Material Culture, August 2023

Programme

Preview Evening

Thursday 27 July 6pm — 8pm

Ben Erren Director of Decorative Arts +64 21 191 9660 ben@webbs.co.nz

Leah Morris Head of Decorative Arts +64 22 574 5699 leah@webbs.co.nz

Florence S. Fournier Specialist, Decorative Arts +64 9 529 5603 florence@webbs.co.nz

Viewing Times

Friday 28 July, 10am — 5pm

Saturday 29 July, 10am — 4pm

Sunday 30 July, 10am — 4pm

Monday 31 July, 10am — 5pm

Tuesday 1 August, 10am — 5pm

Wednesday 2 August, 10am — 5pm

Viewing on Request

Thursday 3 August, 10am — 5pm

Auction

Thursday 3 August 6pm

Charlotte Dippie Administrator , Decorative Arts +64 9 529 5603 decarts@webbs.co.nz

Please note that a number of the pieces in this catalogue have been Y registered under the Protected Objects Act (1975). Under the terms of this act, to purchase any Y Registered item you must be a registered collector.

To become a registered collector, you must apply to the Ministry of Culture and Heritage. For further information on Y registration and registered items in this catalogue, contact our specialist team.

Online Catalogue

Please note: Webb’s has taken every care with attempts to accurately describe and catalogue lots offered in this sale, and all information in this catalogue is up to date at the time of printing. If there are lots you are interested in, we recommend you check the online listing thoroughly for any unforeseen changes made after publication. If you have any questions about the cataloguing information, please reach out to our specialist team and we will be happy to answer any queries for you.

147 A Chiefly Taiaha, Aotearoa

Decorated with dog-tooth notching and triple heihei lines spiralling covering the full length of the staff. The waha and arero are carved in a similar style with additional koru to the forehead. Multiple eyes are found along the body and at the striking end along with various motifs. L1400 W64 D25mm, on stand H1425mm

est $12,000 — $15,000

103 A Patu Aruhe, Aotearoa

Large early fernroot beater. This patu aruhe is a fine example with a bulbous body, slender handle, and smaller bulb terminating at the base of the handle. Produced from hardwood, patu aruhe were employed to process the edible flesh from the rauaruhe or bracken fern. This example would have been stored in a swamp between use to prevent it from rotting or falling into enemy hands. Swamp storage has lead to a rich dark and varied patina that covers the entire piece. Presented on a museum grade stand. Pounder H330 W90mm, on stand H290 D100mm

est $800 — $1,200

87 A Large Hei Tiki, Aotearoa

Superb early Māori pounamu tiki of chiefly proportions. This hei tiki displays a masterful level of workmanship, deep inset eyes, head tilted aggressively to the left and protruding ribcage. A matt-like patina envelops the taonga that has been worked from dark green pounamu. The style of this tiki suggests that it was constructed from an early adze that had probably reached the end of its working life with its straight sides and slight taper to legs. Some Māori believe the tiki to represent the first man created by the atua Tāne. This large rare example with well worn countersunk suspension hole is presented on a museum grade stand. Tiki H110 W60 D15mm, on stand H150mm

est $18,000 — $28,000

72 A Rare Kahu Kiwi Cloak, Aotearoa

This kiwi feather cloak is made from muka fibre that has been painstakingly woven by hand in the single-pair twinning technique. The 30mm border to each side ends of this cloak features black and red wool threads woven in a diamond pattern. The upper edge of the cloak has a black and red wool twisted detail. The lower edge of the cloak has remnants of a black dyed muka tāniko pattern, possibly a niho taniwha design. The feathers have been woven individually in to the muka in rows approximately 10mm apart. There are some small sections of losses to the feathers, but an overall lush density remains intact. A later addition to the cloak is a rich purple brocade fabric sewn to the interior of the cloak. This is likely an addition by a previous custodian to protect the muka from stress. 1090 x 1300mm

est $30,000 — $50,000

41 A Heru Māpara, Aotearoa

An exceptionally rare ornamental heru māpara made from wood and fine flax thread. 14 wooden teeth are expertly lashed together in a manner similar to how fish-traps are constructed. Heru māpara are the epitome of Māori weaving and are scarcely seen outside of institutional collections. This example is constructed with two robust side poles that flank the inner, more fragile teeth, fine flax binding and richly patinated through use and age. Presented on a custom museum stand. Heru māpara H100 W35 D5mm, on stand H150 D40mm

est $8,000 — $13,000

102 An 1837 New Testament Bible in Te Reo

A rare early missionary New Zealand printed bible. Teaching Māori to write began in 1816 and within two generations over 80% of Māori were literate in their own language. In 1834, under the direction of William Colenso, a printing press was setup at the mission in the Bay of Islands. Colenso began producing various biblical texts in Māori and by 1837 the entire New Testament was printed. This partial bound publication represents a rare surviving example from the early Mission Press at Paihia. Still bound in its coarse mission school cloth binding, this text contains the book of John, Acts and Romans. Some damage to pages 121/122, bookplate to frontage for Guy N. Morris. Presented on a museum grade stand. H210 W140, on stand H230mm

est $1,000 — $1,500

122 A Mutu Kākā, Aotearoa

Early 19th century bird snare perch in orthodox form. Made from a single piece of wood, this robust example has been left largely undecorated. Mutu kākā were used primarily in hunting parrots which were an important food source to early Māori. Native birds, such as kererē, kākā, and tūī were greatly valued by the Māori as sources of food, bones for tools, feathers for prestigious ornaments such as cloaks, or pets, hence bird catching was considered as a revered activity. The mutu kākā, or bird snare perch, lured birds by way of a looped snare connected to the device, attached to a tree branch and baited with berries. When a bird alighted on the perch, the looped snare was tugged, trapping the bird against the upright and preventing it from flying away. H240 W45 D310mm, on stand H250mm

est $1,000 — $2,000

116 A Whāriki, Aotearoa

Supurb surving example of an intricate whāriki (woven mat). Produced from kiekie and pīngao leaf, this mat features a stunning display of raranga patterns contrasted in dyed and natural fibres. This whāriki is reminiscent of works by the famed Te Arawa weavers of the 19th century held in institutional collections. Mounted to a steel frame with magnets. Whāriki 2700 x 1560mm

est $3,000 — $5,000

A cane structure with twisted cord bush string covering. Coloured with black, red, and white pigments. Cassowary feather decorations and cowrie shell eyes. H480 W310 D940mm

est $400 — $600

Outrigger canoe were used for fishing and for travelling short distances between islands. They are made with a dug-out wood hull which was attached to its outrigger by a series of cross-beams that provided support for a deck. This model features a palm woven sail that is decorated with chicken feathers. H470 W50 D490mm

est $150 — $300

Circa 1994. Made from ponderosa pine and raffia. H220 D450mm

est $400 — $800

22 A Sepik Region Basketry Pig, Papua New Guinea

20 A Model of an Outrigger Canoe, Samoa

10 A Pine Needle Basket by Luwana Wanaisie, Oregon

A Mother of Pearl Inlaid Crucifix, Solomon Islands

Carved from wood. The crucifix is raised on four stacked pieces of wood with two small support arches to the base of the cross. Decorative mother of pearl inlay to the front and sides of the cross and base. Some repair work to the right arm of the cross where it has broken off. The back is supported by a brass panel. H380 W195 D60mm

est $200 — $400

77 A Large and Impressive Storyboard, Papua New Guinea

Storyboards are used as tools for social memory; they record an event through their images. The storyboard depicts a village scene with many people and native flora and fauna. 1300 x 2585mm

est $1,000 — $2,000

19th century. A circular form with relief that references kapkap and figures evocative of the fretwork seen in barava. The front features four figures around the circular form, all touching at the feet. The reverse features two small radiating forms, possibly handles. H390 D14mm

est $600 — $700

65 A Stone Plaque/Shield, Western Provence, Solomon Islands

CHRIS CHARTERIS untitled

1999, Aotearoa. Pounamu, gilt, and rope cord. Signed and dated to fastening. This breastplate comprises two pieces of pounamu in different shades of green, one an arched semicircle forming the back, and the other with long dancetté edge. The face is carved with geometric patterning filled with gilt paint, with two lines of seven triangular cutouts in the centre. Black woven cord attaches the two pieces of pounamu together on each side, extending to a loop fastening with a small piece of pounamu bearing the

artist's signature and date. 110 x 300mm Adopted into a Pakeha family and told he was Māori (which led him to study traditional Māori carving), Charteris later discovered he was of Kiribati, Fijian and English descent. His sculptures reflect not only his own personal history and journey of identity. Charteris' works are in a number of public and private collections, including Museum of New Zealand Te Papa Tongarewa, The Dowse Art Museum, the British Museum, and the Cambridge University Museum of Archaeology and Anthropology.

est $500 — $1,000

26

A Complete Set of Three Official Publications of Cook's Voyages in Second Editions

A Complete Set of Three Official Publications of Cook's Voyages in Second Editions Including the First Voyage 1773, Second Voyage 1777, Third Voyage 1785 with Atlas Cook, Captain James (by John Hawkesworth)

First Voyage

An Account of the Voyages undertaken by the order of his present Majesty for making Discoveries in the Southern Hemisphere... and performed by Byron, Cateret, Wallis & Cook.

2nd edition, 3 Volumes, frontis. map: "Chart of the Part of the South Sea" chart torn. London, W. Strahan & T. Cadell, 1773

Cook, Captain James

Second Voyage

A Voyage towards the South Pole and Round the World performed in his Majesty's Ship the Resolution and Adventure, in the years 1772, 1773, 1774 and 1775. Written by James Cook, Commander of the Resolution. In which is included, Captain Furneaux's Narrative of his Proceedings in the Adventure during the Separation of the Ships

2nd edition, 2 Volumes, full leather, spine gilt, lettering piece to spine.

London, W. Strahan & T. Cadell, 1777

Cook, Captain James

Third Voyage

A Voyage to the Pacific Ocean. Undertaken by the command of His Majesty, for making discoveries in the Northern Hemisphere. Performed under the direction of Captains Cook, Clerke, and Gore, in His

Majesty's ships the Resolution and Discovery in the years 1776, 1777, 1778, 1779, and 1780. Vols I & Il written by Captain James Cook, Vol III by Captain James King 2nd edition, 3 Volumes, full leather, spine gilt, lettering piece to spine.

London, H. Hughs for C. Nicol, 1785

The second edition is preferred to the first edition for a number of reasons, the most obvious difference is the use on the title-pages of the text volumes of engraved vignettes of the Royal Society medal (in volumes 1 and 2) and of an oval medallion portrait of Captain King (in volume 3). The medal was awarded to Cook posthumously by the prestigious Royal Society in 1784, shortly after publication of the first edition of this book. This second quarto edition was printed by H. Hughs - rather than W. and A. Strahan who had printed the first edition - with the wording of the title-pages slightly modified and the text itself entirely reset.

Cook, Captain James Atlas to the Third Voyage ["Cook's Third Voyage Atlas" on spine] Half leather, marbled bds, 61 b/w plates.

One folding chart: "A General Chart exhibiting the Discoveries made by Capt James Cook in this and his two preceding voyages with the tracks of the ships under his command". (W.Palmer sculp.) Double page chart: "Chart of the N. W. Coast of America and N.E. Coast of Asia"

Published by Order of the Lord Commissioners of the Admiralty W. Strachan and T. Cadell, London, 1773, 1777 and 17841

est $40,000 — $80,000

58 RONNIE TJAMPITJINPA Rain

Ronnie Tjampitjinpa (1942-2023) is a Pintupi speaking artist of Alice Springs, Northern Territory, Australia. Acrylic on linen. 965 x 610mm

Ronnie is regarded as one of Aboriginal art's most prestigious artists, having appeared in over 30 major collections worldwide, including the National Gallery of Australia, the Musée du quai Branly, Paris, and the Seattle Art Museum.

est $6,000 — $12,000

HEREMAIA BARLOW Uenuku II

2021. Crafted from laser cut MDF and coloured with acrylic paint in teal, gold, and black. This piece features a manaia head over kōwhai and koru motifs. Signed to the reverse. L700 W205 D40mm

est $1,000 — $2,000

1925. Sory Keita is of the Susu tribe, a subset of the Baga people of Conkary, Guinea in West Africa. The snake represents a protective spirit known by the Baga as Ninki Nanka, honoured for bringing rain, bestowing riches, and children to infertile women. These Baga snakes are also used in initiation ceremonies. This snake is carved from a single piece of wood with winding curves that culminate in a head. The snake is coloured with bold colours in contrasting black, white, and red. Mounted on a metal base. H2145 W250 D140mm

est $6,000 — $9,000

Mid-20th century. Carved from a single piece of wood. In the form of a monkey with bared teeth. Perforations to each side of the face, and deep carved oval eyes. Applied plant fibres to the skull with areas of patina where the fibres have been smoothed away with handling. Raised on a nonagonal base. On custom presentation stand. H315 W130 D140mm

est $800 — $1,400

56 An a-Mantsho-ña-Tsho Baga Snake Sculpture by Sory Keita, Guinea

29 A Zimba Monkey Head, Democratic Republic of Congo

157 A Kulongo Mask, Ivory Coast/Ghana

Carved from a single piece of wood. An oval face with a wide marquise prtrusion from the top of the head depicting a headdress or coiffure with striated lines. Almondshaped eyes, an extended nose with perforations, and a protruding square-shaped mouth. Carved zigzag detailing is coloured with kaolin. On custom presentation stand. H610 W180 D210mm

est $500 — $800

126 An Important Songye Nkisi Community Power Figure, Democratic Republic of Congo

19th century. Songye power figures such as this are used to fight witchcraft and sorcery. Their function is socially benign — they protect, heal, and counteract evil. The power of the figure resides not in its sculptural form or aesthetics, but in the magical substances embedded in cavities formed in the abdomen, or in the horn that projects from the head. The power of these figures may also be embellished with the addition of metals. Here the figure stands above an iron ring which, in addition to preventing encroachment by rodents, may also offer additional spiritual protective powers. Ritual specialists create two general types of power figure — small ones for an individual or family for household use, and larger more powerful ones used for the community at large. This figure is of the latter type, intended to be used publicly for the village. H1020 W270 D290mm

est $30,000 — $50,000

32 A Collection of Four Jizai Okimono, Japan

Meiji period (1868-1912). Okimono emerged in the Late Edo period, and soon after began to flourish as an artform amoung metal smiths who lost their jobs due to the Meiji period prohibition of swords. Jizai okimono are articulated okimono with moving aspects. The collection includes a centipede, a grasshopper, a long-horned beetle, and non-articulated crab okimono. Centipede L159, crab HZ58 W109 D78mm

est $500 — $1,000

A Bronze Age Bull Figure, Harappa Culture, Indus Valley

4th-3rd Millennium BC. Indus Valley is a Bronze Age civilisation that was located in the northwestern region of the Indian subcontinent, consisting of what is now mainly present-day Pakistan and Northwest India. At its peak, the Indus Civilisation may have had a population of well over five million people. This small bull figure has been hand-shaped from a red/ brown ceramic and hand-painted a white ground with black detailing. H65 W54 D90mm

est $400 — $800

174 A Framed Noveapu, Santa Cruz

These sticks are made of coconut wood and decorated with the downy red feathers plucked from the head and breast of the scarlet-coloured honeyeater bird. Noveapu were worn by men in their hair but also used as currency. Framed behind glass. Noveapu L335mm, frame 455 x 133mm

est $600 — $1,200

Huli Sing Sing

2013. Southern Highlands, Papua New Guinea. Photographic C-Type print, archival. Signed edition 2 of 5. Frame 810 x 600mm

The Huli of Papua New Guinea live in a land of rugged mountains, dense rainforests and fertile valleys. Uncontacted by Europeans until the 1930s, their way of life differs little from what the first missionaries encountered. They are one of the last remaining Papua New Guinean tribes that still wear traditional dress.

The Huli take great pride in their personal appearance and are known for their elaborately decorated hairpieces. The collection of hair for wigs starts at an early age, involving magical spells, ritualistic water sprinkles, and special wooden pillows. Once a young man's hair grows to a certain length, it is cut off to make a wig and the process is repeated.

One of the most important elements of Huli society is the sing-sing, a colourful celebration or gathering. The Huli often perform the Bird of Paradise dance in which men jump slightly off the ground in unison imitating the bird. Preparation for a sing-sing is a lengthy affair that often takes hours as ceremonial wigs are donned, feathers are added, hornbill necklaces are adjusted, and body makeup is smeared. The photographer, Guy Needham is noted for his work with indigenous tribes, primarily drawing on themes of identity and place within cultural narratives. His images have been exhibited in New York, London, Paris, Berlin, Barcelona and Tokyo, and have been seen on the pages of National Geographic Traveller, SUITCASE Magazine, and the Royal Photographic Society's Journal.

est $1,500 — $2,500

1 A 4th-3rd Millennium BC Bowl, Harappa Culture, Indus Valley

Indus Valley is a Bronze Age civilisation that was located in the northwestern region of the Indian subcontinent, consisting of what is now mainly presentday Pakistan and Northwest India. At its peak, the Indus Civilisation may have had a population of well over five million people. This bowl is made from a sand coloured baked clay with hand-painted black gridded designs inside of concentric bands. H60 D83mm

est $400 — $800

2 A 15th Century Persian Turquoise Glazed Bowl, Iran

Made from earthernware. A hemisphere form on a thick foot. With black hand-painted designs under a turqouise glaze. Featuring a central rosette with bands of decorations around the interior. With repairs. H122 D271mm

est $1,200 — $1,800

3 A 4th-3rd Millennium BC Bowl, Harappa Culture, Indus Valley

Indus Valley is a Bronze Age civilisation that was located in the northwestern region of the Indian subcontinent, consisting of what is now mainly present-day Pakistan and Northwest India. At its peak, the Indus Civilisation may have had a population of well over five million people. This bowl is made from a red baked clay with handpainted black circles inside of concentric bands. H60 D83mm

est $400 — $800

4 A Wahaika, Aotearoa

A short club weapon used for striking. This example was likely carved for trade. Carved from a hardwood native timber. This wahaika features a full bodied figure on the inner curve of the blade. With a head at the butt of the club. With pāua shell inlay for eyes. A pierced hole on the handle is for a suspension cord to pass through. With a custom presentation stand. Wahaika L390 W139 D30mm, on stand H371 W240 D65mm

est $300 — $500

5 A Pounamu Mere, Aotearoa

Carved from kahurangi pounamu. The blade tapers down to the grip and terminates with graduating ribbing. With a pierced hole at the grip. Likely machine cut at the butt. L270 W95 D11mm

est $1,000 — $2,000

6 A Wahaika, Aotearoa

A short club weapon used for striking. This example was likely carved for trade. Carved from a hardwood native timber. The butt of the handle features a carved head with pāua shell inlay. At the inner curve of the blade is a full body figure with hands clasped at the stomach. In a dark brown patina. L395 W135 D33mm, on stand H190 W395 D64mm

est $300 — $500

7 MATTHEW RANDALL Untitled

2007. This piece by Matthew Randall depicts a hoe paddle for a waka. The hoe is carved in raised relief, upon a regtangular form with concentric bands and koru design. The hoe features intricate raised koru motifs in red and black at the blade. Mounted on a black frame. frame 1150 x 320mm

est $500 — $1,000

MATTHEW RANDALL Untitled

2007. This piece by Matthew Randall depicts a hoe paddle for a waka. The hoe is carved in raised relief, upon a regtangular form with concentric bands surrounding the hoe. The hoe features sunken relief motifs in red and black at the blade. Mounted on a black frame. Frame 320 x 1150mm

est $500 — $1,000

9 MATTHEW RANDALL Untitled

2007. This piece by Matthew Randall depicts a hoe paddle for a waka. The hoe is carved in raised relief, upon a regtangular form with concentric bands and koro design. The hoe features intricate raised koru motifs in red, white, and black at the blade. Mounted on a black frame. frame 1155 x 320mm

est $500 — $1,000

10 A Pine Needle Basket by Luwana Wanaisie, Oregon

Circa 1994. Made from ponderosa pine and raffia. H220 D450mm

est $400 — $800

11 PUKU WRIGHT Untitled

A piupiu is a waist or shoulder garment made from harakeke (flax leaf) and muka strands (processed flax leaf fibres). This piupiu comprises of hundreds of rod-like harakeke tags that have been sewn onto a muka woven base. The belt of this piupiu has is made from many strands of muka that have been braided. From this waistband is a fringe made of feathers. The piupiu has been mounted to a wood frame. Frame 930 x 730, piupiu L730mm

est $1,000 — $2,000

12 A Pine Needle Basket by Luwana Wanaisie, Oregon

Circa 1994. Made from ponderosa pine and raffia. H160 D625mm

est $400 — $800

13 HEREMAIA BARLOW Uenuku II

2021. Crafted from laser cut MDF and coloured with acrylic paint in teal, gold, and black. This piece features a manaia head over kōwhai and koru motifs. Signed to the reverse. L700 W205 D40mm

est $1,000 — $2,000

14 A Mounted Poupou, Tairawhiti

By an unknown whakairo artist of Te Tai Rāwhiti. This poupou depicts a figure carved from a single piece of wood. The figure stands with knees slightly bent and hands clasped at the stomach. The figure wears a topknot hairstyle and has tā moko tattooing to the face and thighs. Bone and pāua shell inlays have been used to depict eyes. H1700 W350 D150mm

est $1,000 — $2,000

15 AYSON LEWIS Tirohanga

2021. Rongowhakaata iwi. This piece is carved from three pieces of redwood. It features a hand-painted kārearea falcon with taniko patterns above. Below the kārearea is deeply carved kōwhai patterns. L1350 W605 D25mm

est $1,200 — $1,600

16 A Stone Pestle, Western Province, Solomon Islands

19th century. Used for grinding foods and plant fibres. These pestles are considered prestige items. This pestle is carved from a single piece of stone in an elongated sfart form with slight flare towards the base. With raised relief decoration of fish at the handle. L420 D53mm

est $500 — $600

Headrest, Papua New Guinea

Carved from a single piece of wood with openwork. With visible chisel marks to the interior. H135 D270mm

est $400 — $600

18 A Mother of Pearl Inlaid Crucifix, Solomon Islands

Carved from wood. The crucifix is raised on four stacked pieces of wood with two small support arches to the base of the cross. Decorative mother of pearl inlay to the front and sides of the cross and base. Some repair work to the right arm of the cross where it has broken off. The back is supported by a brass panel. H380 W195 D60mm

est $200 — $400

19 A Waka Hoe, Aotearoa

Carved from a single piece of native wood. A long slender form with a leaf-shaped blade, with a split running up the blade. The grip of the handle is a short cylindrical form. In a light brown lacquer. L1605 W140 D21mm

est $1,500 — $2,000

20 A Model of an Outrigger Canoe, Samoa

Outrigger canoe were used for fishing and for travelling short distances between islands. They are made with a dug-out wood hull which was attached to its outrigger by a series of cross-beams that provided support for a deck. This model features a palm woven sail that is decorated with chicken feathers. H470 W50 D490mm

est $150 — $300

21 A Waka Hoe, Aotearoa

Late 19th century. Carved from a dense native hardwood. With a lanceolate blade, a long slender shaft that terminates in a knob. Lacquered a dark brown. With some minor damage to the tip from use. With a custom built stand. L1330 W120 D35mm, on stand H1403mm

est $800 — $1,200

22 A Sepik Region Basketry Pig, Papua New Guinea

A cane structure with twisted cord bush string covering. Coloured with black, red, and white pigments. Cassowary feather decorations and cowrie shell eyes. H480 W310 D940mm

est $400 — $600

23 An Ancestral Gable Mask, Sepik, Papua New Guinea

Made in the 1960s, Maramba Village. Carved from a single piece of wood. Depicting a large face with a hooked nose and an 'O' shaped mouth. Decorated with cowrie shells and boar tusks. Highly decorated with natural pigments.

L1130 W270 D160mm

est $250 — $450

24 A Kandigai Village Mask, Papua New Guinea

An ancestor spirit mask from the Middle Sepik region. A wood carved oval form of a large face. The face features a medial ridge running down the forehead to the nose, and two large eyesockets. With open work around the mouth. Two conus shells are used for expressive eyes and a fringe of cassowary feather.

L780 W285 D130mm

est $250 — $500

25 PHOTOGRAPHER UNKNOWN Terra Nova

Captain Robert Falcon Scott’s British Antarctic Expedition vessel ‘Terra Nova’ at Lyttleton Harbour prior to departure. NFT, Ethereum blockchain. ERC-721 token. Under the command of Robert Falcon Scott, the Terra Nova departed the safety of Lyttleton Harbour for her perilous journey to Antarctica on 26 November 1910. This image depicts the Terra Nova in port as preparations for the Antarctic expedition were being made. The ship is flanked by the well-dressed Twin Screw Steamer "Canterbury" (to be renamed "Lyttleton" the following year) that still resides at Lyttleton Port to this day. This image has been generated from the original glass plate negative taken in November 1910. The initial purchaser of this NFT will also receive the glass plate, a framed contact print, and a surviving example of Captain Scott's signature.

est $4,000 — $5,000

26 A Complete Set of Three Official Publications of Cook's Voyages in Second Editions

A Complete Set of Three Official Publications of Cook's Voyages in Second Editions Including the First Voyage 1773, Second Voyage 1777, Third Voyage 1785 with Atlas Cook, Captain James (by John Hawkesworth)

First Voyage

An Account of the Voyages undertaken by the order of his present Majesty for making Discoveries in the Southern Hemisphere... and performed by Byron, Cateret, Wallis & Cook.

2nd edition, 3 Volumes, frontis. map: "Chart of the Part of the South Sea" chart torn. London, W. Strahan & T. Cadell, 1773

Cook, Captain James Second Voyage

A Voyage towards the South Pole and Round the World performed in his Majesty's Ship the Resolution and Adventure, in the years 1772, 1773, 1774 and 1775. Written by James Cook, Commander of the Resolution. In which is included, Captain Furneaux's Narrative of his Proceedings in the Adventure during the Separation of the Ships

2nd edition, 2 Volumes, full leather, spine gilt, lettering piece to spine.

London, W. Strahan & T. Cadell, 1777

Cook, Captain James Third Voyage

A Voyage to the Pacific Ocean. Undertaken by the command of His Majesty, for making discoveries in the Northern Hemisphere. Performed under the direction of Captains Cook, Clerke, and Gore, in His Majesty's ships the Resolution and Discovery in the years 1776, 1777, 1778, 1779, and 1780. Vols I & Il written by Captain James Cook, Vol III by Captain James King

2nd edition, 3 Volumes, full leather, spine gilt, lettering piece to spine.

London, H. Hughs for C. Nicol, 1785

The second edition is preferred to the first edition for a number of reasons, the most obvious difference is the use on the title-pages of the text volumes of engraved vignettes of the Royal Society medal (in volumes 1 and 2) and of an oval medallion portrait of Captain King (in volume 3). The medal was awarded to Cook posthumously by the prestigious Royal Society in 1784, shortly after publication of the first edition of this book. This second quarto edition was printed by H. Hughs - rather than W. and A. Strahan who had printed the first edition - with the wording of the title-pages slightly modified and the text itself entirely reset.

Cook, Captain James Atlas to the Third Voyage ["Cook's Third Voyage Atlas" on spine] Half leather, marbled bds, 61 b/w plates.

One folding chart: "A General Chart exhibiting the Discoveries made by Capt James Cook in this and his two preceding voyages with the tracks of the ships under his command". (W.Palmer sculp.)

Double page chart: "Chart of the N. W. Coast of America and N.E. Coast of Asia"

Published by Order of the Lord Commissioners of the Admiralty W. Strachan and T. Cadell, London, 1773, 1777 and 17841

est $40,000 — $80,000

27 PHOTOGRAPHER UNKNOWN The Motor Sledge of Mr. C Jones

A Motor Sledge designed by Mr. C Jones of Fairley, New Zealand

NFT, Ethereum blockchain. ERC-721 token.

Inspired by the visit of Captain Scott's Terra Nova Expedition to Lyttleton some 18 months earlier, Fairley local Mr. C Jones design, patented, and built a motor sledge.

Jones’ design was exceptional, leading Lieutenant Gran from The British Antarctic Expedition to state, "Compared with the motor sledges used on Captain Scott’s Expedition, the new invention is a machine of much greater speed. It is far lighter and less expensive. I should think this sledge would be well worth trying in polar expeditions."

As fate would have it, the remarkable sledge seen in this image would not see action in polar regions, but was instead used to tow skiers around Fairley and Mt Cook.

This image has been generated from the original glass plate negative. The initial purchaser of this NFT will also receive the glass plate and a framed contact print. In addition two pieces of stationary, one carried on Captain Scott's Discovery expedition, the other on Captain Scott's Terra Nova expedition.

est $2,500 — $3,500

Ivory Coast

Used in initiation ceremonies in the Bwami society. The Bwami society is a centuries old voluntary society which promotes peace among the Lega who have no centralised state or regional authoritative roles. Lega masks are not often worn on the face, they are adorned on different parts of the body or hung for display. Carved from a single piece of wood and coloured with white and brown pigment. The mask is a small elliptical shape with raised almond-shaped eyes and perforated detailing to the nose and forehead.

On custom presentation stand. H290 W110 D80mm

est $1,100 — $1,500

29 A Zimba Monkey Head, Democratic Republic of Congo

Mid-20th century. Carved from a single piece of wood. In the form of a monkey with bared teeth. Perforations to each side of the face, and deep carved oval eyes. Applied plant fibres to the skull with areas of patina where the fibres have been smoothed away with handling. Raised on a nonagonal base.

On custom presentation stand. H315 W130 D140mm

est $800 — $1,400

30 A Fang Mask, Gabon

Mid-20th century. Carved from a single piece of wood. The mask is of marquise form, with two horns forming the top peak. The face is concave with a bulbous forehead. The almond-shaped eyes are lined with a rich pigment and have small slits, and the mouth is open. The nose is decorated with darkened striated lines, reflected in detailing around forehead and flanking the eyes. The mask has a crack running down the left side of the face that has been repaired with glue. On custom presentation stand. H370 W150 D115mm

est $600 — $1,000

31 A Bronze Age

Bull

Figure, Harappa Culture, Indus Valley

4th-3rd Millennium BC. Indus Valley is a Bronze Age civilisation that was located in the northwestern region of the Indian subcontinent, consisting of what is now mainly present-day Pakistan and Northwest India. At its peak, the Indus Civilisation may have had a population of well over five million people. This small bull figure has been hand-shaped from a red/brown ceramic and hand-painted a white ground with black detailing. H65 W54 D90mm

est $400 — $800

32 A Collection of Four Jizai Okimono, Japan

Meiji period (1868-1912). Okimono emerged in the Late Edo period, and soon after began to flourish as an artform amoung metal smiths who lost their jobs due to the Meiji period prohibition of swords. Jizai okimono are articulated okimono with moving aspects. The collection includes a centipede, a grasshopper, a long-horned beetle, and non-articulated crab okimono. Centipede L159, crab HZ58 W109 D78mm

est $500 — $1,000

33 A Small Viking Pendant

Made from metal depicting a horse or deer. H52 W47 D5mm

est $200 — $400

34 A Pā Kahawai Fishing Hook, Aotearoa

A large trawling lure made from pāua shell (haliotis iris). With remnants of the original muka bindings to the top and to the bottom where the mammal bone hook is secured. On a custom built stand. Pā Kahawai L140 W30 D25mm, on stand H190 W38 D36mm

est $2,000 — $2,500

35 A Pā Kahawai Fishing Hook, Aotearoa

Used for trolling for fish. A pāua shell shank inlaid into the interior curve of a native timber and lashed with woven muka fibre. Paper label on the back reads "MAORI FISH HOOK LINED WITH HALIOTIS SHELL (VENUS' EAR) CORD OF NATIVE FLAX. BONE BARB. R.H.S.S." L137 W24 D13mm

est $2,800 — $3,000

36 A Tobacco Pipe by Jacob Heberley

A 19th century smoking pipe carved by Jacob Heberley. Featuring two carved figures, one to each side of the pipe. The faces have tiny pāua shell eyes intricately inset. The gold band at the opening is marked 'Hristesen 9ct' and hallmarked 'G.P'. Commissioned by Christensen & Son. H56 W37 D135mm

est $1,500 — $2,500

37 An Early Stone Toki, Aotearoa

This large toki in fine-grained stone displays a low-level polish and pecked finish. With a poll/shoulder reduction from pecking for the lashing. With an intact blade. With a custom museum grade stand.

est $400 — $600

38 A Stone Toki, Aotearoa

This early adze or chisel in a fine-grained stone is a prime example of early Māori stoneworking. With a low grade polish that covers all faces. The poll is flaked and reduces for a lashing. The body terminates in a sharp blade with flake scars from the manufacturing process. This toki is likely from the earliest settlement period with comparative examples being recovered from the moa hunter period. Presented on a custom museum grade stand. Toki L197 W35 D30, on stand H135mm

est $700 — $1,000

This highly polished toki that is made in fine-grained black argillite likely from the Nelson region. The poll section has white inclusions, that is likely from heat/fire being used during its crafting. The narrow body terminates in a sharp intact blade. Presented on a custom museum grade stand. L103 W51 D16mm, on stand H105mm

est $400 — $600

40 A Pumice Pigment Vessel, Aotearoa

These pumice bowls are scarce. This pumice bowl, often referred to as a pigment pot, is likely to have been used to hold the finely ground powders used in whakairo decoration. Red ochre was favoured in early times and was carried vast distances from its source either in ground or solid form. This pot has been formed by hollowing out a pumice boulder and piercing an unusual suspension hole to one side. Dry weathered patina, presented on a custom museum grade stand. H140 D85mm

est $600 — $1,200

41 A Heru Māpara, Aotearoa

An exceptionally rare ornamental heru māpara made from wood and fine flax thread. 14 wooden teeth are expertly lashed together in a manner similar to how fish-traps are constructed. Heru māpara are the epitome of Māori weaving and are scarcely seen outside of institutional collections. This example is constructed with two robust side poles that flank the inner, more fragile teeth, fine flax binding and richly patinated through use and age. Presented on a custom museum stand. Heru māpara H100 W35 D5mm, on stand H150 D40mm

est $8,000 — $13,000

A fine whalebone patu with a sharp striking blade. This patu has been carved from a whale jawbone. Whale jaw was favoured amongst early Māori for weapon and tool manufacture as jawbone is solid, strong, and non porous. This patu has been carved with a long slender blade section that flares at the tip to form a solid striking end. The striking blade tapers down to form the handle. The handle has been pierced to allow for the tau (wrist cord) just above the flared butt. The butt end is a series of traditional concentric rings. With a speckled warm patina, presented on a museum grade stand. Patu parāoa H455 W75, on stand H430 W170mm

est $4,500 — $7,500

43 A Mayan Toltec Corn Goddess Figure

Pre-Columbian, late Mayan to early Toltec, CE 800 to 1100 CE. Made from earthenware. Depicting a seated corn goddess. She sits legs crossed, hands to her feet, wearing corn symbols on her upper arms, large ear spools and nose ring, pointed cap, and with tattooing on her shoulder and breasts. Featuring an incised monkey to the back. H225 W105 D100mm

est $1,000 — $2,000

44 A Bronze Dong Son Bell, Cambodia

300 BCE–300 CE. This bronze bell was made using the lost wax method. The bell is decorated with a stylized buffalo head and adorned with further coiled ropes, spirals and triangles. H95 W100 D105mm

est $500 — $1,000

45 A Neolithic Hongshan Figure, Northeast China

The Hongshan culture was situated in the West Liao river basin in Northeast China between 4700 to 2900 BCE. This heavy figure is carved from Nephrite. It depicts a woman with large breasts and bottom, indicating that this was perhaps a fertility figure. The figure also has a bird seated upon its head. L235 W82 D85mm

est $1,000 — $2,000

46 A Rare Pictorial Siapo, Uvea

Made from the inner-bark of hiapo (mulberry tree) and decorated with dyes in shades of brown and black. Depicting an sea life scene with turtles, shells, fish, and seaweed. Pictorial siapo are rare in Uvea as fine-line patterned designs are more prominent. Mounted on a board and framed without glass. 390 x 905mm

est $1,500 — $3,000

47 A Geometric Siapo, Uvea

Made from the inner-bark of hiapo (mulberry tree) and decorated with dyes in shades of brown and black. Siapo from Uvea are rare but are highly prized for their fineline designs and patterning. Framed and mounted without glass. Frame 398 x 875mm

est $1,500 — $3,000

48 A Geometric Siapo, Uvea

Made from the inner-bark of hiapo (mulberry tree) and decorated with dyes in shades of brown and black. Siapo from Uvea are rare but are highly prized for their fineline designs and patterning. Framed and mounted without glass. 406 x 860mm

est $1,500 — $3,000

49 A 19th Century Taiaha, Aotearoa

Carved with an aggressively extended arero. A fine upoko completely decorated with a series of triple haehae and dog-tooth notched spirals. A rich dark patina. A single pāua shell inset remains for the eyes. The blade end is wide and rounded. On a marble base stand. L1560 W70 D30mm, on stand H1655mm

est $3,500 — $4,500

50 A Pounamu Toki, Aotearoa

Made from kahurangi pounamu. A highly polished surface. Featuring a sharp blade with small notches from use. L129 W59 D15mm

est $300 — $600

51 A 19th Century Taiaha, Aotearoa

The arero is extended to form a sharp point. The māhunga and arero are completely decorated with a series of triple haehae and dog-tooth notched spirals with unusual pointed terminations. Featuring heavily slanted eyes without inlays. A single row of notches to forehead and a series of bands looping beneath the brow. The blade end is carved with a triangular point. A rich warm patina. With a marble base stand, securred with a small allen key. L1530 W55 D25mm, on stand H1620mm

est $3,500 — $4,500

52 An Ancient Roman Glass Bottle

1st century CE. Possibly a perfume bottle. A small beaker form with a long neck and flared opening. Made from green glass with iridescent patches. H109 D49mm

est $500 — $1,000

Ancient Roman Glass Bottle

1st century CE. A small glass bottle made from transparent pale blue glass with a faint iridescence. The bottle has two stacked spheres and a long neck. H133 D30mm

est $500 — $1,000

54 An Ancient Roman Glass Bottle 1st century CE. Possibly a perfume bottle

1st century CE. Possibly a perfume bottle. This small bottle is made from molded blue glass with iridescent tones. The vase has a spherical form with a long neck and flared opening. H110 D55mm

est $500 — $1,000

55 A Metal Shield, Kirdi Peoples, Cameroon

Made from a sheet of iron with a pattern in red pigment. The surface of the shield has been hammered from behind to create a pattern of raised bumps. H875 W500 D80mm

est $600 — $1,200

56 An a-Mantsho-ña-Tsho Baga Snake Sculpture by Sory Keita, Guinea

1925. Sory Keita is of the Susu tribe, a subset of the Baga people of Conkary, Guinea in West Africa. The snake represents a protective spirit known by the Baga as Ninki Nanka, honoured for bringing rain, bestowing riches, and children to infertile women. These Baga snakes are also used in initiation ceremonies. This snake is carved from a single piece of wood with winding curves that culminate in a head. The snake is coloured with bold colours in contrasting black, white, and red. Mounted on a metal base. H2145 W250 D140mm

est $6,000 — $9,000

57 A Grebo Mask, Ivory Coast

First crafted by the Krumen people in Sasandra Ivory Coast and Liberia. The inclusion of twelve eyes signifies the gift of clairvoyance, and the mask formally represents the ability to access the unseen. Picasso, who had such a mask in his studio ("Through the Eyes of Picasso" Musee de Quay Branly/Flammarion, 2017, p.190), was reportedly inspired by it to produce his 1912 sculpture Guitar and subsequent cubist works. These masks were often adorned with rooster feathers to the crown to represent hair, and rough hemp cloth at the chin to represent a beard. The mask is carved from a single piece of wood with eyes of blue, white, and red pigments. Mounted on a metal stand. H975 W215 D165mm

est $4,000 — $6,000

58 RONNIE TJAMPITJINPA

Rain

Ronnie Tjampitjinpa (19422023) is a Pintupi speaking artist of Alice Springs, Northern Territory, Australia. Acrylic on linen. 965 x 610mm

Ronnie is regarded as one of Aboriginal art's most prestigious artists, having appeared in over 30 major collections worldwide, including the National Gallery of Australia, the Musée du quai Branly, Paris, and the Seattle Art Museum.

est $6,000 — $12,000

59 THOMAS TJAPALTJARRI untitled

Acrylic on linen. Signature to the reverse. 1440 x 1220mm

Thomas Tjapaltjarri (c. 1964) is a Pintubi speaking artist of Western Australia. Tjapaltjarri and his family group were amongst the last nomadic desert dwellers to leave the desert to join the small settlements that had grown around the periphery of their homelands. They were named 'the Last Nomads' and 'the Group of Nine' when they appeared in the tiny community of Kiwirrkurra in Western Australia in 1984.

est $3,000 — $6,000

60 RONNIE TJAMPITJINPA

Tingari

Ronnie Tjampitjinpa (19422023) is a Pintupi speaking artist of Alice Springs, Northern Territory, Australia. Acrylic on linen. Tingari are the legendary beings of the Pintupi people that travelled the desert performing rituals, teaching law, creating landforms and shaping what would become ceremonial sites. 950 x 600mm

Ronnie is regarded as one of Aboriginal art's most prestigious artists, having appeared in over 30 major collections worldwide, including the National Gallery of Australia, the Musee du quai Branly, Paris, and the Seattle Art Museum.

est $10,000 — $16,000

61 A Large Stone Toki, Aotearoa

This adze of large and heavy proportion has a highly polished surface. With losses to the sides from the flaking and shaping process. With a wave-like shape to the form. Presented on a custom museum grade stand. Toki L270 W90 D45mm, on stand H295mm

est $1,000 — $2,000

62 A Tokotoko, Aotearoa

The tokotoko is a symbol of authority and displays the status of the speaker on a marae. This example is is in it's early stages of carving. Notched designs adorn the body and handle with sections in the process of being reduce. This walking stick would likely have have had a composite handle attached when it was completed. Presented on a custom museum grade stand. Tokotoko L965 D42, on stand H1045mm

Y22261

Provenance: Private collection, Aotearoa

est $300 — $600

63 A Valdivia-Chorrera Marble Standing Idol, Ecuador

c. 1500 BCE, Pre-Columbian, Ecuador, Valdivia-Chorrera transition period. Carved from a cream coloured marble. Depicting a stocky figure with arms at the chest. The head has a double-pointed headdress. H115 W55 D30mm

est $1,500 — $3,000

64 A Hemba Mask, Democratic Republic of Congo

Hemba masks have recognisable features such as wide jaws with open-mouthed smiles and small curved eye holes. This mask is carved from wood and features vertical ridges running down the length of the mask. With remnants of a woven dried grass textile that would have gone over the head. L340 W265 D125mm

est $400 — $600

65 A Stone Plaque/Shield, Western Provence, Solomon Islands

19th century. A circular form with relief that references kapkap and figures evocative of the fretwork seen in barava. The front features four figures around the circular form, all touching at the feet. The reverse features two small radiating forms, possibly handles. H390 D14mm

est $600 — $900

66 A Stone Money Ring, Malatia, Solomon Islands

19th century. A heavy stone form with rough texture. Layered materials having being dug up from a firepit. The projection from the ring is anthropomorphic in that it represents the head of a penis. L240 W127 D45mm

est $900 — $1,200

A Rangi Redman

Wahaika, Aotearoa

Circa 1970s-80s. Rangi (Jack) Redman is a prominent carver who began his work in toi whakairo in the 1950s. Carved from wood in the traditional wahaika form with deeply carved notched patterns at the head. At the inner-side of the blade is a figure. The butt of the weapon features a wheku head with pāua shell inlaid eyes. With a suspension cord made from plaited plant fibre. L420 W150 D34mm

est $500 — $1,000

68 CHRIS CHARTERIS untitled

1999, Aotearoa. Pounamu, gilt, and rope cord. Signed and dated to fastening. This breastplate comprises two pieces of pounamu in different shades of green, one an arched semicircle forming the back, and the other with long dancetté edge. The face is carved with geometric patterning filled with gilt paint, with two lines of seven triangular cutouts in the centre. Black woven cord attaches the two pieces of pounamu together on each side, extending to a loop fastening with a small piece of pounamu bearing the artist's signature and date. 110 x 300mm

Adopted into a Pakeha family and told he was Māori (which led him to study traditional Māori carving), Charteris later discovered he was of Kiribati, Fijian and English descent. His sculptures reflect not only his own personal history and journey of identity. Charteris' works are in a number of public and private collections, including Museum of New Zealand Te Papa Tongarewa, The Dowse Art Museum, the British Museum, and the Cambridge University Museum of Archaeology and Anthropology.

est $500 — $1,000

1992. Cook Islands people worshipped many gods and deities. Tangaroa was considered the principal god of the sea and of creation. O'Neill has depicted Tangaroa in the medium of corduroy fabric and thread. H325 W230 D195mm

est $300 — $600

70 A .577 Snider Enfield Rifle from the Land Wars Era

This land wars relic was recovered from the bank of the Waikato river in the 1960s. The rifle is now inoperable. The permanently cocked hammer points to a rifle that was in action when it was lost. With eroded wood and rusted metal fittings. The rifle offers a facinating snapshot into the early European settlement period of Aotearoa. Inoperable and unusable, this snider is presented in a museum grade archival frame. No firearms licence required. Gun H105 L1000 D65mm, frame 360 x 1247mm

est $3,000 — $5,000

71 A Tokotoko Whaikorero, Rotorua

Mid-late 19th century. Tokotoko whaikorero were used by rangatira and kaumatua to create points of emphasis during whaikōrero (formal speeches) on marae. With extremely fine and precise carvings cover the entire body with humanoid figure to the top. The handle has been left uncarved. With a rich dark patina, and presented on a custom stand. L705 W30 D100mm, on stand H980mm

est $2,500 — $3,500

72 A Rare Kahu Kiwi Cloak, Aotearoa

This kiwi feather cloak is made from muka fibre that has been painstakingly woven by hand in the single-pair twinning technique. The 30mm border to each side ends of this cloak features black and red wool threads woven in a diamond pattern. The upper edge of the cloak has a black and red wool twisted detail. The lower edge of the cloak has remnants of a black dyed muka tāniko pattern, possibly a niho taniwha design. The feathers have been woven individually in to the muka in rows approximately 10mm apart. There are some small sections of losses to the feathers, but an overall lush density remains intact. A later addition to the cloak is a rich purple brocade fabric sewn to the interior of the cloak. This is likely an addition by a previous custodian to protect the muka from stress. 1090 x 1300mm

est $30,000 — $50,000

73 A Turtle Net Float, Solomon Islands

Carved from a soft wood (Alistonia Scholaris) that has been darkened with a mixture of charcoal and natural plant sap and bound with a volcanic rock with bamboo strips. Surmounted with a figure of a fish-headed spirit, Tararaman. L635 W115 D40mm

est $300 — $500

74 An Early Mike Higgs Pounamu Hei Tiki

Carved from a mottled dark and light coloured pounamu. With head tilted, serrated edged pāua ring inset eyes, and an extended arero. With a pierced hole and plant fibre cord. L118 W67 D6mm

est $1,500 — $1,800

75 A Canoe Prow, Yos Sudarso Bay, New Guinea

Carved from wood. Depicting a hornbill bird perched atop a head. With contrasting colours of white, black, and red. H275 W425 D35mm

est $400 — $600

76 A New Authentic and Complete Collection of Voyages Round the World Undertaken and Performed by Royal Authority Captain Cooks First, Second, Third and Last Voyages

By George William Anderson. One volume, 150 engravings. London, Alex Fogg, n.d. (1784-86). An important early compilation of Cook's three voyages, plus Byron, Wallace, Carteret, Mulgrave, Anson.

est $5,000 — $10,000

77 A Large and Impressive Storyboard, Papua New Guinea

Storyboards are used as tools for social memory; they record an event through their images. The storyboard depicts a village scene with many people and native flora and fauna. 1300 x 2585mm

est $1,000 — $2,000

78 Signed Works of Arthur Conan Doyle Authors Edition

Signed Works of Arthur Conan Doyle Authors Edition The White Company (signed by Conan Doyle), The Adventures of Sherlock Holmes, The Great Shadow, Uncle Bernac, Rodney Stone, The Exploits of Brigadier Gerard, Tragedy of the Korosko, The Green Flag, Stark-Monro Letters, Round the Red Lamp, Micah Clarke, The Refugees, A Duet With an Occasional Chorus, The Memoirs of Sherlock Holmes, A Study in Scarlet and The Sign of Four

12 Volumes, uncut, original cloth boards, Limited to 1000 copies, this being no.763, signed by Arthur Conan Doyle in the "The White Company".

est $10,000 — $20,000

79 An Ancient Gold Intaglio Ring, Rome

1st–2nd Century CE. Intaglio design in red carnelian, depicting a figure in profile. The intaglio design was used to push into hot wax or wet clay to create a sealing or signature of the owner. With intricate gold band. D19mm (ring size M 1/2)

est $1,000 — $2,000

80 An Ancient Mesopotamian Ceramic Eye Idol

Circa 3300–3000 BCE. Carved from a white stone. An abstract and minimal form depicting a head with eyes. It is unknown if these idols represent a deity or worshippers of a deity. Repair to one of the eyes. H98 W62 D8mm

est $400 — $800

81 A Gold and Amethyst Ring, Rome

1st–3rd century CE. A small gold Roman ring with ameythyst inlaid stone. With a wide collar around the stone with incised design. D22mm

est $600 — $1,200

82 A Large and Finely Carved Contemporary Māripi by Rangi Redman

Carved in the traditional style with manaia forms with inset pāua shell eyes. The handle terminating in a wheku head. Complete with eleven shark teeth. L440 W160 D33mm

est $500 — $700

83 A Toki Poutangata by Wikuki

Kingi

Wikuki Kingi is a master carver with over 40 years' experiences. Kingi's has created work for many recognisable landmarks such as the gateway to Grey Lynn Community Centre, the door lintel for Auckland Council Building, and the steel moko outside Tūrangawaewae House in Ngāruawāhia. This toki poutangata has a wood carved handle and butt. The butt features a figure on opposing sides. Lashed with dried harakeke is a highly polished black stone adze. A bundle of possibly guinea fowl feathers hangs from the flax lashings and a tuft of goat hide. L390 W50 D230mm

est $300 — $600

84 A Whao Chisel by Wikuki Kingi

Wikuki Kingi is a master carver with over 40 years' experience. Kingi has created work for many recognisable landmarks such as the gateway to Grey Lynn Community Centre, the door lintel for Auckland Council Building, and the steel moko outside Tūrangawaewae House in Ngāruawāhia. This hafted chisel has has a wood carved handle and features a small highly polished black stone blade. The blade has been lashed to the handle with dried harakeke fibre. L192 D22mm

est $200 — $400

85 A Fine Hei Tiki, Aotearoa

This tiki in dark green pounamu is a fine example of an early 19th century hei tiki. With red sealing wax extenuating the eyes and a finely formed body. With evenly polished surfacea. Some Māori believe the tiki to represent the first man created by the atua, Tāne. This example with countersunk suspension hole is presented on a museum grade stand. Tiki H65 W40 D7mm, on stand H95 D55mm

est $5,000 — $10,000

86 An Early Hei Tiki, Aotearoa

This early tiki pendant is formed in a variant of light green pounamu. Possibly produced from bowenite from the Milford area that has been heated to create this light appearance. With a slightly angled head position. The lower legs are missing and appear to have been deliberately removed. Some Māori believe the tiki to represent the first man created by the atua Tāne. Well formed facial features and large countersunk suspension hole. Presented on a museum grade stand. Tiki H70 W50 D10, on stand H100 D50mm

est $4,000 — $8,000

87 A Large Hei Tiki, Aotearoa

Superb early Māori pounamu tiki of chiefly proportions. This hei tiki displays a masterful level of workmanship, deep inset eyes, head tilted aggressively to the left and protruding ribcage. A matt-like patina envelops the taonga that has been worked from dark green pounamu. The style of this tiki suggests that it was constructed from an early adze that had probably reached the end of its working life with its straight sides and slight taper to legs. Some Māori believe the tiki to represent the first man created by the atua Tāne. This large rare example with well worn countersunk suspension hole is presented on a museum grade stand. Tiki H110 W60 D15mm, on stand H150mm

est $18,000 — $28,000

88 A Tel Halaf Goddess Figure, Syria

Circa 5th Millennium BCE. Hand-moulded from terracotta in the form of a seated woman with large breasts and hips. Many scholars believe that these figures represented fertility due to their voluptuous forms. H78 W48 D47mm

est $400 — $800

89 A Harappa Culture Figure, Indus Valley

Circa 2000 BCE. Made from terracotta. Depicting a seated woman with large breasts. The woman has large holes for eyes and an exaggerated nose starting above her eyes. Indus Valley is a Bronze Age civilisation that was located in the northwestern region of the Indian subcontinent, consisting of what is now mainly present-day Pakistan and Northwest India. At its peak, the Indus Civilisation may have had a population of well over five million people. L96 W27 D23mm

est $400 — $800

90 A Tel Halaf Goddess Figure, Syria

4200 BCE. Hand-moulded from terracotta in the form of a seated woman with large breasts and hips. Many scholars believe that these figures represented fertility due to their voluptuous forms. 72 W47 D50mm

est $400 — $800

91 An Early Toki, Aotearoa

This slender adze with well defined poll and thin crosssection has a high-grade polish to the body and blade. Fine, precise pecking to the poll section forms a reduced area to allow for lashing into a handle. The blade is sharp and intact. Presented on a museum grade stand. Toki L163 W51 D23mm, on stand 235mm

est $600 — $900

92 An Aurei, Aotearoa

Fine aurei cloak pin fashioned from marine ivory. With a dry, weathered patina and countersunk suspension hole, this early cloak pin was used to fasten traditional Māori clothing. Often hung in clusters of several aurei, cloak pins formed an important status symbol with some chiefly examples embellished with fine decoration to the proximal end. Presented on a museum grade stand. Aurei L142 W10mm, on stand H213mm

est $1,000 — $2,000

Aotearoa

An early Māori chisel in argillite with fine polish and intact blade section. This chisel is likely from the earliest settlement period with comparative examples being recovered from moa hunter period camps and sites. Presented on a museum grade stand. Whao L90 W20 D20mm, on stand H170mm

est $400 — $600

94 GUY NEEDHAM

Hadzabe Leader

2018. Lake Eyasi region, Tanzania. Photographic C-type print, archival. Signed edition 3 of 5. Framed 600 x 810mm

The Hadzabe tribe is considered the last true huntergatherers in Africa, a tribe so old that National Geographic calls them "the closest living relatives of the humans who first left Africa to migrate to the rest of the world."

Their life has not changed much over the past millennia. The Hadzabe continue to live as subsistence nomads; they are the only tribe permitted to hunt in the Serengeti. They still speak the same Hadzane language – a throaty mixture of words and rhythmic clicks – and as the Hadzabe don't read or write, all traditions and teachings are passed on orally.

There is no chief of the Hadzabe; each group has a leader who is usually the most experienced hunter. The leader's responsibilities include maintaining the group's harmony. Because there is no hierarchy, any disputes are resolved by one party apologising. If a Hazda man does not admit fault despite evidence to the contrary, the most extreme punishment is taking away his bow.

In the dry season of 2018, the photographer spent time with a group of families in a boma (shelter under a rock ledge) observing them hunt, cook and live in their unforgiving environment.

The photographer, Guy Needham is noted for his work with indigenous tribes, primarily drawing on themes of identity and place within cultural narratives. His images have been exhibited in New York, London, Paris, Berlin, Barcelona and Tokyo, and have been seen on the pages of National Geographic Traveller, SUITCASE Magazine, and the Royal Photographic Society's Journal.

est $1,500 — $2,000

95 GUY NEEDHAM

Huli Sing Sing

2013. Southern Highlands, Papua New Guinea. Photographic C-Type print, archival. Signed edition 2 of 5. Frame 810 x 600mm

The Huli of Papua New Guinea live in a land of rugged mountains, dense rainforests and fertile valleys. Uncontacted by Europeans until the 1930s, their way of life differs little from what the first missionaries encountered. They are one of the last remaining Papua New Guinean tribes that still wear traditional dress.

The Huli take great pride in their personal appearance and are known for their elaborately decorated hairpieces. The collection of hair for wigs starts at an early age, involving magical spells, ritualistic water sprinkles, and special wooden pillows. Once a young man's hair grows to a certain length, it is cut off to make a wig and the process is repeated.

One of the most important elements of Huli society is the sing-sing, a colourful celebration or gathering. The Huli often perform the Bird of Paradise dance in which men jump slightly off the ground in unison imitating the bird. Preparation for a sing-sing is a lengthy affair that often takes hours as ceremonial wigs are donned, feathers are added, hornbill necklaces are adjusted, and body makeup is smeared.

The photographer, Guy Needham is noted for his work with indigenous tribes, primarily drawing on themes of identity and place within cultural narratives. His images have been exhibited in New York, London, Paris, Berlin, Barcelona and Tokyo, and have been seen on the pages of National Geographic Traveller, SUITCASE Magazine, and the Royal Photographic Society's Journal.

est $1,500 — $2,500

96 GUY NEEDHAM

Hamar First Wife

2015. Lower Valley of the Omo, Ethiopia. Photography C-type print, archival. Signed 3 of 5. Frame 600 x 810mm In Ethiopia lies the Lower Valley of the Omo, a great swathe of sweeping landscapes and native bush. It is here where the Hamar live, one of the most unique indigenous peoples in the world with a strong, vibrant culture. The Hamar, like many other subsistence tribes, still have traditional roles for men and women. The men protect and decide, while the women are the heavy lifters; carrying back-bending loads of firewood and sorghum. Hamar men may marry more than one woman and the first wife is pre-arranged, requiring payment of goats and cattle to the bride's family. Unique to first wives, such as the one pictured here, is a leather necklace with a metallic protrusion symbolising fertility. The photographer, Guy Needham is noted for his work with indigenous tribes, primarily drawing on themes of identity and place within cultural narratives. His images have been exhibited in New York, London, Paris, Berlin, Barcelona and Tokyo, and have been seen on the pages of National Geographic Traveller, SUITCASE Magazine, and the Royal Photographic Society's Journal.

est $1,500 — $2,500

A large whalebone patu in spatulate form. This patu, measuring at over half a metre, is formed with a broad striking point to the distal end. The proximal end has been left undecorated and unperforated, indicating that this piece may be in the final stages of production. The patu has a rich, varied patina. Uncovered in Oruru Valley, Taipa during the 1940s. Presented on custom museum stand. Patu parāoa H520 W110 D10, on stand H585 W170mm

Y16151

Provenance: Private collection, Aotearoa

est $2,500 — $3,500

98 A Patu Okewa, Chatam Islands

A rare Moriori hand-club from Rēkohu, Chatham Islands. Made from coarse Rēkohu schist, this club in abstract avian form is a rare surviving example of Moriori weaponry. Interestingly, this club would have only been for hunting purposes due to Nunuku's law. Unique in Aotearoa to Rēkohu, Nunuku Whenua, a revered Moriori elder made a covenant of peace that sought to avoid all forms of warfare. Presented on custom museum stand. L250 W130mm

est $2,000 — $3,000

99 Three Patui, Aotearoa Y16137/8/9

A rare set of large robust needles or weaving pegs in marine mammal bone. All three examples display a perforation hole to the proximal end and a long robust body that terminates in a blunt point. Y16139 has some damage to the distal point. Presented on a custom museum stand. Longest L256mm

Y16137

Y16138

Y16139

Provenance: Private collection, Aotearoa

est $2,000 — $3,000

97 Patu Parāoa (bone club)

100 A Depiction of Christ on the Cross, Guatemala

A wooden box with painted interior. Christ features a metal headdress, and necklace. With a fabric loin cloth. H300 W227 D105mm

est $200 — $400

101 A 19th Century Māori Dictionary, Aotearoa

Published in 1852 by Williams and Norgate of London. This rare second edition has the original cloth cover with minimal foxing is a facinating example of early Māori to English translation. This dictionary is presented on a custom museum grade stand.

est $500 — $1,000

102 An 1837 New Testament Bible in Te Reo

A rare early missionary New Zealand printed bible. Teaching Māori to write began in 1816 and within two generations over 80% of Māori were literate in their own language. In 1834, under the direction of William Colenso, a printing press was setup at the mission in the Bay of Islands. Colenso began producing various biblical texts in Māori and by 1837 the entire New Testament was printed. This partial bound publication represents a rare surviving example from the early Mission Press at Paihia. Still bound in its coarse mission school cloth binding, this text contains the book of John, Acts and Romans. Some damage to pages 121/122, bookplate to frontage for Guy N. Morris. Presented on a museum grade stand. H210 W140, on stand H230mm

est $1,000 — $1,500

103 A Patu Aruhe, Aotearoa

Large early fernroot beater. This patu aruhe is a fine example with a bulbous body, slender handle, and smaller bulb terminating at the base of the handle. Produced from hardwood, patu aruhe were employed to process the edible flesh from the rauaruhe or

bracken fern. This example would have been stored in a swamp between use to prevent it from rotting or falling into enemy hands. Swamp storage has lead to a rich dark and varied patina that covers the entire piece. Presented on a museum grade stand. Pounder H330 W90mm, on stand H290 D100mm

est $800 — $1,200

104 A Whakairo Fragment, Aotearoa

A large section of carved wood likely from a pare (lintel). Finely carved section depicting a manaia figure and koru design. The manaia is a guardian spirit that is said to ward off danger and protect against intruders. With its bird like beak and humanoid figure, the manaia was said to protect over both sky and earth. This carved section is likely from an early pare that would have hung over a decorated doorway into a whare. The piece is finely decorated to the front and adzed on the reverse. Presented on a museum grade stand. Whakairo H460 W75 D40mm, on stand H520mm

est $1,000 — $2,000

105 A Tatā, Aotearoa

An extremely rare preEuropean waka bailer. A fine, swamp-recovered waka bailer in fragmented form. A rich, soft patina covers both the body and handle section which was broken in original use and potentially laid to rest in a swamp once it had reached the end of its serviceable life. Crafted from a single piece of wood, bailers were often produced with the handle inverted overtop of the scoop section to form a functional and compact tool. Presented on a museum grade stand. Body H35 W260 D65mm, handle H45 W75 D57mm, on stand H165 D245mm

est $1,500 — $3,000

106 A Kāwawā Palisade Post for the Model Pā Whakarewarewa

Carved from a single piece of

wood and shaped to create a spherical form to the top. Palisade posts for traditional Pā were used has defensive walls or boundary markers. These palisades would be secured around the perimiter of a Pā's boundaries, sometimes in singular or multiple rows.

H1865 W230 D220mm

est $1,000 — $2,000

107 A Kāwawā Palisade Post for the Model Pā Whakarewarewa

Carved from a single piece of wood and shaped to create a spherical form to the top. Palisade posts for traditional Pā were used has defensive walls or boundary markers. These palisades would be seccured around the perimiter of a Pā's boundaries, sometimes in singular or multiple rows.

H290 W175 D180mm

est $1,000 — $2,000

108 A Kāwawā Palisade Post for the Model Pā Whakarewarewa

Carved from a single piece of wood and shaped to create a spherical form to the top. Palisade posts for traditional Pā were used has defensive walls or boundary markers. These palisades would be seccured around the perimiter of a Pā's boundaries, sometimes in singular or multiple rows.

H1810 W245 D260mm

est $1,000 — $2,000

109 A Byzantine Greek Fire Grenade

9th–11th century CE. Successfully used in both attack and defensive situations, this powerful weapon played a crucial role in the defence of the Byzantine Empire, ensuring its long survival. Made from a grey clay and has a short body with heavily rounded sides. L189 D110mm

est $400 — $800

110 A Toki, Aotearoa

This adze has reached the final stage of crafting, deliberately left in its unpolished state.

With fine pecking to poll and sharp blade, this toki is presented on a museum grade stand. Toki L150 W60 D26mm, on stand H146mm

est $400 — $600

111 An Aboriginal Cylcon, Australia

Cylcon are amongst the earlies of all recorded Aboriginal tools. The name is an abbreviation of 'cylindroconical stone'. First recorded in 1802, their function is still somewhat unknown. They are sometimes referred to as religious or spiritual items owing to the incisions that decorate some specimens. However more recent consensus would place them as utilitarian tools for food preparation. This example displays a coarse weathered patina in some form of conglomerate stone. Presented on a museum grade stand. Cylcon L270 D55mm, on stand H120mm

est $500 — $1,000

112 An Ancient Roman Glass Bottle

1st century CE. A thin small bottle with polychrome glasses swirling up the body. Featuring small handles at the shoulders. H125 D23mm

est $500 — $1,000

113 An Ancient Roman Glass Bottle

1st century CE. A glass bottle made from a transparent blue glass with slight iridescence. The bottle has a spherical base with a long thin neck, and flared opening. The bottle has earth inside the bottle, likely from the archaeology site it was dug up from. H157 D70mm

est $500 — $1,000

114 An Ancient Roman Glass Bottle

1st century CE. Possibly a perfume bottle. This small bottle is made from moulded blue glass with iridescent tones. The vase has a spherical form with a long neck and flared

opening. H110 D55mm

est $500 — $1,000

115 A Patu Tuna, Aotearoa

A rare example of a patu tuna. Constructed from dense hardwood with a blackened patina, likely from traditional swamp storage, this club was used for dispatching eels and reputedly seals. A long, slender striking blade tapers to a well-formed handle section, with smooth carved surface throughout. Presented on custom museum stand. Patu tuna H60 W475 D15mm, on stand H130 D200mm

est $2,500 — $5,500

116 A Whāriki, Aotearoa

Supurb surving example of an intricate whāriki (woven mat). Produced from kiekie and pīngao leaf, this mat features a stunning display of raranga patterns contrasted in dyed and natural fibres. This whāriki is reminiscent of works by the famed Te Arawa weavers of the 19th century held in institutional collections. Mounted to a steel frame with magnets. Whāriki 2700 x 1560mm

est $3,000 — $5,000

117 A Pair of Arms from a Waka Tauihu, Aotearoa

Two arms of a waka tauihu figure. Featuring manaia figures with pāua inlay eyes, some losses. With haehae and pākati patterning, spiral motifs. Painted red with some wood chipping to the fingers and surface cracks. H135 W421 D105mm

est $1,500 — $2,500

118 A Pair of Ancient Jasper Hair Rings, Egypt

New Kingdom, 15501070 BCE. Used as hair oranaments. D12mm

est $150 — $300

119 An Ancient Beaded Necklace, Egypt

From the late period

664-332BCE. Made from delicate blue faience and clay beads. Restrung on cotton thread. L388mm

est $250 — $500

120 A Pair of Ancient Gold Earrings, Rome

1st-2nd century CE. Made with green glass beads on a gold tassel with filigree work. L25 W6 D12mm

est $600 — $1,200

121 A Worked Pounamu Fragment, Aotearoa

Early worked fragment of pounamu displaying a broad shallow scarf down one side. Polished faces with breaks to both ends. Likely broken during adze or pendant crafting and being reworked. Presented on a museum grade stand. Fragment L75 W50 D15mm, on stand H155mm

est $200 — $400

122 A Mutu Kākā, Aotearoa

Early 19th century bird snare perch in orthodox form. Made from a single piece of wood, this robust example has been left largely undecorated. Mutu kākā were used primarily in hunting parrots which were an important food source to early Māori. Native birds, such as kererē, kākā, and tūī were greatly valued by the Māori as sources of food, bones for tools, feathers for prestigious ornaments such as cloaks, or pets, hence bird catching was considered as a revered activity. The mutu kākā, or bird snare perch, lured birds by way of a looped snare connected to the device, attached to a tree branch and baited with berries. When a bird alighted on the perch, the looped snare was tugged, trapping the bird against the upright and preventing it from flying away. H240 W45 D310mm, on stand H250mm

est $1,000 — $2,000

123 A Large Toki, Aotearoa

Early adze of heavy proportions. A sharp blade

tapers into a broad body with low-grade polish to laterals, heavily pecked poll reduction for lashing/fixing to handle. Presented on a museum grade stand. L209 W78 D35mm, on stand H252mm

est $500 — $700

124 A Pair of Fang Byeri Figures, Gabon

In Fang society, each family would have a byeri (reliquary box) in which the bones of the ancestors were kept. These boxes were guarded by the patriarch esa, the oldest man in the family. The byeri were topped by figures which acted as protective guardians. These figures would be removed from the byeri for rituals and ceremonies, in order to be carried. This pair comprises a male and a female figure, each of similar proportions but distinguished by their faces, hair, and genitalia. Each carved from a single piece of wood and with rich brown lacquer, they are both in sitting positions. The female figure has open cupped hands, while the male holds a horn-like object. Each figure has deep cavities filled with waxy residue, possibly from offerings given to the byeri. Each figure has applied metal decoration to the wrists, shoulders, eyes, head, and male's navel. The metal is heavily oxidised around the bangles. H720 W180 D195mm

est $1,300 — $2,000

125 A Fang Mask, Gabon

This mask is carved from a single piece of wood. The face has slim facial features with slit eyeholes and a perforated double arch above the eyebrows. Areas of carved scarification. White kaolin pigment covers the face with the front face of the nose left uncovered. Faint traces of red pigment to the mouth. H300 W190 D115mm

est $700 — $1,000

126 An Important Songye Nkisi Community Power Figure, Democratic Republic of Congo

19th century. Songye power figures such as this are used to fight witchcraft and sorcery. Their function is socially benign — they protect, heal, and counteract evil. The power of the figure resides not in its sculptural form or aesthetics, but in the magical substances embedded in cavities formed in the abdomen, or in the horn that projects from the head. The power of these figures may also be embellished with the addition of metals. Here the figure stands above an iron ring which, in addition to preventing encroachment by rodents, may also offer additional spiritual protective powers. Ritual specialists create two general types of power figure — small ones for an individual or family for household use, and larger more powerful ones used for the community at large. This figure is of the latter type, intended to be used publicly for the village. H1020 W270 D290mm

est $30,000 — $50,000

127 A Songye Power Figure, Democratic Republic of Congo

This power figure was created to ward off witchcraft and sorcery and protect the community in which it lived with. These figures are created in collaboration between a skilled carver and a ritual practictioner in order to fully realise the figure's power. This figure depicts a woman, as denoted by the breasts and vulva. This figure has many typical features of Songye carvings, such a square jaw, almond-shaped eyes, hands resting on a large stomach, and a horn atop its head. The figure is wearing a woven grass skirt and has a lashed band sitting above the stomach with two horns dangling from it. On custom presentation stand. H690 W230 D200mm

est $1,000 — $1,600

128 A Fang Figure, Gabon c. 1940s. In Fang society, each family would have a byeri (reliquary box) in which the bones of the ancestors are kept. These boxes were guarded by

the patriarch esa, the oldest man in the family. The byeri were topped by figures which acted as protective guardians. These figures would be removed from the byeri for rituals and ceremonies, in order to be carried. This figure depicts four heads on a central neck, each face adorned with copper in different designs around the eyes and forehead. Signs of village repair by the way of staples to the neck. Visible patina of use and areas of textured build-up from offerings around the heads. You can see where this figure protruded from its byeri from the difference in colour at the neck. H440 W225 D240mm

est $2,000 — $2,800

129 A Songye Power Figure, Democratic Republic of Congo

1960s. This power figure was created to ward off witchcraft and sorcery and protect the community in which it lived with. These figures are created in collaboration between a skilled carver and a ritual practictioner in order to fully realise the figure's power. This figure depicts a man with an exagerated head and a square jaw. The figure is wearing a woven grass skirt with hardened textile bands around the stomach and on the head. As is typical with Songye power figures, the figure features large almond-shaped eyes and a square, open mouth with bared teeth. At the top of the head is a partial horn, a material considered magical by the Songye, which would have increased the power this figure holds. H370 W90 D95mm

est $500 — $1,000

130 A Pounamu Hei Tiki by Stacy Gordine, Aotearoa

Stacy Gordine (b. 1970) of Ngāti Porou has works in the Collection of Te Papa Tongarewa. Depicting a male figure with feet touching and hands at the chest and thigh. The carving features pāua shell inlaid eyes. A braided suspension cord is secured above the head. H92 W54 D6mm, suspension cord 240mm

est $500 — $1,000

131 A Bone Carved Hei Tiki by Stacy Gordine, Aotearoa

Stacy Gordine (b. 1970) of Ngāti Porou has works in the Collection of Te Papa Tongarewa. This hei tiki titled Porourangi after the eponymous ancestor of the Ngāti Porou. The hei tiki is carved from bone and depicts a male figure holding a tukutuku panel. This taonga is intricatedly carved with fine lines and also features pāua shell inlaid eyes. A muka flax suspension cord is secured to the form. L90 W42 D6mm, cord L310mm

est $500 — $1,000

132 ne Carved Hei Tiki by Stacy Gordine, Aotearoa

Stacy Gordine (b. 1970) of Ngāti Porou has works in the Collection of Te Papa Tongarewa. Carved from a black stone, this hei tiki depicts a male figure with feet touching and a hand at the chest and one at the thigh. L97 W67 D11mm, suspension cord L235mm

est $500 — $1,000

133 A Cassowary Bone Dagger, Papua New Guinea

A bone dagger is made out of the femur bone of the cassowary bird which is native to Papua New Guinea. The front side of the dagger has an carved motif of a person. Mounted on a metal stand. H395 W45 D50mm

est $250 — $450

134 A 19th Century Toki Poutangata, Aotearoa

This ceremonial adze was rebladed sometime in the early 20th century. The original stone adze would have been made from a pounamu blade but was replace with a basalt blade, likely due to damage. The handle features a triple haehae decorative carving on the native hardwood form. Toki poutangata were not used for day-to-day work but rather for ceremonial purposes such as a leader making the initial blow for felling a tree. L472 W80 D300mm

est $2,500 — $3,500

135 A Toki Poutangata by Rangi Redman, Aotearoa

Rangi (Jack) Redman is a prominent carver who began his work in toi whakairo in the 1950s. This toki poutangata, or hafted adze is carved from a native timber. At the head of the weapon is a carved figure with extended arero. The butt has a wheku head with suspension cord braided from plant fibre. Six pāua shell inlay eyes feature along the handle. The blade of the toki is made from highly-polished pounamu that is securred with a twisted muka fibre cord. L400 W54 D300mm

est $1,000 — $2,000

Carved from wood, this mask has an oval shaped face with a pointed chin. The mask has pouting lips and thin slits for eyes. The wood has a rich dark patina. On custom presentation stand. H315 W130 D100mm

est $500 — $800

137 A Kongo Nkisi N'Kondi Power Figure, Democratic Republic of Congo

Nkisi figures are used for a wide variety of reasons including health, settling disputes, and personal protection. This miniature figure is carved from a single piece of wood. It is a personal fetish that would have been held on the owner's person. Nkisii figures are collaborative pieces; after the artist carved the figure it would have been taken to a Nganga priest to add medicinal materials, generally held in packets or bundles affixed to the figure or tied around it. This figure has a chains around one arm, linking to a beaded string around the other arm, as well as two metal rings around the neck. The figure stands akimbo, leaning forward slightly with a protruding stomach. The figure is wearing a thin hide skirt that has been affixed with lacquer also covering the stomach and forming the hair. H175 W60 D70mm

est $600 — $900

138 A Moba Tchitcheri Figure, Ghana/Togo

Tchicheri figures can only be carved by sons of diviners, due to their powerful spiritual charge. Used to represent ancestors and be placed as shrines to bring protection and prosperity. Depicting an abstract human form with a round head, an elongated torso and arms, and short legs. On custom presentation stand. Some splitting to each leg where they fit into the stand. H715 W160 D110mm

est $400 — $800

Toki,

Aotearoa

Early settlement (once referred to as Moa Hunter) period hogback toki in orthodox form. Produced in dark argillite, this adze represents a fine level of stonework. Blade sharp and intact, robust body with reduced pole for lashing. Flaked, pecked, and polished on all sides. L147 W45 D40mm, on stand H197mm

est $400 — $600

140 A Livatu, Vanuatu

Livatu is a currency of Vanuatu equivalent to one boar tusk. Tuskss and tusk bracelets formed an important part of the barter system in Vanuatu and were used in trade exchange and marriage ceremonies. The most prized of all were those that were fully circular owing to their scarcity. This fine and fully circular example displays a fine weathered patina overall and is presented in a museum grade stand. Livatu H96 W101mm, on stand H175mm

est $500 — $1,000

141 A Toki, Aotearoa

Early argillite toki displaying flake reduction down both laterals and a reduced poll section for lashing into a handle. Blade section sharp with a fine polish to all surfaces. Presented on a museum grade stand. Toki L135 W49 D26mm, on stand H113mm

est $300 — $600

142 A 4th-3rd Millennium BCE Vessel, Harappa Culture, Indus Valley

Made from a buff coloured terracotta. With hand-painted designs of fish around the exterior. Indus Valley is a Bronze Age civilisation that was located in the northwestern region of the Indian subcontinent, consisting of what is now mainly presentday Pakistan and Northwest India. At its peak, the Indus Civilisation may have had a population of well over five million people. H105 D185mm

est $500 — $1,000

143 A 4th-3rd Millennium BCE Bowl, Harappa Culture, Indus Valley

A teracotta bowl. With handpainted geometric designs in black, red, and blue. Impressed leaf-like designs at the centre. Indus Valley is a Bronze Age civilisation that was located in the northwestern region of the Indian subcontinent, consisting of what is now mainly presentday Pakistan and Northwest India. At its peak, the Indus Civilisation may have had a population of well over five million people. H56 D265mm

est $500 — $1,000

144 A 4th-3rd Millennium BCE Vessel, Harappa Culture, Indus Valley

A teracotta form with handpainted black and ochre coloured geometric patterns. Indus Valley is a Bronze Age civilisation that was located in the northwestern region of the Indian subcontinent, consisting of what is now mainly presentday Pakistan and Northwest India. At its peak, the Indus Civilisation may have had a population of well over five million people. H95 D160mm

est $500 — $1,000

145 A 19th Century Taiaha, Aotearoa

19th century taiaha. The arero flairs out and tapers to a sharp point. With well-defined facial features, the waha and arero are decorated with a triple haehae and dog-tooth notched spirals intersecting to form a row of diamonds down the length of the arero. With a rich dark patina. With pāua shell inlay eyes and red sealing wax pupils. A single row of notches features on the well-defined forehead. L1560 W55 D25mm

est $3,500 — $4,500

146 A Pounamu Toki, Aotearoa

An adze carved from īnanga type pounamu. With some flake losses to the shoulders. Faint polishing marks. L103 W44 D10mm

est $300 — $500

147 A Chiefly Taiaha, Aotearoa

Decorated with dog-tooth notching and triple heihei lines spiralling covering the full length of the staff. The waha and arero are carved in a similar style with additional koru to the forehead. Multiple eyes are found along the body and at the striking end along with various motifs. L1400 W64 D25mm, on stand H1425mm

est $12,000 — $15,000

148 An Ancient Roman Earring, Rome

1st–3rd century CE. Two small pearl beads hang as a pendant from a gold hoop. With filigree gold detail above the beads. L29 W15mm

est $300 — $600

149 An Ancient Lapis Lazuli Lotus Amulet, Egypt

New Kingdom 1550–1070 BCE. A small pendant depicting a lotus flower. L15 W11 D4mm

est $200 — $400

150 A Pair of Ancient Crotalia Earrings, Rome

1st–3rd century CE. Made from gold with four tassels to each earring. With small pearl beads. L32 W16mm

est $600 — $1,200

151 A Small Songye Kifwebe Mask, Democratic Republic of Congo

Kifwebe masks are used in initiations and played a role in establishing order in society. They were also used to cleanse the village from benevolent spirits. Sometimes smaller Kifwebe masks were kept in residential areas as protection. This mask, carved from a single piece of wood, has a strong, highly-expressive face and wellworn patina with remnants of kaolin and other pigments. The bulbous forehead flows down to an exaggerated square chin. The protruding lips are of a rectangular cuboid form with a small hollowed out cavity. The eyes are almond-shaped with slits for eye holes, with a medial ridge running up to the skull. On custom presentation stand. H385 W130 D160mm

est $2,000 — $2,800

152 A Songye Kifwebe Mask, Democratic Republic of Congo

Kifwebe masks are used in initiations and played a role in establishing order in society. They were also used to clense the village from benevolent spirits. This mask, carved from a single piece of wood, has a strong, highly-expressive face and well-worn patina with remnants dark pigments. The bulbous forehead flows down to an exaggerated square chin. The protruding lips are of a rectangular cuboid form with a small hollowed out cavity. The eyes are almond-shaped with slits for eye holes, with an oversized, exaggerated medial ridge running up to the skull. With woven plant fibre headdress and train lashed to the reverse of the mask, and a beard to the front. A cyclindrical piece of

wood woven with fibre behind the mask is decorated with feathers. Signs of village repair to the medial ridge where a crack has been stapled. On custom presentation stand.

H1200 W220 D480mm

est $1,500 — $2,500

153 A Small Songye Kifwebe Mask, Democratic Republic of Congo

Kifwebe masks are used in initiations and played a role in establishing order in society. They were also used to clense the village from benevolent spirits. Sometimes smaller Kifwebe masks were kept in residential areas as protection. This mask, carved from a single piece of wood, has a strong, highly-expressive face and well-worn patina. The bulbous forehead flows down to an exaggerated square chin. The protruding lips are in the form of a saltire with a small hollowed out cavity. The eyes are almond-shaped with slits for eye holes. On custom presentation stand.

H300 W130 D120mm

est $2,200 — $2,800

154 A Poupou Panel, Rotorua Aotearoa

A contemporary carved wall panel. The panel depicts a central figure with with one hand at its head and one at its stomach, below the central figure at the bottom of the panel are two manaia figures. The panel has pāua shell inlay eyes. With a black finish. L1015 W360 D70mm

est $500 — $1,000

155 MATTHEW RANDALL Untitled

2007. This piece by Matthew Randall depicts a hoe paddle for a waka. The hoe is carved in raised relief, upon a regtangular form with concentric bands and koru design. The hoe features intricate raised koru motifs in red and black at the blade. Pāua shell inlays feature at the butt of the hoe and at the neck of the blade for the depiction of eyes of manaia heads. 2695 x 290mm

est $1,000 — $2,000

156 A Poupou Carved by Master Carver

Rangi Hetet

Rangikaiamokura Wirihana

Hetet is a master carver of Ngāti Tūwharetoa and Ngāti Maniapoto descent. Carved in 1968, this wall panel depicts a male figure. The head is stylised with pākato amd haehae whakairo designs. With pāua shell eyes. Threefingered hands clasp at the stomach. H685 W245 D37mm

est $2,500 — $5,000

157 A Kulongo Mask, Ivory Coast/Ghana

Carved from a single piece of wood. An oval face with a wide marquise prtrusion from the top of the head depicting a headdress or coiffure with striated lines. Almondshaped eyes, an extended nose with perforations, and a protruding square-shaped mouth. Carved zigzag detailing is coloured with kaolin. On custom presentation stand. H610 W180 D210mm

est $500 — $800

158 A Marka Mask, Burkina Faso

Used in farming and fishing ceremonies to ensure a bountiful harvest, this mask depicts an anthropomorphic antelope. Antelope are commonly represented in Marka masks as mythology says antelope taught people how to farm. Carved from a single piece of wood with sheets of patterned brass nailed to the face. The nails are all different sizes and asymmetrical, indicating they have been made by a village blacksmith rather than mass produced. Carved horns with goat hair tassels, a comb with fibre tassels, small ears, and pouting lips protrude through the copper sheeting. Some corrosion to the metal and signs of village repair to the areas of the head. The hide caps holding the goat hair to the horns have been glued later for preservation. It is very rare to see these masks with them still attached. On custom presentation stand.

H670 W200 D210mm

est $800 — $1,400

159 A Ligbi Mask, Ivory Coast

Ligbi masks are used in dance ceremonies during celebrations of Islamic holidays, particuarly the end of Ramadan. Carved from a single piece of wood. An oval shaped face with exaggerated curved downcast eyes and protuding pouting lips. The face is decorated with a vibrant blue pigment around the eyes and mouth and a rich red pigment to the lips. Rectangles of copper have been applied around the eyes. The mask features a coiffure with protruding horns, wings to either side of the face, and perforations to the area below the chin. The reverse reveals a mouthbit for the wearer to hold the mask more securely. On presentation stand. H510 W190 D175mm

est $700 — $1,200

160 An Alafolo Club, Solomon Islands

A carved club with flat rectangular blade enlivened by a raised fin on each side, that extends into a square shaft interspersed with a diamondshaped knob and terminating with a double-flange pommel. With a rich brown patina. L875 W55 D46mm

est $600 — $800

161 A Waka Hoe, Aotearoa

Late 19th century. Carved from a dense native hardwood. With a lanceolate blade, a long slender shaft that terminates in a knob. Incised letters 'TEA' to the blade. Lacquered a dark brown. L1530 W123 D33mm

est $1,000 — $2,000

162 A Carved Walking Stick, Papua New Guinea

Carved from a single piece of wood. A long shaft featuring raised relief of humans, pigs, and birds. With a dark brown patina. L960 W62 D42mm

est $300 — $500

163 A Whakairo Fragment, Aotearoa

This fragment, carved from wood, depicts two figures. The upper figure is of a body from the shoulders down, the figure has hands clasped at the stomach and knees bent. The lower figure has only remnants of a manaia head. One of the pāua shell eyes remain. L165 W20 D25mm

est $300 — $600

Aotearoa

This free-standing figure was carved from a single piece of wood. The figure features three-fingered hands clasped at the stomach. The body of this pou is carved with intricate pākati designs. The face features tā moko lightly incised around the mouth and brow. One pāua shell eye remains and is secured with an old steel nail. The carving has been lacquered with a dark brown pigment, a historical lighter red lacquer is visible in the grooves of the detail carvings. H230 W95 D85mm

est $1,500 — $2,500

165 A Makonde Ujaama Tree of Life Sculpture

1950-1970s. Carved from a single piece of wood, this sculpture depicts interlocking figures that represent family unity. The central figure features a lip disc to the upper lip. The carving is made from mpingo heartwood which is now considered a threatened species. H545 W125 D168mm

est $300 — $500

166 A Tewhatewha, Aotearoa

19th century. A two-handed weapon used in combat. Carved from a single piece of wood, this tewhatewha comprises a long shaft used as the handle and a striking end shaped like a broad axehead known as a rapa. L1463 W211 D27mm

est $4,600 — $4,800

167 A Wahaika, Aotearoa

A short blade weapon. The sides of the wahaika blade are covered in incised haehae decoration. To the curve of the inner blase features a figure with pāua eyes. At the handle end of the wahaika is a weku masked butt with pāua shell inlay eyes. L405 W140 D24mm

est $1,000 — $2,000

168 A Pūkāea by Master Carver Wi Kuki Kingi

A pūkāea is a long trupet made from a long hollowed shaft of wood with a flared end. This pūkāea has a beak-like end with two white teeth and a protruding arero. Carving at the end of the trumpet depict stylised nostrils and pāua shell inlay eyes. The trumpet has been coloured a deep red-brown and features muka wrapped binding up the length of the shaft. Dark red feathers create a fringe around the lower end of the shaft. L970 D90mm

est $800 — $1,600

169 A Pair of Trobriand Island Carved Sticks, Papua New Guinea

1970s/1980s. From the Massim Region. Intricately carved from ebony wood. Each carved with raised relief of figures. The larger stick also features animals. With shell inlays, some minor loss of inlays. Larger L1200 D52mm, smaller L1005 D30mm

est $250 — $500

170 A Pūkāea by Master Carver Wi Kuki Kingi

A pūkāea is a long trupet made from a long hollowed shaft of wood with a flared end. This pūkāea has a whakairo band at the end and small pāua inlays. The handle has been wrapped with black coloured cane to create a grip. At the lower section of the trumpet there is a dense band of feather fringe. L1540 D100mm

est $1,000 — $2,000

171 A Waka Hoe Carved by Rangi Redman, Aotearoa

Rangi (Jack) Redman is a prominent carver who began his work in toi whakairo in the 1950s. Carved from a single piece of native timber. The leaf shaped blade has detailed carvings of three faces surrounded by haehae and pākati designs. With pāua shell inlaid eyes. L1520 W145 D40mm

est $1,000 — $2,000

172 A Framed Noveapu, Santa Cruz

These sticks are made of coconut wood and decorated with the downy red feathers plucked from the head and breast of the scarlet-coloured honeyeater bird. Noveapu were worn by men in their hair but also used as currency. Framed behind glass. Noveapu L340mm, frame 455 x 131mm

est $600 — $1,200

173 A Framed Noveapu, Santa Cruz

These sticks are made of coconut wood and decorated with the downy red feathers plucked from the head and breast of the scarlet-coloured honeyeater bird. Noveapu were worn by men in their hair but also used as currency. Framed behind glass. Noveapu L325m, frame 455 x 133mm

est $600 — $1,200

174 A Framed Noveapu, Santa Cruz

These sticks are made of coconut wood and decorated with the downy red feathers plucked from the head and breast of the scarlet-coloured honeyeater bird. Noveapu were worn by men in their hair but also used as currency. Framed behind glass. Noveapu L335mm, frame 455 x 133mm

est $600 — $1,200

175 A Tokotoko, Aotearoa

The tokotoko is a symbol of authority and displays the status of the speaker on a marae. This example is almost completely decorated with notched designs and motifs. Rising from the notched and decorated body of this tokotoko are four carved figures, including a warrior with patu. Inset shell eyes are still present on most of the figures and also adorn the top/handle which has a carved face. With a rich dark patina. Presented on a custom museum grade stand. Tokotoko L800 D29, on stand H837mm

Y13681

Provenance: Private collection, Aotearoa

est $3,000 — $5,000

Terms and Conditions

1. Background to the Terms used in these Conditions

The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows:

“the Buyer” means the person with the highest bid accepted by the Auctioneer.

“the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue.

“the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot.

“the Buyer’s Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price.

“the Reserve” means the lowest amount at which Webb’s has agreed with the Seller that the lot can be sold.

“Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly, no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting).

“the insured value” means the amount that Webb’s in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Webb’s).

All values expressed in Webb’s catalogues (in any format) are in New Zealand Dollars (NZD$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in New Zealand Dollars (NZD$) unless otherwise specified.

2. Webb’s Auctions as Agent

Except as otherwise stated, Webb’s acts as agent for the Seller.

The contract for the sale of the property is therefore made between the Seller and the Buyer.

3. Before the Sale

3.1. Examination of Property

Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place.

Neither Webb’s nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below.

The property is otherwise sold “AS IS”

2. Catalogue and Other Descriptions

All statements by Webb’s in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Webb’s of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Neither Webb’s nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.

Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.

An item bought “on Extension” must be paid for in full before it will be released to the purchaser or his/ her agreed expertising committee or specialist. Payments received for such items will be held “in trust” for up to 90 days or earlier, if the issue of authenticity has been resolved more quickly. Extensions must be requested before the auction.

Foreign buyers should note that all transactions are in New Zealand Dollars so there may be a small exchange rate risk. The costs associated with acquiring a good opinion or certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.

3. Buyers Responsibility

All property is sold “as is” without

representation or warranty of any kind by Webb’s or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report.

No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.

4. At the Sale

4.1. Refusal of Admission

Webb’s reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.

4.2. Registration Before Bidding

Any prospective new buyer must complete and sign a registration form and provide photo identification before bidding. Webb’s may request bank, trade or other financial references to substantiate this registration.

4.3. Bidding as a Principal

When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyer’s premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Webb’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Webb’s and that Webb’s will only look to the principal for payment.

4.4. International Registrations

All International clients not known to Webb’s will be required to scan or fax through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Webb’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Webb’s also reserves the right to request any additional forms of identification prior to registering an overseas bid. This deposit can be made using a credit card, however the balance of any purchase price in excess of $5,000 cannot be charged to this card without prior arrangement. This deposit is redeemable against any auction purchase and will be refunded in full if no purchases are made.

4.5. Absentee Bids

Webb’s will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Webb’s after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.

4.6. Telephone Bids

Priority will be given to overseas and bidders from other regions. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must

be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Webb’s accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Webb’s cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. You must advise Webb’s of the lots in question, and you will be assumed to be a buyer at the minimum price of 75% of estimate (i.e. reserve) for all such lots. Webb’s will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals, or any other sale room notices.

4.7. Online Bidding

Webb’s offers an online bidding service. When bidding online the buyer agrees to be bound by all terms and conditions listed here by Webb’s. Webb’s accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details. Webb’s does not charge for this service.

4.8. Reserves

Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders.

4.9. Auctioneers Discretion

The Auctioneer has the right at his/ her absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he/she may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, then Webb’s sale record is conclusive.

4.10.

Successful Bid and Passing of Risk

Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.

4.11.

Indicative Bidding Steps, etc.

Webb’s reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following indicative steps:

The terms and conditions of sale listed here contain the policies of Webb’s (Webb Fine Art). They are the terms on which Webb’s (Webb Fine Art) and the Seller contract with the Buyer. They may be amended by printed Saleroom Notices or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms.

$200 $2,000–$5,000

$500 $5,000–$10,000

$1,000 $10,000–$20,000

$2,000 $20,000–$50,000

$5,000 $50,000 – $100,000

$10,000 $100,000–$200,000

$20,000 $200,000–$500,000

$50,000 $500,000–$1,000,000

Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.

5. After the Sale

5.1. Buyers Premium

In addition to the hammer price, the buyer agrees to pay to Webb’s the buyer’s premium. The buyer’s premium is 19.5% of the hammer price plus GST. (Goods and Services Tax) where applicable.

5.2. Payment and Passing of Title

The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes and GST) not later than 2 days after the auction date.

The buyer will not acquire title to the lot until Webb’s receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items overseas. Payment can be made by direct transfer, cash (not exceeding NZD$5,000, if wishing to pay more than NZD$5,000 then this must be deposited directly into a Bank of New Zealand branch and bank receipt supplied) and EFTPOS (please check the daily limit). Payments can be made by debit card or credit card in person with a 2.2% merchant fee for Visa, Mastercard and Paywave, and 3.3% for American Express. Invoices that are in excess of $5,000 and where the card holder is not present, cannot be charged to a credit card without prior arrangement. Cheques are no longer accepted.

The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Webb’s account.

5.3. Collection of Purchases & Insurance

Webb’s is entitled to retain items sold until all amounts due to us have been received in full in cleared funds. Subject to this, the Buyer shall collect purchased lots within 2 days from the date of the sale unless otherwise agreed in writing between Webb’s and the Buyer.

At the fall of the hammer, insurance is the responsibility of the purchaser.

5.4. Packing, Handling and Shipping

Webb’s will be able to suggest removals companies that the buyer can use but takes no responsibility whatsoever for the actions of any recommended third party. Webb’s can pack and handle goods purchased at the auction by agreement and a charge will be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser.

5.5. Permits, Licences and Certificates

Under The Protected Objects Act 1975, buyers may be required to obtain a licence for certain categories of items in a sale from the Ministry of Culture & Heritage, PO Box 5364, Wellington.

5.6. Remedies for Non-Payment

If the Buyer fails to make full payment immediately, Webb’s is entitled to exercise one or more of the following

rights or remedies (in addition to asserting any other rights or remedies available under the law)

5.6.1. to charge interest at such a rate as we shall reasonably decide.

5.6.2. to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for its recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law.

5.6.3. to cancel the sale.

5.6.4. to resell the property publicly or privately on such terms as we see fit.

5.6.5. to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Webb’s in the event that the item(s) are sold for an amount greater than the original invoiced amount.

5.6.6. to set off against any amounts which Webb’s may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer.

5.6.7. where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs.

5.6.8. to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids.

5.6.9. to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for said Buyer’s obligations to us.

5.6.10. to take such other action as Webb’s deem necessary or appropriate.

If we do sell the property under paragraph (4), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default.

If we pay any amount to the Seller under paragraph (5) the Buyer acknowledges that Webb’s shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

5.7. Failure to Collect Purchases

Where purchases are not collected within 2 days from the sale date,

whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.

6. Extent of Webb’s Liability

Webb’s agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller, ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.

7. Limited Warranty

Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue.

The warranty is subject to the following:

it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.

the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Webb’s when the lot was sold at Auction.

the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party.

The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyer’s premium which is non-refundable. Neither the Seller nor Webb’s will be liable for any

special, incidental nor consequential damages including, without limitation, loss of profits.

The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Webb’s to decide whether or not to cancel the sale under warranty. the Buyer must return the lot to Seller in the same condition that it was purchased.

8. Severability

If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted, and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.

9. Copyright

The copyright in all images, illustrations and written material produced by Webb’s relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Webb’s and shall not be used by the Buyer, nor by anyone else without our prior written consent. Webb’s and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.

10. Law and Jurisdiction

These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of New Zealand, unless otherwise stated.

11. Pre-Sale Estimates

Webb’s publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Webb’s prior to auction for updated pre-sale estimates and starting prices.

12. Sale Results

Webb’s will provide auction results, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.webbs.co.nz.

13. Goods and Service Tax

GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not a New Zealand resident. These lots are denoted by a dagger symbol † placed next to the estimate. GST is also applicable on the buyer’s premium.

14. Māori Taonga

Please note that Y-registered Māori taonga can only be purchased by registered collectors of taonga tūturu.