,000 - $4,000

585 A Victorian Mahogany Breakfront Sideboard

577 A Chinese Pair of Chairs

extensively carved with dragon motifs, on substantial ball and claw feet. Circa 1900. Note: some stabilisation required. H.1100mm W.1300mm D.600mm. $1,000 - $1,500 see illustration page 131

579 An Oriental Cupboard

with simple turned pedestal on tripod base. Note: some veneer losses. H.700mm Dia.400mm. $200 - $400

576 A Victorian Walnut Footstool

with cabriole legs, and carved floral decoration to the back. $150 - $250

570 A Victorian Mahogany Dressing Table

578 A Chinese Ebonised Sofa

with four arched panelled doors, single drawer, and upstand back with carved edging and central crest. H.1570mm W.1670mm D.540mm. $800 - $1,500

586 An Attractive Georgian Style Cheval Mirror

of oval shape, the serpentine front with three drawers. H.620mm W.470mm. $180 - $300

587 A Victorian Mahogany Cheval Mirror

of oval shape, with carved supports, two stud boxes to the shaped base, and reeded feet. H.810mm W.730mm. $200 - $400

588 A Mahogany Dumb Waiter

with three shelves on turned supports, shaped frieze with two drawers to the base, and porcelain casters. Circa 1870. H.1200mm W.1120mm D.470mm. $700 - $1,000 see illustration page 131

589 A Victorian Walnut Credenza

with foliate carving and white marble top. The shaped front with three mirror panel doors, the mirrored back with carved cresting. Note: small fault to top. H.1770mm W.1470mm D.470mm. $1,200 - $1,600

590 A Late Victorian Walnut Work Table

with ebonised inlay, single drawer above a well, four turned and carved supports, and stretcher base. H.690mm W.580mm D.400mm. $500 - $700

591 An Oak Chest on Stand

the upper section with panelled cupboard, the base with two panelled drawers. A Victorian marriage of Georgian pieces. H.1260mm W.1120mm D.640mm. $2,000 - $3,000

596 A Mid 19th Century Pole Screen

597 A 19th Century European Pine Settle

opening to an oval, with single frieze drawer, on fine tapering legs. H.720mm W.890mm D.750mm. $400 - $600

593 A Interesting Walnut Sewing Table

with inlaid back and upholstered seat. H.970mm. $120 - $180 see illustration page 131

floral upholstered, with carved walnut cabriole legs. H.1100mm W.900mm. $400 - $600

the top with a well to the back, and wooden clamps to the front and one end. H.780mm W.1930mm D.840mm. $1,000 - $1,500

600 A Victorian Mahogany Chest of Four Drawers

with turned handles, on bun feet. H.950mm W.1000mm D.500mm. $400 - $600

601 A Victorian Mahogany Bow Front Chest of Five Cock Beaded Drawers

with turned handles, on splayed feet. H.1040mm W.1020mm D.500mm. $600 - $800

602 A Good Mid 19th Century Secretaire Chest

the fall front fitted secretaire drawer and single adjacent drawer above three graduated full drawers. Three hidden drawers to the moulded frieze. Quarter roundel decoration to the corners and box wood stringing to drawer fronts. H.1160mm W.1250mm D.590mm. $2,000 - $3,000

603 A Bold and Large Oak Cupboard

probably constructed from old timbers. The drawers initialled CW and dated 1790. The two broad cupboard doors each with two panels. The front with extensive flat carved decoration. Standing on large bun feet. H.960mm W.1770mm D.640mm. $800 - $1,200

604 An Antique Oak and Pine Corner Cupboard

595 A Georgian Style Wingback Armchair

with three panelled front, iron hinges to the lid, and dark stain finish. H.660mm W.1660mm D.540mm. $400 - $600

599 A European Carpenterâ&#x20AC;&#x2122;s Bench

the octagonal body with lift up lid revealing original fitted interior. Well supported on an ornately carved tripod base. Circa 1860. H.760mm Dia.510mm. $1,200 - $1,800 see illustration page 131

594 An Edwardian Side Chair

opening to a single bed, with shaped back and arms. H.900mm W.580mm D.1980mm. $400 - $600

598 A European Pine Coffer

592 A Georgian Pembroke Mahogany Table

the Berlin woolwork panel depicting an eagle, the tripod base with carved classical decoration. H.1650mm. $400 - $600

the two oak panelled doors opening to an interior with two fitted shelves. Note: some replacement brass hardware. H.1255mm W.1005mm D.710mm. $400 - $500

antiques and modern design 139

605 A Country Pine Single Bed

with shaped head and tail boards, and turned knobs and legs. W.960mm. $300 - $400

606 A Country Pine Three Quarter Bed

with arched head and tail boards, and turned knobs and legs. W.1210mm. $300 - $400

607 An Antique Rustic Pine Milking Stool

H.510mm. $150 - $200

608 A Rustic Butcherâ&#x20AC;&#x2122;s Block

fashioned from a tree trunk, supported on three stretchered legs. H.820mm Dia.720mm. $500 - $700

609 An Interesting Edwardian Side Chair

in mahogany. H.930mm. $100 - $150 see illustration page 131

610 A 19th Century Mahogany Card Table

616 A Vintage Caucasian Rug

617 A Finely Knotted Rug

612 An Ornate Continental Wrought Iron Fireplace Front

H.1180mm W.1000mm. $200 - $300

613 An Exceptional Gothic Revival Table in Kauri and Rimu

the panelled top with a shaped border, the three substantial legs with chamfered gothic detailing. H.770mm W.2860mm D.1020mm. $3,500 - $6,000 see illustration page 130

614 A Hand Knotted Tabriz Pictorial Rug

H.9700mm W.1450mm. $150 - $250

615 A Vintage Hand Knotted Runner

140

with traditional design on blue ground. Note: worn edge. H.2020mm W.1000mm. $200 - $300

in greens and pale pink. H.2260mm W.1220mm. $150 - $250

621 A Heriz Carpet

the turned and carved pedestal base with three scroll legs and white porcelain casters. Dia.1270mm. $700 - $900

in reds and blue. H.1500mm W.1050mm. $200 - $400

620 A Hand Knotted Foliate Design Rug

611 A Victorian Mahogany Circular Supper Table

with traditional rust red ground. H.1640mm W.1050mm. $120 - $180

619 A Finely Knotted Traditional Floral Motif Rug

with traditional Persian design in muted colours. H.1670mm W.1040mm. $300 - $400

618 A Hand Knotted Baluch Rug

the fold over top on a turned and reeded column terminating in four stylised cabriole legs. H.760mm W.920mm D.920mm. $900 - $1,300 see illustration page 131

in muted reds and blues. Note: showing wear. H.1980mm W.1370mm. $100 - $200

in muted pinks and blues. H.2820mm W.2050mm. $800 - $1,200

622 A Fine Afghan Carpet

with central medallion in beiges, reds and blues. H.3000mm W.2400mm. $1,000 - $2,000

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

New Zealand United Kingdom / europe

$120 Australia / Pacific $350 Usa / asia / other

Include fine wine catalogue at no extra cost

$220 $328

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

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Specific areas of collecting interest

Payment by Cheque Amount of cheque enclosed

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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

310

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

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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.

Catalogue information 141

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 her/ 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. Buyer’s Premium. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 12.5% for sales of Important Works of Art and Jewellery & Watches and a buyer’s premium of 15% for sales of and Decorative Arts (unless otherwise stated), together with GST on such premiums. 5. Payment. Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days. Payment is by cash, bank cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted. 6. Lots sold as Viewed. All lots are sold as viewed and with all erros in description, faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors in description or for the genuineness or authenticity of any lot or for any fault or defect in it. No warranty whatsoever is made. Buyers proceed upon their own judgement. Buyers shall be deemed to have inspected the lots, or to have made enquiries to their complete satisfaction, prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects. 7. Webb’s Act as Agents. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason. 8. Collection. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to removal of any lot. 9. Licences. Buyers who purchase an item which falls within the provisions of the Protected Objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act. 10. Failure to make Payment. If a purchaser fails either to pay for or take away any lot, Webb’s shall without further notice to the purchaser, at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies: A. To issue proceeding against the purchaser for damages for breach of contract. B. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction.

142

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 its vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any monies remain unpaid under this contract. H. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of, or restriction placed upon, such payment by the purchaser whether expressed or implied. I. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased is held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webb’s as bailee for the vendor, risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot, but shall not be entitled to any compensation for any consequent losses howsoever arising. 11. Bidders deemed Principals. All bidders shall be held personally and solely liable for all obligations arising from any bid, including both ‘telephone’ and ‘absentee’ bids. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding. 12. ‘Subject Bids’. Where the highest bid is below the reserve and the auctioneer declares a sale to be ‘subject to vendor’s consent’ or words to that effect, the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot. 13. SALES POST AUCTION OR BY PRIVATE TREATY. The above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under which the sale is negotiated. 14. condition of Items. Condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause six. Webb’s are pleased to provide intending buyers with condition reports on any lots.

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: Please refer to full Conditions of Sale for Buyers printed on the reverse of this page and displayed in the saleroom. Registration: All intending buyers must complete a bidding form available from the reception desk. 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% or 15%, plus GST on such 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 (for example, the auctioneer takes a bid from you at a higher level than you intend, or you realise that you have bid on the wrong lot), call out to the auctioneer immediately so that the bidding can be adjusted. Waiting until after the hammer falls is too late. If your bid is the highest and the lot is knocked down to you then you have entered a binding obligation to pay for that lot. 2. Sales Subject to Vendor’s Consent Where your bid is the highest but still below the reserve the auctioneer may declare you to be the “buyer subject to Vendor’s consent”. This means that your bid is held as binding and will be communicated to the Vendor at the earliest opportunity. If the vendor accepts then there is a contractual obligation for you to pay for the lot. If the vendor does not accept you are released from any obligation however you will have first right to negotiate with the vendor through Webb’s until an agreement is reached and Webb’s will not present other offers to the vendor until your negotiations are ended. 3. Absentee Bids Webb’s will endeavour to ensure that your bidding instructions are executed but accept no responsibility or liability for failure to do so. Lots will be bought as favourably as is allowed by bidding in the sale room and any reserve imposed by the vendor. Please note that Webb’s cannot guarantee that another bidder will not be successful at your limit if in the course of competitive bidding someone else bids your limit first. Absentee bids are accepted by written instruction which can be sent by fax (e-mailed absentee bids are not accepted) up to l hour before the commencement of the sale. Absentee bids will be executed on the following basis: If your bid limit is equal to or above a reserve the auctioneer may open the bidding at reserve on your behalf and will bid thereafter only in response to competition for the lot.If your bid limit is below a reserve the auctioneer may open the bidding at your limit and if there are no further bids in the room may sell to you “subject to vendor’s consent”. In the absence of a reserve the auctioneer may exercise your bid in advance of any opening bid or may open the bidding on your behalf at the auctioneers estimate at the auctioneer’s sole discretion.

4. Telephone Bids The same conditions as outlined previously apply to telephone bidders. Webb’s will telephone the number you have given several minutes before the lot you have requested 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. 6. Condition Reports Webb’s staff will provide condition reports for out of Auckland buyers. However, please note that clause six of the Conditions of Sale for Buyers will still apply despite the obtaining of a condition report. 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. Personal and private cheques will be accepted but must be cleared before removal of goods. 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 Services Webb’s provide free market appraisals on Monday mornings from 9am-1pm or at other times by appointment. Webb’s appraisers will come to your home to view and appraise larger items and collections. Webb’s also 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.

Catalogue information 143

PRICES REALISED SALE 309 (23- 25 FEB 2010) A2 Art, Fine Jewellery and Watches, Antiques and Decorative Arts LOT 1 2 3 4 5 6 7 8 9 10 11 12 13 15 16 17 19 21 22 23 25 32 37 38 40 41 42 44 45 47 49 50 53 54 55 56 57 62 63 66 67 69 71 72 74 75 78 79 80 81 82 83 84 85 88 95 144

$ 10,000 7,000 2,000 900 2,400 3,200 1,700 4,000 4,000 3,500 4,000 4,500 7,000 1,000 1,900 3,700 1,500 2,400 2,800 1,600 900 3,250 1,400 2,500 400 500 400 1,500 600 500 1,500 5,000 2,000 500 5,900 2,200 1,100 1,400 2,300 1,900 1,400 1,500 2,600 2,200 300 4,000 1,800 400 700 500 1,000 250 5,000 500 625 4,000

LOT 96 97 98 108 109 110 112 113 120 127 129 132 137 138 140 146 149 150 151 155 158 163 164 165 166 169 171 172 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 225 226 227 228

$ 1,700 800 1,200 1,400 200 200 1,400 400 900 4,700 2,000 500 350 4,900 1,400 700 7,850 1,000 1,000 1,700 3,000 350 450 1,500 1,500 650 300 3,200 1,900 375 150 880 1,500 160 375 1,025 1,700 950 1,300 180 30 400 350 230 675 700 450 1,700 2,500 240 1,600 140 120 140 170 1,900

LOT 229 230 231 232 233 236 237 238 239 241 242 243 244 245 246 247 248 249 250 251 252 253 255 256 257 261 262 263 264 266 268 269 270 271 272 273 274 275 277 278 279 280 281 282 283 285 286 287 288 290 291 292 293 294 295 296

$ 275 200 100 235 225 105 220 190 80 300 1,300 1,600 30 160 1,300 2,300 550 460 200 120 80 350 300 1,300 3,500 2,000 450 240 450 350 1,800 100 100 375 100 400 500 600 350 750 80 175 80 200 375 60 350 425 70 40 210 250 325 250 375 500

LOT 297 298 299 300 301 302 303 305 308 309 310 311 312 313 315 316 317 318 319 320 321 323 325 326 327 328 329 330 332 333 334 335 336 337 338 339 340 342 343 344 345 346 347 348 349 350 352 353 354 355 357 358 359 361 362 363

$ 550 140 50 270 400 190 100 800 120 70 300 450 60 450 30 425 375 225 40 120 130 260 220 60 100 180 225 200 50 120 425 1,275 750 550 325 300 100 150 300 65 90 160 330 150 75 50 60 50 80 50 40 80 250 120 120 30

LOT 365 368 369 370 371 372 373 374 375 376 379 380 382 383 385 386 387 388 389 390 391 392 393 394 395 396 397 398 401 402 403 404 405 406 408 410 412 413 414 416 417 418 419 420 422 423 424 425 426 427 428 429 430 431 432 433

$ 140 50 10 100 55 50 10 160 170 350 475 275 775 220 65 50 120 600 525 1,500 280 420 100 40 175 120 50 60 120 130 70 310 470 60 45 70 240 420 240 40 30 150 460 10 40 40 90 50 50 40 150 50 90 20 80 20

LOT

434 180 70 435 436 220 437 5 438 20 439 100 440 380 20 441 60 442 170 443 20 445 450 5,750 451 2,900 452 2,600 453 1,400 550 454 455 4,000 456 6,500 457 5,750 340 458 459 1,300 460 3,900 150 461 463 2,750 80 464 466 6,200 469 3,000 350 471 550 472 473 1,600 474 1,900 476 6,250 425 477 200 478 482 1,100 483 2,200 488 1,300 489 2,600 300 491 493 1,300 950 497 500 4,500 501 8,000 505 8,000 506 4,500 507 1,350 400 508 509 1,200 510 1,300 511 7,500 800 513 515 12,000 516 4,500 600 517 518 1,300 950 521

PRICES REALISED SALE 309 (23- 25 FEB 2010) A2 Art, Fine Jewellery and Watches, Antiques and Decorative Arts LOT

LOT

522 1,800 525 800 526 18,000 527 2,000 531 4,000 532 2,450 533 23,000 535 1,600 900 536 537 9,000 540 700 541 1,000 600 542 545 1,500 546 1,350 547 1,800 700 548 549 5,300 300 550 553 2,000 557 2,700 300 558 559 1,000 380 560 500 561 562 2,000 565 7,500 400 567 475 568 575 569 571 2,800 573 3,800 575 2,750 750 576 577 1,800 578 300 579 1,850 125 600 50 601 80 604 605 250 140 606 70 607 608 320 70 609 611 600 150 612 260 613 140 614 130 616 617 40 180 621 280 622 140 623 80 624 85 625

626 627 628 629 630 631 632 633 636 639 641 642 646 647 648 649 650 651 652 653 655 658 659 660 661 662 663 664 665 666 668 669 670 671 672 673 674 675 676 677 678 679 680 681 682 683 684 685 686 687 688 689 691 693 696 697

260 50 40 140 190 90 260 110 300 160 170 90 90 140 220 230 200 30 110 100 100 50 160 130 280 30 140 90 180 170 140 70 70 260 320 360 190 1,075 130 270 140 90 200 10 80 270 60 80 280 280 240 200 275 80 125 100

LOT

700 701 702 707 708 710 712 713 714 715 717 718 719 720 721 723 724 726 729 730 735 736A 738 739 741 743 746 753 754 755 756 761 762 763 764 768 769 771 772 773 775 777 779 782 784 786 787 788 789 790 792 794 795 796 807 810

LOT

80 160 325 800 90 140 750 180 800 400 225 550 650 700 220 380 200 300 350 450 80 450 220 150 175 300 500 275 2,200 1,600 225 850 1,550 800 350 180 150 100 200 150 100 500 275 220 50 45 300 120 320 1,000 200 450 30 175 110 350

811 813 814 816 819 820 821 822 823 824 826 827 828 829 830 832 833 834 835 836 837 838 839 840 843 844 849 854 855 856 857 858 861 866 867 868 869 870 871 872 875 876 877 882 883 884 886 887 888 889 890 891 892 893 894 895

60 225 1,100 50 250 850 2,000 10 30 350 2,200 50 300 750 1,700 500 250 300 200 400 3,000 400 240 375 960 1,000 180 1,600 250 400 400 1,000 600 550 1,200 600 550 275 300 1,400 200 200 550 400 380 300 1,200 650 400 100 650 100 100 1,600 150 600

897 898 899 900 902 903

175 2,000 650 1,000 200 3,500

Catalogue information 145

INDEX OF ARTISTS

Aberhart, Laurence Albrecht, Gretchen Angus, Rita Bambury, Stephen Binney, Don Chair, Panton Chevalier, Nicholas Cotton, Shane

13 54 21, 57 1 7 41, 42, 43 58 31, 34

Dibble, Paul

Ellis, Robert

Fomison, Tony Frizzell, Dick Goldie, Charles Gopas, Rudi Hammond, Bill Harris, Jeffrey Hartigan, Paul Henderson, Louise Hight, Michael

146

23, 29, 53 11, 20, 48 33 72 19, 28, 37 64 45 25 55

Hodgkins, Frances Hotere, Ralph

44 39, 51, 71

Straka, Heather Stringer, Terry

Lough Thompson Sydney

26, 59, 61

Thomson, Elizabeth

Van Der Velden, Petrus

Wealleans, Rohan White, A. Lois Wolfe, Emily Woollaston, Toss Wright, Walter

14 35 40 69 18

Maddox, Allen Maughan, Karl McCahon, Colin McIntyre, Peter Moore-Jones, Horace Mrkusich, Milan

38 67 6, 30, 50, 56 47, 60 63 27, 65

Ngan, Guy

Palmer, Stanley Parekowhai, Michael Peryer, Peter Pule, John

17 15 4 36

Robinson, Peter Robinson, Ann

2 10

Siddell, Peter Smither, Michael Stichbury, Peter Stoddart, Margaret

3 24, 49, 52, 68 9, 16, 22 70

5 8

Bidding Slip For absentee bidders on lots in sale 310 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 Art and Fine Jewellery & Watches, a buyer’s premium of twelve and a half percent (12.5%) and the Decorative Arts sales a buyer’s premium of fifteen percent (15%) will be added to the hammer price and that G.S.T is charged on the premium. On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge.

lot no.

catalogue description

bid*

MR MRS MISS MS (PLEASE CIRCLE) first name

surname/company

home phone

business phone

mobile

facsimilie

postal Address contact name email address

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

* Webb’s will do its 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 Catalogue information 147