Download - 3D CATALOGUE JUNE 2008
New Zealand’sPremier Auction House18 Manukau RoadNewmarket, PO Box 99251Auckland, New Zealand0800 22 00 77+649 524 6804+649 524 7048 (fax)[email protected]
www.webbs.co.nz
©
Front Cover
520 Gavin Hurley
Young Donald 2004
oil on hessiantitle inscribed, signed with the artist’s initials GJH and dated ‘04 versoExhibited: Mixed Up Childhood, Auckland Art Gallery (2005)Illustrated: Mixed Up Childhood, Janita Craw & Robert Leonard, Mixed-up Childhood (Auckland Art Gallery, Toi o Tamaki 2005)1400mm x 1000mm
$15,000 - $20,000
ViewingEvening PreviewThursday 19 June 6.00pm – 8.00pm
Thursday 19 June 9.00am – 8.00pmFriday 20 June 9.00am – 5.30pmSaturday 21 June 11.00am – 3.00pmSunday 22 June 11.00am – 3.00pmMonday 23 June 9.00am – 5.30pmTuesday 24 June 9.00am – 5.30pmWednesday 25 June 9.00am – 5.30pmThursday 26 June 9.00am – 5.30pmFriday 27 June 9.00am – 5.30pmSaturday 28 June 11.00am – 3.00pmSunday 29 June 11.00am – 3.00pmMonday 30 June 9.00am – 12.00pm
Note: Please refer to section title pages forspecific viewing times as there is limitedviewing on sale days.
Sale 296
DAY 1 Fine Jewellery & WatchesWednesday, 25 June 2008, 2pm & 6pm
DAY 2 Antiques & Decorative ArtsThursday, 26 June 2008, 6pm
DAY 3 Important Works of ArtMonday, 30 June 2008, 6.30pm
Fine Jewellery& Watches,Antiques & Decorative Arts,ImportantWorks of Art
BUYER’S PREMIUM A buyer’s premium of 12.5% will be charged on the Important Works of Art and Fine Jewellery & Watches section of this catalogue. A buyer’s premium of 15% will be charged on the Antiques & Decorative Arts section of this catalogue. GST of 12.5% is payable on the buyer’s premium only.
CONDITION OF ITEMS The condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause 6 in the Conditions of Sale for Buyers printed at the back of the catalogue. Webb’s are pleased to provide intending buyers with condition reports on any lots.
1CONTENTS
The June sale began to feel like something special with the arrival of Don Binney’s Fat Bird (lot 519). The delightful image of the puffed out tom tit graced the cover of our recent brochure, and is a major, representative work by the artist. “These confi dent, celebratory paintings fi rst appeared in the 1960s and brilliantly captured the mood of the times, seeming to express a distinctive New Zealand identity1.” Only one other work from this important series has been available to the open market in recent years. It was offered by Webb’s in 2002 and after fi erce bidding sold to Te Papa Tongarewa. In his book Damian Skinner describes that Fat Bird as suggestive of…“ the pared-back black and grey hills of Colin McCahon’s early South Island landscapes… fulfi ls the primary function of evoking and reinforcing movement and fl ight, as Binney keeps the tension active between the bird’s form and the surrounding hills2.” Not since 2006 has a highly sought after bird painting from the sixties been on the market. Fat Bird was gifted to the current owner upon the birth of her daughter.
With the record auction price achieved for Bill Hammond’s Fortifi ed Gang Headquarters in April, we are pleased to have the opportunity to market an equally signifi cant work Containers (lot 527). This work was exhibited at the Peter McLeavey Gallery in 1998 in a show entitled Hokey Pokey, well known as a quintessentially Kiwi ice cream fl avour. This work was sold in 2002 and held the then record price, before the sale was bettered at Webb’s in 2003. The best of Hammond’s works continue to attract the focus of collectors with competition at auction, strong primary dealer representation and national recognition with the exhibition and publication Jingle Jangle Morning. Also on offer is an exquisite work executed on an ostrich egg. This Green Egg (lot 552) is reminiscent of the jewelled Faberge eggs made for the Czars of the Russia; it features Hammond’s distinctive bird imagery in a palette of gold and green.
Colin McCahon’s scrolls were begun in 1969, inspired in part by the gifting of two books. Peter Hooper’s, Journey Towards an Elegy given by John Caselberg and the New English Bible, from Colin’s wife Anne. In 2006 Webb’s sold one of the strongest of all the scrolls The Calling of a Christian, its uplifting text both simple and beautiful, with its message of hope and advice. In If You Can Afford a Psychiatrist (“Try Having a Bonfi re” Peter Hooper) (lot 531) the text from Peter Hooper’s poem deals with many of the existential issues that fascinated McCahon, such as death, hope and despair. Rather than uplifting, the text is cynical, philosophical and instructional. The simplicity of its layout with the triangle below, its three sides representing the holy trinity or perfection of both geometry and spiritually, and the message it conveys, gives a powerful reading.
Rare indeed on the secondary market is Gordon Walter’s Rauponga No1 (lot 529). A work on canvas from this series has never before been offered on the auction market. A painting all about shape and colour, the white and beige forms create positive and negative areas, enlivening the neutral surface of the canvas. The tonal distinction is minimal giving a gentle optical effect. Always pristine, ordered, and immaculate, this is an elegant and exceptional Walters canvas.
The Richard Killeen, Looking is Not Seeing, (lot 526) combines fi guration and abstraction on 14 aluminium pieces. Highly individual and requiring a degree of practical input from the viewer, this large scale work emerged just before Killeen began including more computer generated imagery. Using hand painted abstraction and realism, the pieces are in colour and in black and white. They combine complex images with simple ones and their infi nite variety of appropriation, found imagery and creative input are collected from the artist’s encyclopaedic collection of images. Cut outs of this scale and period are also relatively rare, and results achieved in the last few years, show a steady rise in both prices and demand among collectors.
A Tree I Know Near Matauri Bay by Michael Illingworth (lot 518) is a jewel bright landscape where the centralised tree serves to connect the land, sea and sky. Formalised oppositions such as the ripples on the water, the highly stylised cloud formations, and the concentric rings within the foliage of the tree, activate the composition and create fi gures in the land. Intensely interested in the idea of powers and deities lurking in the nature, he has subtly illustrated a fi gure in the tree. Man is encircled by the powerful forces of nature. These anthromorphic landscapes seek to represent the ideal with their pleasing symmetry and bright colour. This work was bequeathed to the present vendor and has never before been offered to the secondary market.
Tony Fomison’s Portrait of a Circus Clown (lot 525) does more to unsettle than to entertain. Often objects of ridicule and misery, the clown is held up like a mirror, refl ecting man’s inhumanity to man. A butt of endless jokes, cruel jibes, and often physical abuse, clowns belong to that sector of society that most interested Fomison. The disposed, the outsider, the jester, the beggars and the victims of disease and misfortune, but also soothsayers and the tellers of truth. The use of jute stretched over a dart board, illustrates his use of material at hand, and his distinctive, idiosyncratic style.
The cast lead glass pieces of Ann Robinson continue to attract strong interest from collectors. Undeniably beautiful and extremely tactile, the Te Rito (Cactus Pod Bowl) (lot 513) is an example of the short stemmed oval vessels begun in the mid 1990’s. Originally purchased from Masterworks Gallery in 1996 this deep green bowl weighs in at a hefty 16kgs of solid lead glass. The smaller Yellow Boat (lot 506) is a more freely modelled piece, formed from sheets while still malleable and left to drip; this piece is both sculpted and cast.
The large scale portrait Young Donald by Gavin Hurley (lot 520), was exhibited in Mixed Up Childhood at the Auckland Art Gallery in 2005. An interesting context in which to be shown in as its subject matter is Donald Baechler an American artist renowned for his boyish appearance, and accused of being a modern day Dorian Gray.
The June Sale has a number of rare and beautiful works, only a few of which we have featured here. We are also proud to present the entire collection of the Art Appreciation Society including works by Pat Hanly, Stanley Palmer, Jeff Thompson, Peter McIntyre, Simon McIntyre and Ann Robinson. More can be found about the Society and its collection on page 4 of this catalogue.
Emma Fox
INFOCUSART
1 Damian Skinner, Don Binney Nga Manu/Nga Motu – Bird/Islands, (Auckland University Press, 2003) p.9
2 ibid p.9
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IN FOCUS 3
Works from the Art Appreciation Society Collection: Lot 507 Stanley Palmer Anawhata | oil on linen on board | signed and dated ‘03 | 1345mm x 680 mm | $12,000 - $18,000
Lot 546 Gretchen Albrecht Maze | acrylic on canvas | signed and dated ‘04 verso, title inscribed, signed and dated 1984 on original label affi xed verso | 1250mm x 2500mm | $15,000
- $20,000 Lot 506 Ann Robinson Yellow Boat | cast glass | signed and dated 2004 NZ on base | 240mm x 290mm x 100mm | $7,000 - $9,000 Lot 537 Pat Hanly Maungawhau and Park
| oil on canvas on board | signed and dated ’83 | 800mm x 810 mm | $45,000 - $65,000 Lot 503 Richard McWhannell Donagh | oil on canvas | title inscribed, signed and dated 2006 verso |
780mm x 835mm | $7,000 - $10,000 Lot 509 Fatu Feu’u Eluia Moana | oil on canvas | signed and dated ‘99 | 1300mm x 1670mm | $8,000 - $12,000 Lot 504 Jeff Thomson NZ Bouquet | screenprinted corrugated iron| signed and dated 2003 1950mm x 1350 mm | $7,000 - $10,000
Like many art collectives, the Art Appreciation Society modeled itself on the Prospect Collection formed by Grahame Reeves, Peter Webb and Warwick Brown in 1979 and whose founding principle was to make a collection of contemporary New Zealand painting.
The Art Appreciation Society was formed in 1997 with the intention of collecting for a period of ten years. Unlike most collectives the members were happy to have purchasing decisions guided by those members of the group who were already experienced collectors. Their motivating factor was not fi nancial gain but rather the acquisition of knowledge and the fostering of members’ personal interest.
Much of the group’s buying took place at auction, its fi rst purchase being the Pat Hanly, Mangawhau / Mt Eden (lot 537). The collection includes sculptural pieces, such as the small Greer Twiss Owl (lot 589),
and two works by Jeff Thomson, a corrugated iron NZ Bouquet (lot 504) and the more abstract Woven lot 593). The eclectic group of paintings includes a traditional Still Life with Cyclamens by Peter McIntyre (lot 584), large scale works by Robin Kahukiwa Conception (Lot 555)and Hongi (lot 547) as well as Eluia Moana by Fatu Feu’u (lot 509). Three works by Stanley Palmer, an artist with personal connections to some members of the group, were added over the years, the fi rst of these being Islands of the Gulf (lot 508). Ann Robinson’s Yellow Boat (lot 506) was included simply because it was too compelling to resist.
Now that the original ten year collection period has fi nished the works have found their way back to auction to invigorate and challenge new collectors.
The Art Appreciation Society lot numbers are marked in red in the catalogue.
ART APPRECIATION SOCIETY COLLECTION
Lot 507
Lot 506
Lot 537
Lot 509
Lot 503
Lot 546
Lot 504
4
DIAMONDS
At Webb’s, New Zealand’s Leading Auctioneer of Fine Jewellery and Watches in association with Christopher Devereaux
Top to bottom: A 5.59ct emerald-cut diamond solitaire graded H, VS1 elegantly set in a fashionable split-shank ring with accent baguettes | $140,000 - $150,000 A 2.13ct Rare Natural Fancy Light Grey-Green marquise-cut diamond | $85,000 - $95,000 A round modern brilliant cut diamond of 3.86ct, graded G, VS1, set in a quatrefoil platinum and diamond ring | $150,000-160,000
(Not shown actual size)
IN FOCUS 5
MURDERERS SHOULD DIE of natural causes and not by state administered execution. Opposers of the death penalty attest that when
a governing body has the power to decide over life or death there is no telling how far it can go. They hold
the extermination of millions of Jewish people, justified and sanctioned by the German Government during
World War II as an, albeit extreme, example of this, and argue that no one should have the power to take
away another person’s life. Aside from moral and emotional concerns, opposers also believe there is very
little hard evidence to suggest capital punishment does anything more than satisfy the basic human desire
for revenge. So let’s look at some of the facts. In 1976 thirteen US states elected not to reintroduce capital
punishment. The homicide rate in states that opted to keep it, and where executions still regularly occur
such as Texas, is almost double that of states without it. Conversely, Canada abandoned capital punishment
in 1976, opting instead for a sentence of 25 years with no possibility of parole for the crime of murder. The
homicide rate has been gradually dropping ever since, a phenomenon observed in many other countries that
have abandoned the death sentence. Capital punishment can also result in great miscarriages of justice.
By 2005 DNA testing in the United States had proven that fourteen convicted inmates awaiting execution on
death row were innocent. To that end, opposers question, is it right to grant the state the power of life and
death over its citizens based on what can sometimes be circumstantial evidence and the wavering opinion
of judge and jury? And can society risk putting to death innocent people based on the unproven theory that
it would result in fewer murders? Campaigners against the death penalty believe that if you take away
the motive of revenge for the victim’s family and counter the possibility of re-offending by increasing non-
parole life sentences, then you may begin to find a system in which victims find justice and offenders pay
FOR THEIR CRIMES.
TVNZ.CO.NZ KEYWORD: TVNZ 7 – AVAILABLE ON FREEVIEW
SA
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TV7 0020_DeathPenalty 215x274 FP1 1 6/6/08 9:25:48 AM
CONTEMPORARY ART21 October 2008
Entries now invited
Contact
Emma Fox +649 529 5601 [email protected]
Jonathan Organ +64 21 503 251 [email protected]
Quality entries are now invited for a sale of Contemporary Art to be held in October. The sale will include progressive works in a variety of media
by leading New Zealand and international contemporary practitioners. Seu
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7IN FOCUS
ARTWORLD
ARTWORLD
8
Webb’s is pleased to announce the appointment of Neil Campbell as Managing Director. Over the last 15 years Neil has worked extensively in and alongside a range of creative sectors including f ilm, television, publishing and music.
Neil has previously served as the Executive Director of the New Zealand Screen Director Association and was Television New Zealand’s in house legal counsel for six years. More recently he acted as Head of Strategic Alliances and Partnerships for Telecom’s video services group.
Neil has a strong interest in the arts, and a particular interest in New Zealand contemporary art, having recently been responsible for bringing into New Zealand a range of international artists for one off exhibitions.
His personal interests are currently focused on an international project with the World Heritage Organisation. This is a large scale photography project which is documenting every listed world heritage site (www.ourplaceworldheritage.com). Alongside this, Neil’s passion for important motorcycles will come to bear on the 22nd July when Webb’s is to hold an exhibition and sale of some of New Zealand’s most signifi cant pioneer and classic motorcycles.
Neil was educated in Auckland at Sacred Heart College and went on to obtain a Bachelor of Law degree from the University of Auckland. He also read at the University of Queensland and holds a further degree in Economics. He has a longstanding interest in the development of Intellectual Property rights in favour of the creative sectors.
Neil is married to Sophie Coupland, also a Director of Webb’s and Peter and Ann Webb’s daughter. This appointment reinforces Webb’s family owned history and assures strong, fresh and innovative management, long term, for the business.
NEIL CAMPBELLPROFILE
9IN FOCUS
IN FOCUS
HAMMONDMcCAHON HOTERE APPLE FOMISON GOLDIE HANLY KILLEEN MRKUSICH WALTERS
Contact: Sophie Coupland+64 9 529 5603+64 21 510 [email protected]
or
Jonathan Organ+64 21 503 251+64 9 524 [email protected]
Webb’s has important works for sale by Private Treaty including:
10
PRIVATE TREATY SALE
Last year Webb’s introduced a comprehensive re-sale service focusing on the private placement of important Modern and Contemporary works of art on behalf of clients. Private sales have already exceeded expectations with major works by Colin McCahon, Ralph Hotere, Pat Hanly, Bill Hammond and Michael Smither being sold in recent months. Webb’s is also offering an acquisition service to clients seeking specifi c works for their collections.
Major works available for private sale may be viewed by appointment.
Contact
Sophie Coupland +649 529 5603 [email protected]
Jonathan Organ +64 21 503 251 [email protected]
Ralph Hotere Song of Solomon mixed media on fourteen sheets of paper each individual sheet signed with Ralph Hotere’s initials R.H and with Cilla McQueen’s initials C.M.Q. title inscribed, signed by Hotere and McQueen and dated ’91 on each panel verso Exhibited: Hotere, Out The Black Window: Ralph Hotere’s Work with New Zealand Poets, June-July 1997 630 x 490mm each, 1324 x 3675mm overall dimensionP.O.A
Created in response to the 1991 Gulf War, this is a haunting multi-panel painting full of paradoxes. It operates like an antiphonal project, a choral work built on statement and response, between monochromatic chord structures and printed text and between opposing levels of textual content. Wedged into 14 panels the painting unfolds through an alternation of thick bands or blocks of sprayed black paint with glaring white-paper blanks. The tragic grandeur of the work’s major tonal progression is modulated by a host of bleedings, scuffs, speckles, arcs of silver dots, and scripted annotations. The improvisational diversity of these playful surface effects appears to go against the painting’s overridingly bitter and melancholy pall. A staccato string of words, ‘cut out’ one might guess, from military reports and press releases covering the Gulf War, run like two through-lines in the top and bottom sequence of panels. The word strings act as fi xed horizon lines amidst a plurality of graphic levels that jump and drop in syncopated order. The plain-text or ‘courier’ font of the printed words holds the communications technology of earlier wars with their typewritten despatches from the front together with the plain-text of contemporary data screens and email systems. This is Cilla McQueen’s text at work in the Hotere matrix. McQueen’s lexical collage functions like a reality principle to Hotere’s broodingly romantic graphic and painterly rhetoric.
It is as if, through breaks in battlefi eld smoke or post-war toxic haze, and shown up by detonations and muzzle fl ashes on the skyline, McQueen’s chains of words tear through the aesthetic dazzle of the military sublime. Photographs and videos that we followed on CNN at the time seduced us with their telemetric and optical wizadry. Tracer bullet tattoos of white across night-vision green, slow exfoliations of black and grey from destroyed buildings and bridges became familiar imagery in the living room.
The asyntactical repetition of McQueen’s words, following one another randomly and dumbly mimics the kind of psychic shutdown that can act as one form of defense against unmanageable trauma. Perhaps McQueen and Hotere, in a sense, have responded to Adorno’s rhetorical question, “Can there be poetry after Auschwitz?” What sort of art and poetry can accompany our contemporary and all too extensive knowledge of war and atrocities? Perhaps only something that works through a sort of affectless enumeration, a machinic refusal to play with delectations of word choice and tonal chromatics. This is the sort of protection from trauma that Freud alluded to in his discussion of ‘the compulsion to repeat’. The McQueen vocabulary which cites ‘main gambit box airburst shift communications shrapnel [sic] jam chamber’ and ‘smart blood break count bodybag holymilk operations kill strategy factory reprisal’ is answered in a dreamlike manner by Hotere’s handwritten fragments from the Song of Songs, the ancient Hebrew text of seduction and lament for an elusive lover who approaches in the night. The lover calls, “Arise my love, my fair one and come away”, “For lo, the winter is past and the rain is over and gone”. The work therefore talks to itself, and thus becomes many works in one, but whether its borrowing of the new testament stations of the cross format or the old testament poetry of desire and lament provide the work with the confi dence of redemptive purpose amid desolation has deliberately been left unresolved.
Allan Smith
11IN FOCUS
Ralph HotereBaby Ironacrylic on board with burnished and painted steel with roofi ng rivetssigned and dated 1983; signed and dated 1983 verso1200 x 855mmP.O.A
Ralph Hotere is known to be reticent in discussing his own work. He once said: “There are very few things I can say about my work that are better than saying nothing.” One of the major infl uences on Hotere’s work, especially his austerely black ‘minimalist’ works from the late 1960s, was the work of American painter Ad Reinhardt. Ironically, although Reinhardt claimed his paintings were about nothing, with nothing to say, he actually wrote a great deal about them and the type of art he wanted to advocate. Hotere however, has not been given to written or verbal loquacity about his work. Yet for all the apparent reticence of the man - a combination of genuine humility, shyness and fi erce impatience with art-world rhetoric, role-playing and posturing – Hotere’s art is full of quoted speech, of poetry, names, liturgical incantations, numbers and a host of stylistically expressive communicative gestures, and, all of this communicative repertoire is given to us with a great range of theatrical shadings. Hotere’s is always a highly dramatic, at times even operatic, art.
By referring to Hotere’s art as theatrical I am not thinking of Harold Rosenberg’s famous explanation of Abstract Expressionist painting, when he said avant-garde American painters were treating the painting as an arena in which to act. Although there are plenty of remnants from Abstract Expressionist gestural and calligraphic painterliness in Hotere’s work, his paintings are not about bodily immersion in the way that Pollock’s paintings were for instance. Hotere’s paintings, often constructed and worked on with grinders and acetylene torches as much as paint brushes or spray guns, are more like lovingly improvised props and banners for an on-going dramatic performance. This work from the 1983 Baby Iron series is no exception. Though smaller in scale than his
Song Cycle banners from the mid 1970s, they still have a sense that they have been made to accompany some grandly scaled and richly orchestrated theatrical event in which laments, warnings and blessings articulate a type of prophetic vision of a nation in trouble, which yet remains a deeply strange and beautiful place. Each new work and series of work further adds to the building of Hotere’s virtual prophetic theatre.
As banners and placards of protest carry declarative words and assertive signs, so Hotere’s Baby Iron is branded with the slashes of a cross made by a grinder, in the middle of an agitated fi eld of white paint. The cross, which has an inherent implication of denial, error, or eradication, is enforced as a potent symbol by the formality of the dark ‘H’ of the painted backboard that frames the top white area and the burnished and scorched , corrugated stainless steel below. The window frame, which contains this work, automatically draws the viewer into the imaginative space within the picture; the assertively physical and fl at treatment of the painted and lettered components of the painting, however, push the approaching viewer back again. The cross and the passive-aggressive gesturalism of Hotere’s mark making turn the window into a shield; the lead-head nails are like small bosses. This type of Hotere painting makes me think of Melanesian decorative shields, which played an apotropaic role in tribal ritual; they were signs invested with the capacity to ward of evil infl uences and protect their users. Much of modernist and contemporary painting could be investigated in terms of such theatrical defenses against various kinds of threat. With Hotere, it is hard not to think always of the threat once posed by the Aramoana aluminium smelter, which was to be built amidst a wildlife sanctuary near Dunedin, and that Hotere’s fi rst paintings using found sheets of corrugated iron were directed against. Perhaps back then Hotere even had in mind the widespread pre-modernist belief that iron held apotropaic powers. Though stainless steel, used in the Baby Iron series in fl at or corrugated sheets, is a resolutely modern invention without archaic associations, its impersonal sheen still defl ects as well as attracts our gaze; it is both beautiful and fi ercely resistant.
Allan Smith
PRIVATE TREATY SALE
Contact
Sophie Coupland +649 529 5603 [email protected]
Jonathan Organ +64 21 503 251 [email protected]
12
13IN FOCUS
IMPORTANT VINTAGE & COLLECTORS’ MOTORCYCLES
Webb’s is pleased to announce a sale of Important Vintage & Classic Motorcycles to be held in association with Auckland Motor Power Sports (AMPS.) Already consigned for the sale is an extremely rare 1915 Ariel Vee Twin. This bike, featured in Maureen A. Bull’s publication New Zealand’s Motor Cycle Heritage, represents the height of Edwardian technology and the beginning of New Zealand’s motorcycle history. Another highlight is a classic example of the famous 1963 Harley Davidson Sportster from the fi rst year that renowned designer Willie G. Davidson led the design team.The sale also includes: an exquisite 1974 Ducati GT 750, a 1917 Harley Davidson ‘Boardtracker’, No 6/120 hand built CCM 500, 1952 AJS 350, 1969 BSA Bushman, 1967 Yamaha DS6 250, 1980 Yamaha XT500, 2000
Ducati MH900E and an extraordinary 1914 Clyno Vee Twin. Also of interest is the inclusion of the infamous 1967 T120 TT, 1914 Triumph Tourist TT, 1926 Harley Davidson side side car outfi t, 1929 BSA Sloper, 1931 Ariel Sloper, 1939 Ariel Square four, 1953 AJS MS, 1953 AJS MC, 1955 BSA Goldfl ash, 1959 Manx Norton with full racing history (Hugh Anderson and John Hempleman). Further quality entries are now invited. Acting as specialist consultant is Hugh Anderson, four time Grand Prix world champion and connoisseur of vintage motorcycles.
All entries to the sale will receive expert appraisal. Please contact Neil Campbell for details on how to participate in the auction or discuss, in confi dence, any aspect of buying or selling motorcycles at our auction sales.
Contact
Neil Campbell+64 21 875 [email protected]
An Extremely Rare 1915 Ariel 670 CC Vee Twin
$15,000 – $20,000
A 1914 Cyno Vee Twin
$30,000 – $35,000
22 July 2008
Further entries now invited
14
PHOTOGRAPHY24 July 2008
Final entries now invited
Contact
Emma Fox +649 529 5601 [email protected]
Jonathan Organ +64 21 503 251 [email protected]
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IN FOCUS 15
14 - 22 Aug 2008 OPENING FUNCTION 14 Aug 2008 6 - 8pm
Contact
Emma Fox +649 529 5601 [email protected]
Jonathan Organ +64 21 503 251 [email protected]
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The A2 sales offer works of art by leading New Zealand artists priced below $5,000. Held four times a year, A2 sales provide the perfect opportunity for new collectors to make their fi rst foray into the art market.
Contact
Jessica Pearless +649 529 [email protected]
A2 ART5 Aug 2008
Further entries now invitedIL
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17IN FOCUS
MAORI & PACIFIC ARTEFACTS CERAMICS & COLONIAL FURNITURE18 September 2008
A sale celebrating the history, arts and culture of New Zealand and the Pacifi c region.
In response to the ever growing interest in New Zealand cultural icons and Taonga, a sale celebrating our creative history will be held on September 18th 2008. The offering will include Maori artefacts, Folk Art, New Zealand inlaid furniture and boxes and ceramics produced by our most celebrated potters.
Contact
Ngaire Lawson +649 524 6804 [email protected]
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Contact
Emma Fox +649 529 5601 [email protected]
Jonathan Organ +64 21 503 251 [email protected]
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HISTORICAL ART
16 Sept 2008
Further entries now invited
IMPORTANT WORKS OF ART
22 Sept 2008
IN FOCUS 21
BlackwoodGroup AUD0715
Vorsprung durch Technik www.audi.co.nz
A belief in the highest standards possible. An uncompromising attitude. And what has emerged is the new Audi A4 – a vehicle for today built with tomorrow’s technology. Experience the ultimate in driving agility and precision through a longer wheelbase and optional dynamic steering control. And if you demand even more from your driving experience, Audi drive select lets you choose comfort, auto or dynamic to suit your style. Of course, the Audi A4 wouldn’t be complete without a luxurious interior and the unique Multi Media Interface. Visit your nearest Audi dealership to experience the vehicle built to standards that match your own.
The Audi A4. The new sedan.
Stick to your principles.
Fine & Rare WINE AUCTION23 June 2008
Featuring a large selection of premium New Zealand and overseas wines, all from premium cellars, and all in excellent condition. Of special note is a selection of French wines by the case and by the bottle, two examples are illustrated above:
Illustrated:
Ch Cheval Blanc 1986 (Illustrated left)
RMP Jr. 92/100
The 1986 Ch Cheval Blanc still has a youthful dark ruby saturated color
with no amber at the edge. The wine possesses a developing bouquet
that offers up weedy tobacco, juxtaposed with sweet black berry,
raspberry, and cherry fruit.
$800 - $1,200
Ch Margaux 1983 (Illustrated right)
RMP Jr. 96/100
The 1983 Margaux is a breathtaking wine. The Cabernet Sauvignon
grapes achieved perfect maturity in 1983, and the result is an astonishingly
rich, concentrated, atypically powerful and tannic Margaux. The color
is dark ruby, the aromas exude ripe cassis fruit, violets, and vanillin
oakiness, and the fl avors are extremely deep and long on the palate
with a clean, incredibly long fi nish.
$1,100 - $1,700
27 August 2008
Featuring natural history, military and antiquarian titles as well as cookery books, Maori printing, historical photographs and postcards. In demand are fern albums and New Zealand regional material. To discuss entering items into our August auction, please contact [email protected] or phone 09 529 5602.
Entries close July 16th
Illustrated:
The New Zealand Farmer and Bee and Poultry Journal,
A Repository of Practical Information for Farmers, Stockbreeeders, Dairymen,
Horticulturist, Beekeepers and Poultry Fanciers.
17 vols (1885 - 1902, Vols. 5-22, minus Vol.12, for 1892)
$2,000 - $2,500
Bethunes@Webb’sRARE BOOKS & MAPS
IN FOCUS 23
HIGHLIGHTS MAY 2008
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Contemporary Art - May 20081. Tony de Lautour - Mountain Range
oil on canvasAchieved $25,000
2. Seraphine Pick - Kami-Kaze Pilot oil on canvasAchieved $7400
3. Paul Hartigan - Phantomunique screenprintAchieved $3000
4. Jeff Koons - Balloon Dog (Blue) cast porcelain with refl ective fi nish Achieved $6,500
5. Damian Hirst Lysergic - Acid, Diethylamide lambda print Achieved $18,000
6. Peter Robinson - Binary Code lambda print Achieved $10,000
7. Sara Hughes - Nimda acrylic on linen Achieved $12,000
8. Judy Millar - Untitled acrylic on paper Achieved $5,000
9. Simon Kaan - Chinese Workers Bedsoil on board Achieved $17,000
10. Tony de Lautour - Plan acrylic on canvas Achieved $3,300
Modern Design - May 200811. A Pair of Acapulco Patio Chairs.
Achieved $90012. A Teak American Chest of Drawers.
Achieved $2,00013. A ‘Heron’ Rocking Chair and Ottoman by Tendo Moko.
Achieved $2,80014. A Pair of Teak Floating Bedside Cabinets.
Achieved $1,50015. A Pair of Florence Broadhurst Upholstered,
Vintage, Teak Armchairs. Achieved $2,000
16. A Highly Figured Burr Dining Table. Achieved $4,500
17. A Charles and Ray Eames Shell Armchair by Herman Miller Achieved $390
18. A Set of Six Charles and Ray Eames Aluminium Group Chairs by ICFAchieved $6,000
19. A Teak Scottish Sideboard by McIntoshAchieved $2,350
20. A Front Designed Horse Lamp by MooiAchieved $3,500
21. A Set of Four Rare Charles and Ray Eames La Fonda Chairs by Herman MillerAchieved $1,200
Antiques & Decorative Arts- May 200822. A Large and Rare Carders, Bisque Fired, Garden
Vase on Stand. Achieved $3,000
23. A Large and Rare G. Boyd, Bisque Fired, Pair of Garden Vases on Stands. Achieved $6,600
24. A Superb, Brass Cased, Carriage Clock.Achieved $2,700
25. A German Kienzle Advertising Alarm Clock. Achieved $1,300
26. A Belleek First Period Black Mark ‘Dragons’ Pot.Achieved $6,400
27. A Chinese Display Case on Stand. Achieved $2,000
Antiques & Decorative Arts- April 200828. A Spectacular French Clock Garniture
Achieved $19,75029. A Superb George I Period Sterling Silver,
Octagonal Section, Caster by John Eckfourd. Achieved $3,700
30. A Drury Pottery and Fireclay Works Terracotta ‘Homer’ Tree Trunk Garden Seat. Achieved $3,500
31. A Late 19th – Early 20th Century Wood Carved Waka Huia. Achieved $3,000
32. A Regency Period Sideboard of Imposing Dimension in Mahogany. Achieved $3,000
Fine & Rare Wine - May 200833. Penfold’s Grange 1998
Achieved $58534. Ch Mouton Rothschild
Achieved $2,337
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IN FOCUS 25
VALUATION SERVICES
Webb’s offers a comprehensive valuation service covering private, corporate and institutional collections.
Whilst Webb’s in-house specialists perform valuations for New Zealand’s largest and most important private and museum collections, no valuation commission is too small.
Webb’s are pleased to have recently undertaken a valuation of the entire holdings of the Len Lye Foundation, housed at the Govett-Brewster Art Gallery.
Contact
Erika Chamberlain+ 649 524 6804+64 21 875 966
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Another great result for our clients. Hesketh Henry advised Amalgamated Telecom Holdings in the recent World Bank facilitated commercial mediation and historic agreement with the Government of Fiji on the deregulation of the country’s telecommunications industry. For more enterprising achievements call Erich Bachmann on 09 375 8709 or visit www.heskethhenry.co.nz
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Jewellery& WatchesVintage and Valuable Modern Watches, Fabulous Jewels, Diamond Solitaires,Fine Antique & Modern Jewellery
Wednesday 25 June 2008Two Sessions2.00pm & 6.00pm
2pm Lots 1000 - 1200 Affordable, Estate & Modern Jewelllery. A list will be available free of charge at viewings or online at www.webbs.co.nz
6pm Lots 1- 50 Wrist & Pocket Watches Lot 51 - 57a Accoutrements and
NZ Interest Items Lots 58 - 168 Fine Jewellery
Viewing
Evening PreviewThursday 19 Jun 6.00pm - 8.00pm
Thursday 19 Jun 9.00 am - 8.00pmFriday 20 Jun 9.00 am - 5.15pmSaturday 21 Jun 11.00 am - 3.00pmSunday 22 Jun 11.00 am - 3.00pmMonday 23 Jun 9.00 am - 5.15pmTuesday 24 Jun 9.00 am - 5.15pmWednesday 25 Jun 9.00 am - 1.00pm sharp
Viewing strictly until 1.00pm on day of sale
Day 1
JEWELLERY 29
2PM AFFORDABLE ANDESTATE JEWELLERYLots 1000-1200
A list will be available free of charge at viewingsor online at www.webbs.co.nz
________________________________________________________
6PM WEDNESDAY25 JUNE 2008
WRIST AND POCKET WATCHESImportant Conditions Sale for Watches: Please note: as many of the timepieces are old, or their history is unknown, Webb’s offers no guarantee as to mechanical condition or condition of seals etc. A timepiece described as ‘fi ne’ or ‘as new’ is an opinion as to appearance only. All watches are sold as viewed. It shall be assumed that all buyers have inspected the lots and that they are happy with them in all respects. Watches cannot be returned on the grounds that repairs or service have been carried out, or parts (including straps or bracelets) have been supplied, by anyone other than the named maker. Notwithstanding the foregoing condition, named wristwatches are sold on the basis that the movement (or movement and case where both would normally have been manufactured by the named maker) were manufactured by the named maker. It is recommended that buyers have watches serviced promptly to ensure that damage does not arise from faulty seals or any other aspect of mechanical condition.
1 ROLEX, A Lady’s All 18ct Yellow Gold Oyster Perpetual Datejust Wristwatch.
Ref 6917, S/N 7107655 (c1981). Gold face with date window and sweep second.
$4,500 – 5,500see colour illustration page 35.
2 ROLEX, A Gentleman’s All 18ct Yellow Gold Submariner Oyster Perpetual Wristwatch.
Ref 16808, S/N 6510671 (C 1980-81). Black face and black rotating bezel ring. Luminous chapters and hands, date window, sweep second. 18ct yellow gold oyster lock bracelet with spare link. Minor chips to lens, minor creasing to bracelet catch. Gemologist’s report and valuation available on request.
$8,000 – 10, 000see colour illustration page 35.
3 STEINHART, A Gentleman’s Aviation Wristwatch.
Ref 1.03.06 Nav B-UHR with UNITAS Cal 6497 17 Jewel manual mechanical movement. 48mm circular gold fi nished stainless steel case. Black face with luminous batons, hands and Arabic numerals, subsidiary seconds at 9 o’clock. Black leather strap. With original box, spare straps and papers dated January 2008.
$850 – 950see colour illustration page 35.
4 A Sterling Silver Pair-Cased Verge Pocket Watch.
Keywound fusee with verge escapement, white face with Arabic numerals. Movement signed Sam. Holmes, Stourbridge and numbered 362. Inner and outer cases with matching hallmarks London 1796. Replacement lens. With key.
$400 – 600
5 A Sterling Silver Pair-Cased Verge Pocket Watch.
Keywound fusee with verge escapement. Decorative silver face with inner Roman hour numerals and outer Arabic minute numerals, both in relief. Movement signed Josh Johnson, London. Inner and outer cases of matching hallmarks for London 1780. Going, with key.
$550 – 850see colour illustration page 35.
6 OMEGA, A Gentleman’s Vintage All 18ct Yellow Gold Cased ‘Bumper’ Automatic Wristwatch.
Ref 2500, movement 12053308 (c1950) case 10981238. Polished gold face with Arabic meridians and diamond shaped batons, subsidiary seconds. Tapered roller-link integrated 18ct yellow gold bracelet. With original box.
$3,250 – 4,250see colour illustration page 33.
7 CHAUMET, A Lady’s Stainless Steel Wristwatch Set With Diamonds.
Ref 22K8856. Water resistant 30m. Rectangular outline case and integrated gate-link mesh bracelet. Quartz movement. Blue mother of pearl face with diamond indexes. Twin row diamond borders. With box, excellent appearance.
$3,500 – 4,000
8 MOVADO FOR CARTIER, A Lady’s Rose Gold Retro Wristwatch Set With Diamonds and Rubies.
Rectangular convex case in 14ct rose gold. The geometric stepped lugs pavé set with round Swiss cut diamonds to a fan of tapered baguette rubies fl owing to a snake-link bracelet. 17 jewel Swiss mechanical movement. Bronze face with quarter batons and dot indexes. Signed Cartier on Face. Case numbered 71581.
$1,500 – 1,800see colour illustration page 33.
9 ROLEX, A Gentleman’s All 18ct White Gold Oyster Perpetual Cosmograph Daytona Wristwatch.
Ref 116509 S/N F812794. Black face with Arabic numerals and subsidiary chronometric dials, red hands. Stop and return buttons in band. With original box and papers showing purchase new in New Zealand March 2005.
$22,000 – 26,000see colour illustration page 31.
10 BAUME & MERCIER, A Lady’s 18ct Yellow Gold Wristwatch Set With Diamonds.
Ref 18632 S/N 1854430. Oval outline case and integrated gate-link bracelet. The bezel set with a continuous line of round modern brilliant cut diamonds. Bezel and bracelet fi tted ex-factory. Quartz movement. Gold face with polished batons. With original box, papers and spare links.
$3,800 – 4,800see colour illustration page 33.
11 A Sterling Silver Pair-Cased Verge Pocket Watch.
Keywound fusee with verge escapement. White face with Roman numerals. Movement signed JNO, Blackburn, London and numbered 409. Matching inner and outer case hallmarks London 1798. With key.
$400 – 600
12 A Sterling Silver Cased Open Face Pocket Watch.
Keywound fusee lever. Decorative face with foliate gold to centre and gold Roman numerals in relief on silver engine turned ground. Subsidiary seconds. Movement signed Geo. Jeffrey, Bathgate and numbered 5500. Case hallmarks Chester 1891. With key.
$200 – 300
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13 A 14ct Yellow Gold Hunting Cased Pocket Watch.
Keyless 15 jewel lever, white face with Roman numerals and subsidiary seconds. Heavy case with engine turning to garter style vacant cartouche. Unidentifi ed continental mark to stem. Cuvette numbered 106689.
$600 – 800see colour illustration page 33.
14 INTERNATIONAL WATCH CO (I.W.C) A Gentleman’s 9ct Yellow Gold Cased Open Face Pocket Watch.
Keyless lever, silver face with Arabic numerals and subsidiary seconds. Signed.
$500 – 700see colour illustration page 33.
15 OMEGA, A Lady’s Stainless Steel and Gold Constellation Wristwatch Enhanced With Diamonds.
Ref 1267.7.00 s/n 59118241. Mother-of-pearl face with diamond indexes, the bezel also set with diamonds. Quartz movement.
$1,800 – 2,400see colour illustration page 35.
16 LONGINES, A Lady’s Wristwatch Enhanced With Diamonds.
Le Grande Classique Ref L4-209-4. Circular stainless case and matching gatelink bracelet. Quartz movement. Black face with diamond indexes. As new appearance with original box, spare links and papers.
$600 – 800
17 CORUM, A Lady’s Bubble Watch In Stainless Steel Set With Diamonds.
Ref 39.151.47, Sn 778528. Circular outline, pink mother of pearl face with Arabic quarters and luminous chapters, sweep second and date window. Bull’s eye bubble lens enclosed by a continuous row of brilliant cut diamonds. Quartz movement. Fawn leather strap with deployant clasp. With original box and papers dated 3.3.03. Unblemished condition. Valuation available on request.
$2,800 – 3,400see colour illustration page 35.
18 PATEK PHILIPPE, A Gentleman’s All 18ct Yellow Gold Calatrava Automatic Wristwatch With Rare Back Crown.
Ref 3563/003 Movement 1 186 974 CAL 350 aut. 28 jewels. Hobnail textured face with matching texture to bracelet. Polished batons, sweep second. Crown fi tted to case back. With original box and papers dated 1978. Excellent appearance with very slight surface wear.
$12,500 – 15,000see colour illustration page 31.
19 A Gilt Metal Pair-Cased Verge Pocket Watch.
Key wound fusee with verge escapement. White enamel face with Arabic numerals movement. Signed Benjamin Hickley, London March 1793. Minor repair to face enamel by thumb-catch. Going, with key.
$800 – 1,200see colour illustration page 33.
20 A Lady’s Dainty 18ct Yellow Gold Cased Open Face Fob Watch.
Keyless cylinder, cream face with Arabic numerals and restrained gold decoration. The case enhanced with repoussé and engraving. Handset button in the band.
$450 – 550see colour illustration page 33.
21 DENT, A Particularly Good 18ct Yellow Gold Hunting Cased Quarter Repeating Chronograph Pocket Watch.
Keyless lever, white enamel face with Arabic numerals, subsidiary seconds and jump sweep seconds. Chronograph button in band stops sweep second featuring a double ended hand. Handset button also in band. The repeat on two gongs operated by a slide in the band. The heavy case ornamented with an applied armorial relief to the front cover. Movement and face signed Dent, 33 Cockspur St London and numbered 31744. Hallmarks London 1898.
$4,000 – 5,000see colour illustrations page 31.
22 BREITLING, A Gentleman’s Magnifi cent and Rare Limited Edition “Bentley Mulliner” 18ct Rose Gold Cased Perpetual Calendar Chronograph Wristwatch.
Unblemished, as new condition with original protective seals, purchased in New Zealand July 2005. Numbered 62 of an extremely limited production of just 100. Black face with sweep second, four multi function subsidiary dials and rotating outer tachymetric bezel. Arabic numerals, stop, return and calendar adjustment buttons in the band. Functions and complications include: Moon phase, day, month, season, leap year, week, elapsed time, 24 hour indicator and variable tachymetric scale. Water resistant to 500m. Brown leather strap. With SCATOLA leather constant winding box (battery operated rotating mechanism for storage to ensure continuous calendar functions). An exceptional timepiece and a sound investment.
$55,000 – 65,000see colour illustration page 31.
23 PATEK PHILIPPE, An Ultra Thin 18ct White Gold Cased Wristwatch.
Ref 3572 case 2745405 movement 1167102 (c1967), cal 175. Manual mechanical movement less than 2mm thick stamped twice with Geneva seal. Rectangular tank style, silver face with Arabic Quarters. Black crocodile strap with 18ct PATEK PHILIPPE clasp. Original box.
$12,000 – 14,000see colour illustration page 31.
24 A Gilt Metal Pair-Cased Verge Pocket Watch.
Keywound fusee with verge escapement. Decorative gold face with Arabic outer minutes and Roman inner hours in relief. Signed on face and movement W.Watters, Broughton. Repair to inner case at stem. With key.
$400 – 600
25 BELL & ROSS, A Professional Diver’s Watch In Stainless Steel.
Hydromax S/N 400S10009. Waterproof to 11,100m! Circular case and integrated bracelet of stainless steel. Black face with Arabic numerals, date window and sweep second. Quartz movement. As new with original box, spare rubber and webbing straps and papers dated April 2005.
$2,000 – 2,500see colour illustration page 35.
26 OMEGA, A Gentleman’s Vintage 18ct Yellow Gold Cased De Ville Automatic Wristwatch.
Octagonal convex case. Gold face with polished batons and date window. Waterproof. Black leather strap. With original box and spare strap.
$900 – 1,200see colour illustration page 33.
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27 HUBLOT, A Gentleman’s Stainless Steel Cased ‘Subaqaneus’ Diver’s Watch.
Ref 1951.NM40.1, s/n 600 846. Black face with luminous chapters, sweep second and date window. Quartz movement. Rotating outer bezel with ‘Turnlock’ system. Screw down crown. Water resistant 2000m. Black rubber strap with stainless deployant clasp. With original box and papers dated October 2005.
$2,500 – 3,000see colour illustration page 35.
28 A 14ct Yellow Gold Hunting Cased Pocket Watch.
Keyless 15 jewel lever. Slim case with restrained engine turning to an offset vacant cartouche on the front cover. Base metal cuvette. Silver face with Arabic numerals and subsidiary seconds.
$500 – 700see colour illustration page 35.
29 A Sterling Silver Pair-Cased Lever Pocket Watch.
Keywound fusee with lever escapement. Decorative silver face with foliate engraved centre to gold Roman numerals in relief on engine turned ground. Subsidiary seconds. Movement signed Berreys, London and numbered 7845. Matching inner and outer case. Hallmarks London 1859. With key.
$300 – 400
30 A Swiss Silver Cased Open Face Verge Pocket Watch.
Keywound fusee with verge escapement. The single case of pair-case appearance. White face with Roman numerals and outer Arabic quarters. Key aperture on face (chipping to rim). The face signed Pho. Terrot (Britten lists this makes as C1770 – 80, Geneva). Hairline cracks to face. With key.
$375 – 475
31 GRUEN, A 14ct Yellow Gold Cased Open Face ‘Verithin’ Fob Watch.
Keyless lever, white face with Arabic numerals and subsidiary seconds. 17 jewels, movement number 461439. Cuvette also gold. Monogram to back cover, hairline crack to face.
$250 – 350
32 A Silver Cased Open Face ‘Regulator’ Railway Watch.
65mm case, keyless lever, white face with Roman hours, Arabic minutes and subsidiary seconds. The face decorated with a central train motif. Hairline cracks and repairs to the face. Hand set button in the band. Floral and foliate engraving to case back.
$200 – 300
33 CHRONOSWISS KELEK, A Gentleman’s Rolled Gold Cased 5 Minute Repeating Automatic Wristwatch.
Ref DK87-211A, CAL CH 8735. Circular outline case, white enamel face with Arabic numerals. 21 jewel movement exposed under crystal case back. Repeat on two gongs operated by push piece at 6 o’clock. Brown crocodile strap. With original box.
$6,500 – 7,000see colour illustration page 35.
34 EBEL, A Lady’s Wristwatch Set With Diamonds.
Circular outline case with palmate and lobed ajouré lugs to an articulated box link strap, 18ct white gold, all set with lines of single cut diamonds, some 82 in all. Silver face with polished batons. Manual mechanical movement. With presentation box. Gemologist’s report and valuation available on request.
$1,500 – 2,000
35 A Sterling Silver Pair-Cased Verge Pocket Watch.
Keywound fusee with verge escapement. White face (faults) with Arabic numerals. Movement signed R & F Halsall, Hale and numbered 454. Matching inner and outer case. Hallmarks London 1776. Makers listed in Baillie in Hale 1797 – 99. With key.
$400 – 600
36 A Lady’s 9ct Yellow Gold Half-Hunting Cased Fob Watch.
Keyless lever, white face with Roman numerals. Roman black enamel numerals to outer case. Signed Rotherhams. Chip to face at 12 o’clock. Monogram engraved to case back.
$300 – 400
37 A 10ct Gold Hunting Cased Pocket Watch.
Keyless lever, white face with Roman numerals and subsidiary seconds. Signed ELGIN and numbered 2650931. Cuvette also 10ct. The case enhanced with restrained engine turning to a vacant cartouche. Inside back cover engraved ‘W.Simmonds, Napier, 1899’.
$300 – 400
38 A Sterling Silver Cased Open Face Pocket Watch.
Keywound fusee lever. Decorative face in silver with foliate engraved centre, engine turning, Roman numerals in gold relief and gold enhanced border. Subsidiary seconds. Movement numbered 5781. Case hallmarks London 1860. With key.
$250 – 350
39 An Oversize Nickle-Silver Pair Cased Verge Pocketwatch.
69mm, Keywound fusee with verge escapement. White face with Roman numerals. Movement and face signed Graham, London. Damage to face at 7 o’clock. With key.
$300 – 400
40 LONGINES, A 14ct Yellow Gold Cased Tank Watch With Extended Scroll Lugs.
Rectangular outline, gold face with Arabic meridian, deco batons and subsidiary seconds. Convex lens. Brown lizard strap.
$1,400 – 1,600see colour illustration page 33.
41 SARCAR, A Lady’s Wristwatch Enhanced With Diamonds.
Octagonal case of 18ct yellow gold with rope-edge border. Gold face with diamond quarter indexes. Twin strand rope link straps with white gold ties, the lugs also of white gold both set with diamonds. Quartz movement. With original leather pouch and box.
$700 – 800
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42 TECHNOMARINE, A Chronograph Stainless Steel Cased Wristwatch With Diamond Set Bezel.
Circular outline case with stop and return buttons in the band. Quartz movement. White face with chronometric dials, sweep second and date window. The bezel set with two rows of brilliant cut diamonds. Brown crocodile strap. With box and spare straps.
$1,500 – 1,800
43 CHAUMET, A Gentleman’s Automatic Stainless Steel ‘Dandy’ Chronograph Wristwatch.
Ref W11690-304, S/N 1229-1849A. Cushion outline case. Black face with polished batons, sweep second, date window and subsidiary chronometric dials. Stop and return buttons in the band. Non refl ective crystal lens. With original box, spare link and papers dated September 2006. As new condition. Purchased in New Zealand. Valuation from original retailer, Hartfi elds of Parnell, available on request.
$2,500 – 3,500see colour illustration page 33.
44 A Sterling Silver Cased Open Face Pocket Watch With An Unusual Niello Face.
Keywound fusee lever. Niello face with subsidiary seconds and gold Roman numerals in relief. Movement signed Edwin Flinn, Allesley Road, London and numbered 2152. Case hallmarks 1875, contemporaneous with a sentiment engraved on the cuvette of even date. With key.
$200 – 300
45 A Sterling Silver Cased Open Face Fob Watch.
Keywound fusee full plate. White face with Roman numerals and subsidiary seconds. Hairline crack to face. Movement signed Gaskin, Dublin, No 3490. Case Hallmarks London 1837. With key.
$150 – 250
46 A 9ct Yellow Gold Cased Open Face Pocket Watch.
Keyless lever, white face with Arabic numerals and subsidiary seconds. Swiss movement signed SYREN. Case hallmarks Birmingham 1944.
$250 – 350
47 A Continental Silver Cased Open Face Slim Fob Watch.
Keywound lever, white face with Roman numerals. With key.
$150 – 200
48 A Continental Silver Cased Open Face Fob Watch.
Keywound cylinder, silver face with engine turned decoration to Roman numerals in gold relief. With key.
$100 – 200
49 A Sterling Silver Cased Open Face Pocket Watch.
Keywound fusee lever. White face with Roman numerals and subsidiary seconds. Face and movement signed Edwin Flinn, Allesley Road. London, numbered 2454. Case hallmarks London 1868. With key.
$200 – 300
50 A Sterling Silver Hunting Cased Verge Pocket Watch.
Keywound fusee with verge escapement. White face with Roman numerals (hairline crack). Movement signed H.Myers Winchester and numbered 9827. Case Hallmarks London 1846. Operational but fault to mainspring rachet / barrel. With key.
$150 – 200
ACCOUTREMENTS & NZ INTEREST ITEMS
51 ASPREY & CO, A 9ct Yellow Gold Cigarette Case.
Rectangular outline with engine turned decoration. The lid slides on the hinge to release the clasp. 99.2g.
$1,000 – 1,200
52 A Sovereign Pendant.
The Geo V sovereign dated 1927, South African mint set in a free-mount of 18ct yellow gold.
$180 – 220
53 A Telescoping Pencil Of 14ct Yellow Gold.
With bale ring for use as a fob pendant.
$150 – 200
54 A Powder Compact of 14ct Yellow Gold.
Square outline with milled decoration, 72.7g (net of mirror and gauze).
$1,000 – 1,200
55 A Pair of Cuffl inks Set With Diamonds.
Octagonal plate and toggle design in 9ct yellow gold, each set with a graduated line of three old cut diamonds of total diamond weight in excess of 0.50ct (for the pair).
$500 – 700see colour illustration page 37.
56 A Heart Motif Pendant Set With Gold – Bearing Quartz.
The polished heart shaped quartz, richly veined with gold, set in a frame of 9ct gold suspended by a fi ne 9ct gold neck chain.
$400 – 600see colour illustration page 37.
57 John Hislop, A Locket Decorated With Enamel and Pearls.
Oval 33 x 28mm hinged double photograph design in yellow gold. (tests approx 15ct, overgilded with gold of a higher carat). The front cover decorated with a marquise outline panel set with seed and half-pearls about a star and St Andrews cross motif enhanced with midnight blue enamel. Verso a sentiment “To John Millar from a few friends on his leaving Dunedin New Zealand July 1878”. Interior compartments vacant but bearing makers mark HISLOP. John Hislop was a noted Dunedin Jeweller 1868 – 1900.
$1,500 – 1,800see colour illustration page 37.
57A CHRISTIAN DIOR, A Lady’s Black Leather Handbag.
Stitched pattern leather with metal fi ttings. Purchased new in New Zealand, November 2007. With certifi cate of authenticity, original sales receipt ($2,400) and cloth dust cover.
$1,000 – 1,400
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JEWELLERY 37
FINE JEWELLERYPlease note: where gemological reports are available these should be read together with the catalogue description. Should there be, through error, omission or introduction of better evidence, any signifi cant difference between the catalogued description and that provided in the gemologist’s report, it shall be assumed that the buyer has inspected the report and is buying in acceptance of it. Unless otherwise stated, all stones have been assessed for weight, colour or clarity mounted and the descriptions given in the catalogue or report are therefore based on estimates which are limited in accuracy. Where an actual weight is given the stone will have been weighed loose, however while the grading of a stone loose will minimise error margins it shall be accepted by the buyer that all reports and descriptions remain opinions and not matters of fact.
58 A Citrine Pendant And Chain.
The emerald-cut citrine of estimated weight 30.41ct is set in a frame of 14ct yellow gold as a pendant suspended by a 14ct yellow gold cable link chain. Gemologist’s report and valuation available on request.
$450 – 650
59 An Amethyst Pendant.
The rectangular mixed cut amethyst of approx 16.7ct is set in a pendant of 14ct yellow gold. Gemologist’s report and valuation available on request.
$350 – 550
60 An Edwardian Brooch Set With A Citrine, An Amethyst And Half-Pearls.
9ct gold washed with gold of a higher carat, set with rows of half-pearls to a round cut citrine, a curved swing bar and a pendeloque amethyst drop.
$200 – 300
61 An Italian Necklace And Earrings En-Suite Of 18ct Yellow Gold.
The rope mesh necklace suspending a circular pendant of ‘birds nest’ woven gold. The pendant drop earrings of similar design. 45.5g.
$1,000 – 1,200
62 An 18ct Yellow Gold Bracelet Enhanced With Diamonds.
Designed as an articulated line of ‘C’ motif links, each set with two small round modern brilliant cut diamonds at the terminals. 57g.
$1,800 – 2,400
63 A Bracelet Of 18ct Yellow Gold.
Designed as a wide double row of chevron motif links, each enhanced with milled texture within polished ends. 28.4g.
$700 – 800
64 A Bracelet Of 18ct White And Yellow Gold Enhanced With Diamonds.
Designed as a line of 6 open navette shaped links of yellow gold joined by 5 bars of white gold, the central 3 enhanced with lines of round modern brilliant cut diamonds. 29g.
$750 – 850
65 A Bracelet Of 9ct Yellow Gold.
Double curb links secured by a large puff heart padlock clasp decorated with pierced fl oral motifs. 48.1g.
$600 – 700
66 TIFFANY & CO, A Ten Strand Necklace Of Sterling Silver Beads.
Signed on the clasp ring 400mm with original Tiffany necklace pouch.
$300 – 400
67 CARTIER, An 18ct Yellow Gold Necklace.
Curved bar and lozenge shaped links, concealed clasp. 41cm, 92.1g. Signed Cartier with ref No B70316, 1992. With Cartier box. Gemologist’s report and valuation available on request.
$5,000 – 6,000see colour illustration page 37.
68 A Neck Chain Of 18ct White Gold
Rope links, 70mm, 18.2g.
$400 – 600
69 A Heavy Necklace Of 18ct Yellow Gold.
Flat curb links, 74mm, 123.8g.
$2,800 – 3,200
70 A Pair Of Ruby And Diamond Cluster Earrings.
Pendeloque outline in 18ct white gold (tested), each set with a pendeloque cut ruby within a border of single-cut diamonds. Screw clips.
$500 – 800
71 A Pink Sapphire and Diamond Ring.
18ct white gold centred by an oval cut intense dark pink sapphire of approx 1.82ct, the band full set with a line of 21 round brilliant modern cut diamonds of fi ne quality (estimated F, VS) having a total diamond weight approx 1.41ct. Australian gemologist’s report and valuation available on request.
$5,750 – 6,750see colour illustration page 45.
72 A White South Seas Cultured Pearl and Diamond Cluster Ring.
The ovoid 14.2mm fi ne quality pearl set in a ring of 18ct yellow gold encircled by a border of round brilliant modern cut diamonds. Gemologist’s report and valuation available on request.
$2,500 – 3,000see colour illustration page 37.
73 A Ring Set With An Emerald – Cut Diamond of 1.42ct.
The diamond reported to be E, VS (still to be confi rmed at time of publication) is set in an elegant contemporary design ring of 18ct white gold. Gemologist’s report and valuation available on request.
$10,000 – 12,000see colour illustration page 43.
74 A Pair of Solitaire Diamond Earstuds of Approx 1.30ct Total.
The round brilliant modern cut diamonds assessed as I/K, I1/2 are set in four-claw mounts of 14ct white gold. Gemologist’s report and valuation available on request.
$1,850 – 2,450see colour illustration page 43.
38
89
90
94
140
167
110
101105
100
146127
103104
JEWELLERY 39
75 BVLGARI, An 18ct Yellow Gold Wedding Band Or Dress Ring.
‘Cotton reel’ design with BVLGARI engraved to sides. With original box.
$450 – 550
76 A Pendant and Earrings En-Suite Set With Amethysts and Diamonds Convertible to a Single Articulated Pendant.
The pendant set with a pendeloque cabochon amethyst, the earrings each set with a cushion outline cabochon amethyst, all in 18ct yellow gold with pave diamond borders, bale and clips. The removable bale and clips and concealed hooks allow conversion into a two or three panel drop. Total stone weights: amethyst 12.88ct, diamonds 2.29ct. Gemologist’s report and valuation available on request.
$5,500 – 6,500see colour illustration page 37.
77 A Pendant Set With Diamonds.
Rectangular outline in 18ct white gold to a wedge shaped bale, set with Princess, round modern brilliant, baguette and tapered baguette cut diamonds to suit the design. Gemologist’s report and valuation available on request.
$2,200 – 2,600
78 PIERO MILANO, A Cross Pendant Set With Pink Sapphires and A Diamond.
18ct white gold, the Latin cross suspended by an 18ct white gold foxtail link trace neck chain, with Hartfi elds Box. Gemologist’s report and valuation available on request.
$1,200 – 1,400see colour illustration page 45.
79 An Exquisite Insect Motif Brooch Set With Rubies, Diamonds and Emeralds.
18ct white gold, the body of pavé invisibly set square cut rubies, the wings and head set with round brilliant modern cut diamonds and the eyes with cabochon emeralds.
$2,500 – 3,000see colour illustration page 41.
80 A Splendid And Highly Fashionable Necklace Of Black And White Diamonds.
Art Deco infl uenced design in 18ct white gold. The necklace of slightly graduated round cut black diamond beads, with white diamond set rondelles at even intervals, suspends a pendant/ enhancer brooch of white gold ajouré, set with brilliant cut white diamonds,and briolette cut black diamonds to a tassel fringe of white diamond set drops with black diamond fi nials. Black diamonds TDW approximately 30ct, white diamonds TDW approximately 2.28ct. With a matching pair of single drop pendant earrings. Gemologist’s report and valuation available on request.
$4,500 – 6,500see colour illustration page 45.
81 A Pair Of Flowerhead Cluster Diamond Earstuds.
Each stud of 18ct white gold set with 7 round brilliant modern cut diamonds. Total diamond weight 2.30ct for the pair. Gemologist’s report and valuation available on request.
$3,750 – 4,750see colour illustration page 45.
82 A Ring Set With A Heart Shaped Solitaire Diamond of Approx 0.50ct.
The diamond of reported weight 0.50ct and assessed quality H/J, SI1 is rub-over set in a band of 18ct white and yellow gold. Gemologist’s report and valuation available on request.
$1800 – 2200
83 A Necklace And Earrings En-Suite Of Lemon Quartz And Diamonds.
Each piece comprising a polished cabochon drop set in 18ct white gold with a sinuous overlay line of diamonds, with further diamonds to the bale and clips. The pendant suspended from a trace chain of 18ct rolled gold. Gemologist’s report and valuation available on request.
$1,800 – 2,200 (3)
84 A Pair Of Solitaire Blue Sapphire Earstuds.
The round cut Ceylonese blue sapphires of approx total weight 2.00ct are set in 18ct white gold. Gemologist’s report and valuation available on request.
$750 – 850
85 A Three Stone Diamond Ring.
The bridge of 18ct white gold set with a central round modern brilliant cut diamond of stated quality 0.703ct, G, SI2 (Quazar) and two trilliant cut diamonds of TDW 0.644ct and quality GH, SI. Gemologist’s report and valuation available on request.
$4,500 – 5,000see colour illustration page 45.
86 A Ring Set With A Black South Seas Cultured Pearl And Diamonds.
The 13mm round pearl showing excellent peacock green overtones is set in a ring of 18ct yellow gold, the shoulders pavé set with round brilliant modern cut diamonds having a total diamond weight 1ct. Gemologist’s report and valuation available on request.
$2,750 – 3,250
87 A Ring Set With A Pendeloque Cut Yellow Diamond Together With White Diamonds.
The fancy yellow diamond of approx 1ct is set in 18ct white gold within a border of round brilliant modern cut white diamonds, with further diamonds to the split-shank shoulders. Gemologist’s report and valuation available on request.
$6,250 – 6,750see colour illustration page 43.
88 A Line Bracelet Set With Panels Of Diamonds.
Designed as a line of square beveled links, in 18ct white gold, each set with a square pattern of 4 Princess cut diamonds. Total diamond weight 3.83ct. Gemologist’s report and valuation available on request.
$4,500 – 5,500see colour illustration page 41.
89 A Striking Green Tourmaline and Diamond Ring.
The oval mixed cut rich green tourmaline of 9.38ct is set in a ring of 18ct yellow gold within a border of round brilliant modern cut diamonds, the split shank shoulders also enhanced with diamonds. Gemologist’s report and valuation available on request.
$5,000 – 6,000see colour illustration page 39, see also following lot.
40
124
112
92
148
102
145
149
88
93
147
99
125
79
JEWELLERY 41
90 A Green Tourmaline and Diamond Pendant of Art Deco Design.
The oval mixed cut rich green tourmaline of 13.52ct is set in 18ct yellow gold together with round brilliant modern and baguette cut diamonds to suit the design. Gemologist’s report and valuation available on request.
$5,800 – 6,400see colour illustration page 39, see also previous lot.
91 A Pair of ‘Blue White’ Solitaire Diamond Earstuds of 1.00ct Each.
The round brilliant modern cut diamonds, described in G.I.A reports 16340456 and 4949002 as colour D, I1, Very Good Make, are set in 18ct White Gold. Gemologist’s report and valuation available on request.
$10,000 – 12,000see colour illustration page 28.
92 A Ring Set With A Solitaire Early European Cut Diamond of Approx 2.27ct.
The diamond assessed as N-P, VS2 is set in a traditional style ring of platinum. Gemologist’s report and valuation available on request.
$7,750 – 8,750see colour illustration page 41.
93 A Pendant Set With An Emerald Cut Fancy Yellow Diamond and White Diamonds.
The fancy yellow diamond of 0.93ct set in 18ct white gold within a border of small round brilliant modern cut diamonds to a bale set with two further brilliant cut diamonds and a tapered baguette cut diamond. Gemologist’s report and valuation available on request.
$5,000 – 6,000see colour illustration page 41.
94 A Quatrefoil Diamond Set Cross Motif Pendant.
Rectangular box section each face in the form of a Latin Cross set with rows of round brilliant modern cut diamonds to a swivel bale. 18ct white gold. Total diamond weight 2.94ct. Gemologist’s report and valuation available on request.
$3,750 – 4,750see colour illustration page 39.
95 A Good Rhodalite Garnet and Diamond Ring.
The 14 x 10mm rectangular cut rhodalite garnet set in a stepped mount of 18ct yellow gold of classical art deco infl uenced design, with two baguette cut shoulder diamonds. Gemologist’s report and valuation available on request.
$2,500 – 3,000see colour illustration page 37.
96 A Line Bracelet Set With Some 7.3ct Of Diamonds.
Designed as a line of articulated convex 18ct yellow gold links, each channel set with a row of Princess cut diamonds, separated by transverse arches of 18ct white gold each channel set with a row of round modern brilliant cut diamonds. The diamonds, some 118 in all have an estimated TDW 7.39ct. Gemologist’s report and valuation available on request.
The vendor has dramatically reduced the reserve on this item presenting a rare opportunity for the astute buyer.
$5,000 – 7,000see colour illustration page 37.
97 A Ring Set With A Solitaire Diamond of Approx 1.14ct.
The round modern brilliant cut diamond assessed as H/J, SI1, Good Make is partially rub-over set in a ring of 18ct white and yellow gold. Gemologist’s report and valuation available on request.
$6,000 – 7,000see colour illustration page 37.
98 A Striking Five Diamond Bridge Ring.
The bridge of 18ct white gold set with a line of round modern brilliant cut diamonds mildly graduated from the centre stone of estimated weight 0.57ct. The diamonds of TDW approx 2.35ct are assessed as KLM, SI1-2. Gemologist’s report and valuation available on request.
$5,000 – 6,000see colour illustration page 45.
99 A Rubellite Tourmaline and Diamond Dress Ring.
The cushion outline mixed cut Rubellite of 6.33ct is set in a ring of 18ct white gold within a border of round brilliant modern cut diamonds, with further diamonds to the split shank shoulders. Gemologist’s report and valuation available on request.
$4,250 – 4,750see colour illustration page 41.
100 A Five Diamond Bridge Ring
The round modern brilliant cut diamonds of matched size assessed as H/J, VS-SI1, with a total diamond weight approx 1.10ct are set in a rounded square band of 18ct yellow gold and platinum. Makers mark for Jack Garret. Gemologist’s report and valuation available on request.
$2,200 – 2,800see colour illustration page 39.
101 PIERO MILANO, A Ring Set With An Emerald Cut Diamond Of 1.66ct Together With Baguettes.
The diamond described in GILI report 43433 as 1.660ct, F, VS2, good make is rub-over set at the centre of a ring of 18ct yellow gold. The shoulders close channel set with baguette cut diamonds of fi ne quality and approx TDW 1.5ct. Gemologist’s report and GILI report available on request.
$17,000 – 20,000see colour illustration page 39.
102 A Cocktail Ring Set With Sapphires and Diamonds.
Folded and rectangular offset panel design in 18ct white gold pavé set with round cut blue sapphires and round brilliant modern cut diamonds to suit the design. Gemologist’s report and valuation available on request.
$1,750 – 2,250see colour illustration page 41.
103 A Mid 19th C Roman Micromosaic Brooch And Pendant Drop Earrings En Suite.
The brooch of oval outline with a frame of yellow gold (tests 9ct washed with gold of a higher carat). The glass tesserae set within black and faux malachite borders. The scene is St Peter’s and piazza viewed from the Via D Conciliazone. The earrings of similar design with scenes of ruins about the Forum. Some chips to outer and inner brooch borders, chips to brooch back. The micromosaic panels appear, however, to be complete and in good condition.
$2,000 – 2,500see colour illustration page 39.
42
107
111
143
74
13273
117
87
138
135
144
150
115
156
JEWELLERY 43
104 A Loose Diamond of 1.54ct.
The round brilliant modern cut diamond of reported quality H/I, SI, Very Good Make (to be confi rmed at time of publication). Gemologist’s report and valuation available on request.
$8,000 – 9,000see colour illustration page 39.
105 A Necklace of Moonstones.
Yellow gold (tests approx 15ct) set with a line of round brilliant modern cut moonstones, the mid-section suspending a fringe of pendeloque moonstone drops.
$800 – 1,000see colour illustration page 39.
106 A Bracelet Of 9ct Yellow Gold Set With Moonstones.
Designed as a line of 11 circular links graduated from the centre, each set with a circular moonstone cabochon, to a line of gate links.
$400 - 500
107 An Eternity or Wedding Ring Set With A Line of Baguette Cut Diamonds.
The band of 18ct white gold with raised borders enclosing a close-set line of 21 baguette cut diamonds of very good quality (G+, VS) and stated total diamond weight 1.00ct. Gemologist’s report and valuation available on request.
$2,000 – 2,500see colour illustration page 43.
108 A Desirable Bridge Ring Set With Three Fine Quality ‘Regent’ Cut Diamonds.
Traditional design in 18ct yellow gold and platinum centred by a Regent cut (octagonal brilliant) diamond of actual weight 1.12ct and G.I.A reported E, SI1, very good make, supported by two side stones assessed as E/G VS2, very good make and total approx 0.91ct. TDW 2.03ct. Gemologist’s report and valuation available on request.
$13,000 – 15,000see colour illustration page 37.
109 A Striking Oval Diamond Cluster Ring.
Concave oval design in 18ct white gold. A border of round brilliant modern cut diamonds encloses a concave panel of close set diamond baguettes bisected by a raised line of baguettes. The shoulders also close set with baguettes within brilliant borders. total diamond weight 2.75ct. Gemologist’s report and valuation available on request.
$3,400 – 3,800see colour illustration page 45.
110 A Ring Set With A Princess Cut Diamond of 1.07ct Together With Shoulder Diamonds.
The princess cut diamond described in H.R.D report 07003305039 stating it to be 1.07ct I, VS2+, Excellent Make, is set in a ring of 18ct white gold. The shoulders each channel set with 4 small Princess cut diamonds of total diamond weight 0.50ct. Gemologist’s report and valuation available on request.
$6,750 – 7,750see colour illustration page 39.
111 A Bridge Ring Set With Baguette And Brilliant Cut Diamonds.
The slightly tapered bridge of 18ct white gold close set with a central graduated line of baguette cut diamonds within raised borders set with diamond baguettes separated by round brilliant modern cut diamonds. Total diamond weight 1.55ct. Gemologist’s report and valuation available on request.
$2,000 – 2,500see colour illustration page 43.
112 A Good Ceylonese Blue Sapphire and Diamond Ring.
The oval cut sapphire of even colour, bright appearance and estimated weight 5.15ct is set in a ring of 18ct white gold, the bezel pavé set with some 62 round brilliant modern cut diamonds of good quality and estimated total diamond weight 1.05ct. Gemologist’s report and valuation available on request.
$9,000 – 10,000see colour illustration page 41.
113 A Stylish Bow Brooch Set With Rubies and Diamonds.
Designed as a bow-tie in 18ct white gold set with lines of round brilliant modern cut diamonds and French cut rubies to suit the design. Gemologist’s report and valuation available on request.
$4,000 – 5,000see colour illustration page 28.
114 A Ring Set With A Rare 2.13ct Natural Fancy Grey – Green Marquise Cut Diamond.
The diamond described in G.I.A report 12400776 as being Marquise brilliant Natural Fancy Light Greyish Green is set in a ring of 18ct rose gold enhanced with lines of round modern brilliant Fancy Pink Diamonds, the supports each set with three fancy yellow pendeloque rose cut diamonds. Gemologist’s report and valuation available on request.
$85,000 – 95,000see colour illustration page 28.
115 A Bracelet Set With 7.95ct of Brilliant and Baguette Cut Diamonds.
Hinged slightly tapered design in 18ct white gold, the upper section close set with a central line of baguette cut diamonds bordered on either side by a line of round brilliant modern cut diamonds. Gemologist’s report and valuation available on request.
$11,000 – 14,000see colour illustration page 43.
116 A Spectacular Necklace Set With Over 35ct of Diamonds.
Designed as a rivière of circular diamond clusters graduated from the centre. Each cluster centred by a fl owerhead of round brilliant modern cut diamonds, bordered by a fan of tapered diamond baguettes to an outer border of sevenround modern brilliant cut diamonds, all set in 18ct white gold. The diamonds of good quality, some 1400 in all having a total diamond weight of 35.6ct.Gemologist’s report and valuation available on request.
$37,000 – 47,000see colour illustration page 28.
44
109 81
85
128
98
71
80
141
158
78
142
123
161
160
JEWELLERY 45
117 A Tennis Style Line Bracelet Set With Approx 9.26ct of Diamonds.
The articulated line of 49 circular links in 18ct white gold, each set with a round brilliant modern cut diamond of good quality (G/H SI1) and stated total diamond weight 9.26ct. Gemologist’s report and valuation available on request.
$16,000 – 18,000see colour illustration page 43.
118 A Magnifi cent Emerald Of 20.98ct.
The loose emerald-cut emerald of exceptionally rare colour, clarity and brilliance. Gemologist’s report and valuation available on request.
$87,500 – 97,500 see colour illustration page 28.
119 An Impressive Ring Set With A Solitaire Old Cushion Cut Diamond Of Approx 5.90ct.
The diamond assessed as L/M, SI1 (chip to crown facet), Good Make is set in a ring of platinum, the shoulders enhanced with a total of eight small single-cut diamonds. Gemologist’s report and valuation available on request.
$40,000 – 44,000see colour illustration above.
120 A Magnifi cent Emerald – Cut Diamond of 5.596ct Set In A Ring With Accent Diamonds.
The diamond described in Auckland Gem Laboratory report 6612 as H, VS1 is elegantly set in a split shank ring of platinum enhanced with channel set lines of baguette cut diamonds. Gemologist’s report and valuation available on request.
$140,000 – 150,000see colour illustration page 28.
121 A Ring Set With A Fine White Diamond of 2.107ct.
The round brilliant modern cut diamond described in Gemlab diamond report 7H345 as E, VS1, Good (-) Make is set in a wide band of 18ct white gold edged with scroll work about channel set lines of small diamond brilliants to each shoulder. Gemologist’s report and valuation available on request.
$55,000 – 60,000see colour illustration page 28.
122 A Ring Set With An Exceptionally Rare Natural Green Diamond.
The round brilliant modern cut diamond assessed as Natural Pale Green, VVS is set in an Art Deco style ring of 18ct white gold enhanced with ajouré to circlets and lines of round brilliant modern cut white diamonds. Gemologist’s report and valuation available on request.
$95,000 – 100,000see colour illustration page 28.
123 An Art Deco Period Brooch Set With Diamonds.
Oval outline in platinum enhanced with geometric ajouré. Set with 114 diamonds of mixed cuts in round and baguette shapes to a central early European cut diamond of around 0.55ct. TDW estimated at approx 3.78ct. Gemologist’s report and valuation available on request.
$7,000 – 8,000see colour illustration page 45.
124 A Bangle Set With 5.01ct of Diamonds.
Hinged design in 18ct white gold, the upper section set with a raised central two row line of round brilliant modern cut diamonds bordered on either side by rows of close channel set diamond baguettes. Gemologist’s report and valuation available on request.
$8,000 – 9,000see colour illustration page 41.
125 A Splendid Diamond Rivière Necklace.
Designed as a line of circular links in 18ct white gold, graduated from the centre, each set with a round brilliant modern cut diamond. The diamonds, graduated from 0.74ct at the centre have a stated total diamond weight 10.95ct. Gemologist’s report and valuation available on request.
$17,500 – 20,000see colour illustration page 41.
126 A Ring Set With An Exceptional Diamond of 3.86ct.
The round modern brilliant cut diamond described in Gemlab diamond report 7J398 as G, VS1 Good Make is set in a quatrefoil crossover of platinum set with lines of small brilliant cut diamonds. Gemologist’s report and valuation available on request.
$150,000 – 160,000see colour illustration page 28.
127 A Three Diamond Bridge Ring.
The round brilliant modern cut diamonds of matched size and estimated quality I/J VS1 – SI1 with a reported total diamond weight 1.22ct are rub-over set in a bridge of 18ct yellow gold.
$4,000 – 5,000see colour illustration page 39.
128 PASQUALI BRUNI, A Ring Pavé Set With Pink Sapphires.
18ct black fi nished white gold, the upper section set with a panel of pave round cut pink sapphires, with original box. Gemologist’s report and valuation available on request.
$2,500 – 3,000see colour illustration page 45.
129 A Serpentine ‘S’ Ring Set With Diamonds.
18ct yellow gold channel set with a line of tapered baguette cut diamonds, some 43 in all. Having an estimated total diamond weight approx 2.00ct. Gemologist’s report and valuation available on request.
$1,600 – 2,000
130 A Stylish Diamond Eternity Ring.
Rounded square profi le in platinum edged with 18ct yellow gold set with a double row of round modern brilliant cut diamonds of fi ne white colour and estimated total diamond weight 0.35ct. Gemologist’s report and valuation available on request.
$1,000 – 1,200
46
131 A Full Eternity Ring Set With Diamonds.
The band of 18ct yellow gold channel set with a continuous line of 30 round modern brilliant cut diamonds of Good Quality and estimated total diamond weight 0.90ct. Gemologist’s report and valuation available on request.
$1,200 – 1,500
132 A Diamond Cluster Ring of Marquise Outline.
18ct white gold. A central raised panel of marquise outline is set with 4 marquise cut diamonds bordered by round brilliant modern cut diamonds to a fan of close set baguettes enclosed by an outer border of brilliants. Total diamond weight 2.07ct. Gemologist’s report and valuation available on request.
$3,000 – 3,500see colour illustration page 43.
133 A Panther Pendant / Enhancer / Brooch Set with Diamonds and Emeralds.
18ct satin yellow gold, the Panther draped from the bale in the Cartier manner. The body shot set with brilliant cut diamonds as spots, the eyes set with marquise cabochon emeralds. Gemologist’s report and valuation available on request.
$1,800 – 2,400see colour illustration page 37.
134 A Loose Emerald Cut Diamond Of 1.01ct.
Gemologist’s report and valuation available on request.
$1,200 – 1,500
135 A Pendant And Earrings En-Suite Set With Diamonds And Seed Pearls.
The pendant of open oval outline in 14ct white gold, designed as a double border of diamond brilliants enclosing a pendeloque and wire spray motif set with further diamonds, suspends a tassel fringe of seed pearls.The bale set with further diamonds and a single seed pearl. With three strand 14ct gold chain. The pendant earrings of matching design fi tted with wires and notched clips. The diamonds (187 in all, with one small stone defi cient) have an approximate TDW 3.1ct. Gemologist’s report and valuation available on request.
$1,800 – 2,800see colour illustration page 43.
136 An Attractive Eternity Wedding or Dress Ring Set With A Marquise Cut Diamond.
18ct yellow gold, centred by a marquise cut diamond of around 0.50ct, the curved band channel set with tapered baguettes on either side. Gemologist’s report and valuation available on request.
$2,800 – 3,800see colour illustration page 37.
137 A Diamond Full Eternity Ring.
The band of 18ct yellow gold shot set with small round brilliant cut diamonds around the entire circumference.
$550 – 650
138 An Exceptional Ring Set With A Ceylonese Blue Sapphire Of Approximately 15.00ct.
The oval cut sapphire set in a ring of 14ct white and yellow gold within an undulating border of good quality tapered baguette and round modern brilliant cut diamonds having an estimated TDW 1.00ct. Gemologist’s report and valuation available on request.
$9,500 – 11,500see colour illustration page 43.
139 A Three Stone Diamond Ring.
The round modern brilliant cut diamonds, centered by the largest stone (approx 0.30ct/0.40ct/0.30ct) are rub-over set in a bridge of 18ct yellow gold. Original purchase certifi cate stating diamond weights and quality (H/J, SI1) available on request.
$1,750 – 2,250
140 A Ring of 18ct Yellow Gold Enhanced With Circlets of Diamonds.
The wide band designed as an interlocking pattern of open circles and closed semi-circles, the fi ve central circles each set with a line of round brilliant modern cut diamonds.
$750 – 850see colour illustration page 39.
141 A Stylish Emerald and Diamond Dress Ring.
Bevel edged twist design in platinum pave set with round brilliant modern cut diamonds to a pendeloque cut diamond of 0.79ct assessed as G, SI2 and a similarly cut emerald of 1.52ct. Gemologist’s report and valuation available on request.
$8,500 – 9,500see colour illustration page 45.
142 A Line Bracelet Set With Rubies and Diamonds.
Designed as an articulated line of oval and quatrefoil links in 18ct white gold. Each oval link set with an oval cut ruby, the quatrefoil links each set with 4 small round brilliant modern cut diamonds. Gemologist’s report and valuation available on request.
$3,500 – 4,000see colour illustration page 45.
143 An Aquamarine and Diamond Dress Ring.
The cushion outline mixed cut aquamarine of 8.20ct is set in a ring of 18ct white gold within a border of round brilliant modern cut diamonds, with further diamonds to the split – shank shoulders. Gemologist’s report and valuation available on request.
$3,800 – 4,200see colour illustration page 43.
144 A Splendid Aquamarine and Diamond Pendant of Art Deco Design.
The cushion outline mixed cut aquamarine of 21.61ct is set in 18ct white gold together with round brilliant modern and baguette cut diamonds to suit the design. Gemologist’s report and valuation available on request.
$6,500 – 7,000see colour illustration page 43.
145 A Pair Of Diamond Cluster Earstuds.
Circular outline in 18ct white gold bordered by a line of round brilliant modern cut diamonds. Ajouré separates the border from a raised central panel of 4 princess cut diamonds within a circular border of round brilliant modern cut diamonds. Total diamond weight 2.67ct. Gemologist’s report and valuation available on request.
$3,750 – 4,750see colour illustration page 41.
146 A Ring Set With A Solitaire Diamond of Approx 2.24ct.
The round brilliant modern cut diamond of reported weight 2.24ct and quality I, SI2, Very Good Make is set in 18ct yellow gold and platinum with 4 small accent under bezel diamonds. Gemologist’s report and valuation available on request.
$17,000 – 22,000see colour illustration page 39.
JEWELLERY 47
147 An Unusual Pendant Set With A Fine White Epaulet Cut Diamond of 2.361ct.
The stepped epaulet (pentagonal) cut diamond assessed as F, I2, Good Make is set in a mount of 18ct white gold with a foliate tendril overlay. The overlay, claws and bale all enhanced with small diamond brilliants. Gemologist’s report and valuation available on request.
$7,750 – 8,750see colour illustration page 41.
148 An Exceptional Emerald And Diamond Ring.
The emerald-cut emerald of rare colour, clarity and brilliance and of reported weight 3.68ct, is set in a ring of platinum and 18ct. yellow gold within a border of round modern brilliant cut diamonds. The split shank shoulders enhanced with lines of round modern brilliant cut and square cut diamonds. This ring was previously offered in our April Sale. The vendor has signifi cantly reduced the reserve to a level which presents a rare opportunity to obtain a spectacular piece of jewellery at a very modest price. Gemologist’s report and valuation available on request.
$15,000 – 18,000see colour illustration page 41.
149 A Latin Cross Pendant Set With Diamonds.
18ct white gold set with two rows of Princess cut diamonds to a raised metal cruciform line bordered by round brilliant modern cut diamonds. Total diamond weight 2.59ct. Gemologist’s report and valuation available on request.
$3,250 – 3,750see colour illustration page 41.
150 A Striking Bracelet Set With Emeralds And Diamonds.
Designed as an articulated line of alternating quatrefoil and ribbon bow links in 18ct yellow and white gold. Each quatrefoil set with four oval cut emeralds to a central chenier set diamond; each bow set with lines of diamonds. The round modern brilliant cut diamonds, some 162 in all, having an estimated TDW 1.4ct. The emeralds estimated to total 20.5ct. Gemologist’s report and valuation available on request.
$4,250 – 4,750see colour illustration page 43.
151 An Edwardian Wild Flower Motif Brooch Set With Diamonds.
The foliate and fl oral spray of 15ct yellow gold set with lines of diamonds to single stone fl owerheads. The diamonds all old cut with a total diamond weight around 0.80ct.
$500 -800
152 A Pair Of Princess Cut Solitaire Diamond Earstuds Of Approx 1.00ct Total.
The diamonds assessed as G/H, I1 are set in 18ct white gold. Gemologist’s report and valuation available on request.
$1,600 – 2,000
153 A Ring Set With A Solitaire Princess Cut Diamond Of 0.601ct.
The diamond assessed as 0.601ct., H, SI1 is set in a ‘v’ mount of platinum on a band of 18ct. yellow gold. Gemologist’s report and valuation available on request.
$1,750 – 2,000
154 A Ring Set With A Cabochon Citrine And Diamonds.
The rectangular citrine cabochon of 13.47ct set in a ring of 18ct yellow gold with a sinuous overlay extending to the shoulders, set with a line of round modern brilliant cut diamonds having a total diamond weight 0.40ct.
$1,400 – 1,600
155 A Pair Of Creole Hoop Earrings Set With Diamonds.
18ct yellow gold, the inner and outer leading edges set with rows of round modern brilliant cut diamonds, 56 for the pair, with a total diamond weight 1.47ct. Gemologist’s report and valuation available on request.
$1,700 – 2,000
156 A Signet Style Ring Set With A Solitaire Diamond of Approx 0.87ct.
The round brilliant modern cut diamond assessed as G/H, VS1, Good Make is set in a box bezel ring of 18ct white gold. Gemologist’s report and valuation available on request.
$2,800 – 3,800see colour illustration page 43.
157 A Ring Set With A Solitaire Diamond Of 0.57ct.
The round brilliant modern cut diamond assessed as G/H, VS2 is set in a ring of 18ct white gold. Gemologist’s report and valuation available on request.
$1,800 – 2,400
158 A Jewelled Butterfl y Brooch.
Late Victorian 9ct gold / silver doublet set with Ceylonese blue sapphires, rubies, pearls and senaille cut diamonds to suit the design. Gemologist’s report and valuation available on request.
$1,600 – 2,000see colour illustration page 45.
159 A Brooch Set With A Ruby And Diamond Cluster.
The tapered bar of 18ct yellow gold set at one end with a cluster of an oval cut ruby within a border of round modern brilliant cut diamonds. Gemologist’s report and valuation available on request.
$750 – 1,000
160 A Pair Of Square Outline Diamond Cluster Earstuds.
18ct white gold, each set with princess baguette and round brilliant modern cut diamonds to form a square. Total diamond weight 0.99ct. Gemologist’s report and valuation available on request.
$1,200 – 1,500see colour illustration page 45. See also following lot.
161 A Two Panel Drop Diamond Pendant.
The square outline panels set corner to corner from a simple bale. 18ct white gold set with princess, baguette and round brilliant modern cut diamonds. Total diamond weight 0.98ct. Designed as a companion to the previous lot.
$1,200 – 1,400see colour illustration page 45. See also previous lot.
48
162 A Necklace of Rubies and Diamonds With Matching Earrings.
A single strand of graduated faceted ruby beads suspends an enhancer/pendant of ribbon bow and drop design in 18ct white fi nished gold set with some 118 round modern brilliant cut diamonds to 5 pendeloque polished ruby drops. The single drop earrings of matching design. Gemologist’s report and valuation available on request.
$1,850 – 2,250
163 A Ribbon Bow Brooch Set With A Sapphire and Diamonds.
18ct white gold, the ribbon set with lines of small round brilliant modern cut diamonds, the knot set with a round cut blue sapphire surrounded by 5 marquise cut diamonds.
$600 – 800
164 A Ring Set With A Solitaire Princess Cut Diamond Of 0.54ct.
The diamond described in G.I.A report 16111685 as G, SI2 is set in a ring of 18ct white gold. Gemologist’s report and valuation available on request.
$1,900 – 2,400
165 A Ring Set With A Yellow Sapphire And Two Diamonds.
The oval cut yellow sapphire of 1.08ct rub-over set in 18ct yellow gold with two round brilliant modern cut diamonds of total diamond weight 0.42ct and estimated quality G/H, SI1-2. Gemologist’s report and valuation available on request.
$1,200 – 1,500
166 A Ruby And Diamond Ring Of Art Deco Design.
Octagonal domed design enhanced with ajouré around the fi ve round cut rub-over set rubies in a cruciform pattern on a ground of brilliant cut diamonds. 18ct white gold. Gemologist’s report and valuation available on request.
$1,250 – 1,500
167 A Signet Style Diamond Cluster Ring.
18ct white and yellow gold square outline centred by a round brilliant modern cut diamond of around 1.2ct, box set within a border of baguette cut diamonds. Gemologist’s report and valuation available on request.
$7,800 – 8,400see colour illustration page 39.
168 A Pair Of Earrings Set With Diamonds.
Scroll design mirror images in 18ct white gold, each set with a line of baguette cut diamonds bordered by round modern brilliant cut diamonds to a raised fi nial cluster of 7 round brilliant modern cut diamonds. Gemologist’s report and valuation available on request.
$1,500 – 1,800
JEWELLERY 49
50
DECORATIVE ARTS 51
ViewingEvening PreviewThursday 19 June 6.00pm – 8.00pm
Friday 20 June 9.00am – 5.30pmSaturday 21 June 11.00am – 3.00pmSunday 22 June 11.00am – 3.00pmMonday 23 June 9.00am – 5.30pmTuesday 24 June 9.00am – 5.30pmWednesday 25 June 9.00am – 5.30pmThursday 26 June 9.00am – 12.00 noon
Thursday26 June 2008 6.00pmLots 200 - 224 Silver & PlateLots 225 - 255 MiscellaneousLots 256 - 291 Porcelain & GlassLots 292 - 306 OrientalLots 307 - 352 Furniture & ClocksLots 353 - 366 Paintings & Prints
Please note:
A buyer’s premium of 15% will be charged on all items in the Antiques & Decorative Arts section of this catalogue.
Phone and absentee bids are to be placed no later than 12 noon on day of sale.
Illustrated left:Lot 232 Carved Head of Christ
Antiques &Decorative Arts
Day 2
IMPORTANT WORKS OF ART 51DECORATIVE ARTS 51
52
SILVER & PLATE200 A Sterling Silver Covered
Cut Glass Pin Boxof rectangular section, the domed cover foliate embossed with repousse and with the cartouche area vacant. Chester 1904. Note; slight dimple to the cartouche.
W.122mm. D.56mm. H.50mm.
$120 - $150
201 A Sterling Silver Card Case Pursethe plain surface with engraved initials, the hinged case opening to reveal a fi tted moss green moroccan leather compendium with a celluloid writing tab and a propelling pencil. Birmingham, the marks rubbed. Note; the initialled surface with shallow indents.
W.102mm. D.80mm.
$80 - $160
202 A Victorian Period Sterling Silver and Coral Child’s Rattlescrolling foliate embossed and with six bells, whistle and coral teether, (the teether with small loss). Birmingham 1871.
L.125mm.
$800 - $1,200See Illustration page 58
203 A George IV Period Sterling Silver Pocket Snuff Boxthe hinged rectangular box with reeded surfaces and foliate decorated edges, gilt remnants to the interior. Birmingham 1825, maker T.S.
W.72mm. D.42mm. H.20mm.
$450 - $600
204 Four Georgian Period Sterling Silver Soup Spoonseach bottom struck and with Roman Block initials reverse stem end, three of Hanovarian pattern with extended drops, London, George III Period, the fourth with a detached fancy shell picture back, London, circa 1749.
L.210mm.
$160 - $300
205 Six Victorian Period Sterling Silver Fiddle Pattern Table Forksscript initialled, London, various dates and makers.
$60 - $100
206 Five George III Period Sterling Silver Feather Edge Dessert Spoonscrested ‘VIGILO’. London, various dates and makers.
L.78mm.
$50 - $100
207 Two George III Period Sterling Silver Exeter SpoonsOld English pattern, 1811/12, maker W.W.
L.220mm.
$100 - $140
208 Two George III Period Sterling Silver Old English Pattern Spoonsscript initialled, London 1801.
L.225mm.
$60 - $80
209 Two George III Period Sterling Silver Old English Pattern SpoonsLondon 1815.
L.225mm.
$60 - $80
210 Eight Victorian Period Sterling Silver Albert Pattern Flatware Piecestwo of each: table and dessert spoons, table and dessert forks. London, various dates and makers.
$200 - $300
211 A Set of Six William IV Sterling Silver Fiddle Pattern Teaspoonsscript initialled, London 1884, maker CB.
$50 - $60
212 A Set of Six Victorian Period Sterling Silver Fiddle Pattern Teaspoons
$50 - $60
213 A Sterling Silver Cased ‘Needle’ Mystery InstrumentLondon 1904, maker JM, the curved oval sectioned case impressed Down Bros London.
L.135mm.
$40 - $60
214 A Sterling Silver Pair of Small Toast RacksSheffi eld 1925.
L.58mm. H.72mm.
$60 - $80
215 A Sterling Silver Pair of Seal Spoons, CasedLondon 1954.
$80 - $120
216 Two George III Period Sterling Silver Old English Pattern Tablespoonsscript initialled, London 1809, the other wth rubbed marks.
$80 - $120
217 A George III Period Sterling Silver Sauce Boatsquat oval form with fl ying scroll handle. London circa 1776, marks rubbed.
H.85mm.
$250 - $350
218 A Sterling Silver Crumb TraySheffi eld 1895, the ‘bone’ handle with an old stress fracture.
L.312mm.
$80 - $120
219 An Arts & Crafts Period Scottish Silver Small Teapotof plain squat octagonal form with ebonised handle and fi nial, and raised on four heart pierced feet. Edinburgh 1904, makers H & J. Diam.120mm.
H.115mm.
$200 - $300
223 A Superb Sterling Silver Covered Wine Ewer by Barnard Brothersof an elegant simple form, the surface fi nely all-over engraved with stylised scrolling foliate patterns and presentation engraved to a Joseph Underwood Esq., twice elected Mayor of The Borough of Liecester,1857 & 1858, the ewer with a naturalistic fruiting vine handle and the hinged cover with an applied vine leaf in low relief. Makers Edward & James Barnard. London 1857.
H.365mm.
$3,250 - $4,500
220 A Sheffi eld Plate Pair Two Branched Baluster Candelabrasthe two urn nozzles held out on sinuous reeded branches, the central nozzle with an optional cap with fl ame fi nial surmounting the sleeve fi tting into the candle holder, set on a foliate-moulded embellished knopped stem, raised on a spreading circular base similarly enriched. Note; some age related wear inc. old solder repair to a base, solder repair to sleeve on the other candelabra.
H.460mm.
$1,000 - $1,500
221 A Cased Set of Four Silver Plate Large Apostle Spoonseach with fl oral and bead engraved gilded oval bowls.
L.212mm.
$300 - $400
222 A Sterling Silver and Lined Wood Cased Swiss Travel Clock/Pocket Watchwhite enamel face with black Roman numerals and a subsidiary seconds dial. The silver pierced foliate decorated, the cartouche vacant, Birmingham 1902. Note; the case with minor loss.
H.118mm. W.105mm.
$300 - $400
224 An Art Nouveau Period Sterling Silver and Velvet Table Picture FrameChester 1903, makers JD WD. The silver embossed decorated with four maidens’ heads within fl owers and tendrils, typical of the period.
W.145mm. H.145mm.
$200 - $300
DECORATIVE ARTS 53
234 A Finely Carved Ivory Small Tazzathe circular bowl lip carved with acanthus leaves in low relief, the exterior with a fl oral and foliate carved encircling band, the fl owers and leaves with very fi ne detailing, the bowl supported on a carved lotus leaf above a triform base terminating in double scroll feet, the central column carved with three swans, their necks extended amongst carved reeds and pond plants. Note; one foot detached.
H.132mm. Diam.145mm.
$400 - $600See Illustration page 59
235 An Elephant Trunk Section Carved as an African Portrait Headcollected in the 1920’s.
H.240mm.
$500 - $650
236 An Asian Elephant Tuskcollected Sumatra, Indonesia, circa 1950.
L.555mm.
$200 - $400
237 A Pietre Dura Inlay Desk Obeliskone side of the tapering shaft with fl owering jasmine vine hardstone inlay above a briar rose sprig inlay panel, again in hardstone inlay. Note; small chip to pyramid tip and some edge chipping to the square sectioned plinth base.
H.368mm.
$300 - $500
238 Two Egyptian Antique Deity Small Bronzes on M Collins McMahan Potteryone of the deity, Hathor, seated and suckling an infant, the other of a standing, possibly Horus, (defaced). The bronzes recovered after a fi re in London, the terracotta plinths impressed with sea shells later commissioned.
H.98mm.
$400 - $600
239 A Christofl e Pair of Neo-Classical Style Cast Metal Small Vasesthe elegant forms each with three rams heads at the shoulder above laurel festoons. Base rim stamped ‘CHRISTOFLE ‘ one with with impressed number 2481630, the other with a similar number, partially indistinct.
H.135mm.
$2,000 - $3,000See Illustration Page 58
240 A Victorian Period Cast Iron Animal Group of Hunting Dogsthe three dogs investigating a lair beneath rocks and ivy, Note; loss of two dogs’ tails. L.380mm.
W.170mm. H.120mm.
$800 - $1,200
241 A Bronze of a Lumbering Bear20th Century, maker unknown.
L.410mm. H.200mm.
$375 - $500
242 A Good Quality Deep Oval Large Copper Panwith substantial carrying handles, each impressed ‘17’, the pan with an old repair to the base seam and coppered over. W.535mm. inc. handles.
D.270mm. H.198mm.
$200 - $250
243 A Copper and Iron Large Kettlethe beaten copper body of cauldron shape with a fl atterned bottom, substantial iron swing hooked handles to the sides. Diam.
410mm. H.290mm.
$250 - $350
244 A Set of Three Wragg Bros Ltd Visiguage Measuresthe one, two and four gallon measures manufactured in copper, brass and glass, the brass slide scale named Bragg Bros Ltd Wickford Sussex, each measure stamped ‘IN 20 C’, offi cial measures for the ‘County Council West Midlands’, each with a brass carrying handle.
H.395mm, H.500mm. H.600mm. inc. handles.
$1,000 - $1,500
See Illustration page 54
245 A Dutch Blue and White Tiled and Foliate Pierced Brass Decorative Fire Surroundthe pierced trefoil, leaf and circle brass fi nished surround secured onto a wood frame, the fl anking tiled panels each of fi ve blue and white Delft style tiles depicting landscapes of windmills, dykes and botters (one tile with a crack).
H.1145mm. W.894mm. D.115mm.
$800 - $1,200See Illustration page 58
246 An Antique Pewter Samovar of Dutch Indonesian Originsthe covered coffee vessel of baluster form with a scroll handle and fi tted brass spigot with an ornate tap, raised on three legs supported wood turned feet, the brass trefoil stand with a pierced gallery (some loss the frieze) raised on wood turned feet. Circa 1800. Note; with faults inc. old solder repair.
H.440mm.
$300 - $400
247 A Dayak Shield, Kalimantanlight wood and polychrome with vegetable fi bres. Collected by the vendor’s father in the 1940’s. Note; two splits to one end.
L.1230mm. W.305mm.
$300 - $600See Illustration page 58
228 A Miniature Oval Portrait of a Child Painted on Ivorynot signed, in a gilt metal oval frame.
H.68mm.
$100 - $200
229 A Water Colour Miniature Portrait of a Matron in Jacobean Costumenot signed, in an gilt metal oval frame.
H.108mm. W.86mm.
$150 - $250
230 An Oak Framed Wax Seal‘Annexation Orange Free State, Lord Robert’s Offi cial Seal’. Frame
H.142mm.
$50 - $100
231 Two Antique Dutch Biblesthe smaller edition with clasps, the larger with faults, together with a 19th Century English edition of Common Prayers and Hymns.
$60 - $100
232 A European Wood Carved Head of Christthe crown of thorns wood carved, the wood ‘thorns’ inserted.
H.235mm.
$350 - $500See Illustration page 50
233 Two Petit-Point Face Screensthe needlework of fl oral designs worked on fi ne wire mesh, the mesh secured within a shaped and painted metal frame, each screen supported on a turned and carved wood handle. Note; some mesh rust.
L.390mm.
$100 - $140
225 An Arts & Crafts Period Embossed Copper and Leatherette Table Picture Framethe shaped copper frame ivy leaves and fl owers embossed.
H.145mm. W.126mm.
$100 - $160
MISCELLANEOUS
226 An Arts & Crafts Embossed Copper and Oak Table Picture Framethe copper frame butterfl ies and foliate embossed.
H.155mm. W.125mm.
$100 - $160
227 An Arts & Crafts Period Embossed Copper and Leatherette Table Picture FrameH.125mm. W.122mm. W.47mm.
$100 - $150
54
248 A Dayak Ceremonial Spear, Kalimantanthe shaft and scabbard of wood, polychrome, animal skin and teeth, beads, horn, the spear head of iron. Collected by the vendor’s father in the 1940’s.
L.1210mm. inc. scabbard.
$250 - $400See Illustration page 58
249 Two Dayak Iron Tipped Spears, Kalimantancane, animal hide, and iron, (the iron possibly manufactured as whale harpoons), with good patination. Collected by the vendor’s father in the 1940’s.
L.1820mm. & L.1570mm.
$200 - $400
250 Two Indonesian Kris Knives and Wood Coversthe smaller dagger with a deity fi gure metal grip, in a patinated wood cover, L.322mm, the larger with a sinuous blade and wood carved bird head grip (old split to the top), the wood cover with some loss but with good patination, L.470mm. Collected by the vendor’s father in the 1940’s.
$80 - $200
251 A Gata Clubnotch carved with mother of pearl inlay. Note; wood repair.
L.810mm.
$100 - $200
252 A 20th Century Japanned Sextantthe pierced frame with mirrors, two sets of fi lters and telescope, the radial arm with lever clamp and tangent screw, the engraved scale with some discolouration, black painted grip to the rear. Maker unknown. Presented in wooden case.
$750 - $900
282
290 283
284 285 244286
DECORATIVE ARTS 55
254 A Heath & Co., New Eltham, London Rare “Hezzanith” Large Sextant C.1930the brass frame with telescope socket, large mirrors and eight shades, the index arm fi tted with a magnifi er and vernier with an endless tangent screw, (fi rst introduced in 1905), with an unusual special-release mechanism, the arc with a silver scale engraved, stamped A90. Rd. No.707648 and named Clearfi eld. The mahogany case fi tted with some accessories and engraved A.C. Note; with faults.
$800 - $1,000
253 A Japanese Brass and Japanned Ship’s Compassthe dial named Saura Keiki Seisakusho Co., Ltd, Tokyo, Japan, model ‘B -180’, serial number C3312. Cased. Professionally overhauled and repaired within the past year.
$1,200 - $1,800
255 A Glazed Carpet Bowldecorated with a series of black and blue stripes on a white ground. Note; general wear inc. chipping.
Diam.75mm.
$60 - $120
256 A China Brandy Barrelthe gilt decoration with P. Brandy to the cartouche, some crazing. Circa 1870.
H.335mm.
$80 - $140
257 A 19th Century Derby Pair of Small Urns with Coversof squat amphora form, each with handles to the neck mounted on gilded heads at the shoulder (the masks with some rubbing to the gilt), the surface panels decorated with birds amongst gilded foliage on a cobalt blue ground, imari fl oral reserves on a white ground. Blue crown mark.
H.130mm.
$600 - $800
PORCELAIN
278 280 279
276
56
266 A Royal Worcester Porcelain Bicentenary Cabbage Leaf Small Jug, 1951transfer decorated ‘West Prospect of the Worcester Porcelain Manufactory’.
H.105mm.
$50 - $100
267 A Royal Worcester Thatched Cottage Decorated Small Vasethe dwelling nestled amongst a cottage garden of hollyhocks, delphiniums and forget-me-nots, painted on an Autumn mottled ground, gilded effects. Not signed, shape number 2260, puce mark circa 1923.
H.145mm.
$1,200 - $1,800
268 A Royal Worcester Fruit Decorated Small Mugsigned, of tapering cylindrical shape, the glossy surface painted with two apples and blackberries, gilded handle and trim. Black mark, date code for 1951.
H.72mm.
$300 - $450
269 An Early 20th Century Royal Worcester Floral Decorated Mugthe daisies, forget-me-nots and rose sprigs painted on a peach bloom ground, gilded trims. Puce mark, date code for 1907.
H.75mm.
$300 - $450
270 An Early 20th Century Royal Worcester Wild Roses Decorated Small Jugshape number 1094, Rd. No.29115, the delicate wild roses and daisy sprays with gilded effects, gilding to the reeded handle and trims. Olive green mark, date code for 1903.
H.128mm.
$300 - $450
271 A Royal Worcester Wild Roses Decorated Small Vaseshape number 245H, the moulded ovoid body raised on a triform base with gilded effects, the surface painted with pink wild roses, forget-me-nots and fern foliage with gilt outlines on a peach bloom ground. Puce mark, date code for 1914.
H.140mm.
$300 - $500
272 A Royal Worcester Porcelain Game Bird Trumpet Large Vase, James Stinton, 1919shape G 923; a study of a cock pheasant with his hen in a copse painted on a mossy ground, signed, and with a rear vignette of copse shrubbery, within misted gilt borders. Puce mark, year cypher 1919.
H.185mm.
$1,200 - $1,800
273 A Royal Worcester China Works Porcelain Pair Wild Ducks Painted Quatrefoil Vases, James Stinton,Grainger Worcester period 1889 - 1902, shape G 1047; painted with drakes taking fl ight from reed beds, signed, and with a vignette of fl owering marsh plant, the other with a vignette of a copse on an ivory ground, between moulded classical swags above and moulded acanthus leaves and daisies below, blush salmon pink and yellow matt ground, gilded effects and trims. Green Grainger shield mark.
H.225mm.
$3,200 - $5,500
274 A Royal Worcester China Works Pair Bottle Vases with Covers, 1902shape G 151; one painted with a cock pheasant on the ground with fl owering gorse, a companion pheasant taking fl ight, and with a vignette of a fl owering grass. The other painted with a mountain and loch landscape, a recumbent black-faced highland sheep, and with a vignette of a wild rose sprig, both with matt ivory blush grounds. Printed green Grainger & Co shield mark, date cipher for 1902.
H.180mm.
$2,100 - $3,600
275 A Royal Worcester Porcelain Highland Cattle Painted Two-Handled Pedestal Urn and Cover, Edward Townsend, 1956shape 1572; the neo-classical form with acanthus capped scrolling shoulder handles with mask terminals, painted with three highland cattle grazing on fl owering heathland, misty mountains in the distance, on a mottled ground, signed, and a vignette of fl owering heather amongst a rocky landscape. Black mark, date cipher 1956. Note; possible repair to fi nial.
H.270mm.
$3,250 - $5,000
276 A Royal Worcester Porcelain Highland Sheep Painted Two Handled Neo-Classical Vase, signed H. Davisshape 229H, the elegant tall ovoid form with a gilt-moulded short trumpet neck, the fore with two black-faced sheep and a lamb in a valley of rocks and heather, near a loch, towered over by crags, painted on a mottled ground, to the rear a vignette of misted trees and rocks. The vase with a beaded rim and gilt trim, acanthus moulded handles fi nished in gilt. Puce mark.
H.312mm.
$7,000 - $12,000See Illustration page 55
263 A 19th Century Continental Porcelain Roses Decorated Jardinierethe deep and large oval form with moulded mask and ring side handles and raised on four mask and scroll feet, gilded, the exterior surface painted with rambling rose varieties on a white ground, rubbing to the gilt trim. W.400mm. D.238mm. H.195mm.
$200 - $350
264 Two Early 20th Century Period Copies 19th Century Sevres Style Lidded Urnssky blue ground with worn gold decoration and a band of medallion shaped portrait minatures and fl owers. H.410mm.
$900 - $1,200
265 A Moorcroft Florian Ware and Silver Plate Covered Sugar Basinthe basin of squat cylindrical form, signed on the base W. M. (Moorcroft), supported in a simplistic silver plate handled frame. Circa 1910. Note; discolouration to interior.
H.85mm.
$450 - $600
262 Four 19th Century Continental Porcelain Lithophane Panelsthree of rustic scenes, the fourth with putti. Impressed PPM marks and each with an impressed design number. H.88mm. W.75mm.
$100 - $160
259 A Pair Vienna Style Porcelain Lidded UrnsBleu de Roi ground with central gilt decorated cartouches of romantic scenes.
H.230mm.
$500 - $650
260 A Doulton Dewsberry Covered Vasethe moulded and gilded body with two panels of exotic orchids painted and signed by D. Dewsberry. Note; fi nial to lid restuck.
H.300mm.
$800 - $1,200
261 An Amphora Comportof fantastical form, the four supports decorated with gilt scrolls and applied fl owers to the blue/green glazed body. Circa 1900. Note; small losses.
H.235mm. Diam.295mm.
$350 - $400
258 A French 18th Centry Style Pair of Two Handled Porcelain Vaseseach with two painted panels of painted fl oral sprays on a clear white ground, the eggshell blue surface scrolling foliate decorated in gilt and supported on a sqare base. Note; one minus the screw in base.
H.230mm.
$400 - $600
DECORATIVE ARTS 57
290 A Keith Murray Wegewood Vasepowder blue matt glazed body, lathe turned, tapering cylindrical and decorated with incised banding. KM mark. Note; hairline crack.
H.290mm.
$1,200 - $1,800See Illustration page 54
283 A Royal Doulton Fishscale Flambe Bud Vasethe varied green glazes with yellow speckled effects. Flambe and Royal Doulton marks.
H.206mm.
$800 - $1,200See Illustration page 54
284 A Ruskin Orange Lustre Squat Baluster Vaseraised on a large ring foot, the base impressed RUSKIN ENGLAND 1922. H.155mm. Diam.120mm.
$400 - $600See Illustration page 54
285 A Ruskin Orange Lustre Mallet Vasethe inverse baluster form with a slightly tapering neck, the base impressed marks RUSKIN ENGLAND 1915.
H.210mm.
$500 - $800See Illustration page 54
286 A Ruskin Orange Lustre Tall Vaseof gentle tapering form with an everted rim and supported on a spreading ring foot, the base with impressed marks RUSKIN ENGLAND 1914.
H.274mm.
$800 - $1,200See Illustration page 54
287 A Carltonware Jardinièrewell decorated with a fantasy bird in polychrome on a mottled green ground. Note; hairline to rim.
H.165mm.
$400 - $600
288 A Clarice Cliff ‘Gayday’ Design Footed Conical Small Bowlshape 383. Note; some glaze scratches and glaze frit.
Diam.115mm. H.53mm.
$300 - $400
289 A Clarice Cliff ‘Bizarre’ Design Circular Large Bowlpainted in a palette of greens and browns and raised on a ring foot.
Diam.210mm. H.89mm.
$250 - $400
277 A Royal Worcester Porcelain Pair Water Carrier Figures, C.1891 - 1893shape 1250, Rd. No.84463; the turbaned male carries an amphora, the female supports a large handled vessel upon her shoulder, gilt and enamel decorated on a tinted matt ivory ground. Puce marks.
H.240mm.
$2,000 - $3,000
278 A Royal Worcester Porcelain Cattle in a Lakescape Painted Shallow Bowl, signed J.Stintonpainted with fi ve cattle watering at a lakeside beneath summer trees in soft tones on a mottled and white ground, bordered by gilt and cobalt blue, the rim with fi ne gilded leaf pattern. Puce mark, date code for 1912.
Diam.235mm.
$300 - $600See Illustration page 55
279 A Royal Worcester Porcelain Cattle in a Lakescape Painted Shallow Bowl, signed J. Stintoncompanion to the above, painted with fi ve cattle watering at a lakeside beneath summer trees in soft tones on a mottled and white ground, bordered by gilt and cobalt blue, the rim with fi ne gilded leaf pattern. Puce mark, date code for 1912.
Diam.235mm.
$300 - $600See Illustration page 55
280 A Royal Worcester Porcelain Pheasants in a Landscape Painted Shallow Bowl, signed J. Stintonpainted with a cock and a hen pheasant in the grounds of a remote castle, in soft tones on a mottled and white ground, bordered by patterned gilt and cobalt blue, the rim with fi ne gilded leaf pattern. Puce mark, circa 1910.
Diam.235mm.
$300 - $450See Illustration page 55
281 A Royal Worcester Porcelain Figural Dolphin and Shell Small Dishon an oval plinth, glossy clear overglaze. Green mark.
H.112mm.
$60 - $100
282 A Mid 20th Century Venetian Glass Pair of Blackamoor Candlestickseach as a kneeling male fi gure holding a bowl form candlestick, the head, arms and legs in black glass, the black hair and shoes with gold shot highlights, the frilled garment in milk glass with gold shot highlights set on a milk and clear glass stepped domed base with gold shot highlights. Probably Barovier and Tosa. No marks.
H.265mm.
$700 - $1,000See Illustration page 54
291 A Satin-Finished Marbled Small Vase signed Muller Fres, Lunevillethe upper section in orange and yellow shading to blue, satin fi nish with etched signature. Circa 1900’s. Note; small rim chips.
H.115mm.
$320 - $400
292 A Qing Dynasty Mid 19th Century Chinese Famille Rose Ribbed Deep Medium Bowlfi nely decorated with swallows and pond fi sh, butterfl ies and fl owers. Note; old small chips to rim.
H.110mm. Diam.170mm.
$600 - $900See Illustration page 59
293 A Late Qing Dynasty Famille Rose Platea roundel of crested birds, rock and fl owers decorated in bright enamels against a deep green ground.
Diam.214mm.
$80 - $120
Oriental
294 Two Chinese Celadon Small Bowls in the Song Styleeach with sang de boeuf glaze, and raised on a small ring foot.
Diam.117mm. H.60mm.
$200 - $400
296 A Qing Dynasty 19th Century Rice Paper and Lacquer Fan in Lacquer Boxthe rice paper fan painted to one side with forty fi gures conversing in courtyards and interiors, each fi gure with his or her’s facial features fi nely painted on shaped ivory pieces, the robes with gilded patterns. The reverse painted with fi nely painted rose and fl ower sprigs and a number of song birds on a blue-grey ground, the black lacquered wood frame of fi nely detailed gilded chinoiserie reserves of fi gures in courtyards, butterfl ies, fl owers, lanterns and scrolls. Presented in original lacquered box. Note, the fan with some minor faults inc. loss of an ivory head, the box with faults.
Fan L.372mm. closed opening to L.670mm.
$800 - $1,000See Illustration page 58
295 A Satsuma Crested Birds Painted Rectangular Dishthe fl at well painted with a pair of wading birds painted with fl owering iris, the walls with gilded leaf motifs on a cobalt blue ground. Base signed.
L.138mm. W.108mm. H.30mm.
$320 - $400
58 58
245
248
296
239
202
247
DECORATIVE ARTS 59
310
234
297
292
301
60
298 An Oriental Hanging Balance Scalein forged iron and hardwood, with inlaid graduations and Chinese characters. L.870mm.
$200 - $300
299 An Oriental Bronze Urn and Coverstanding on four fi sh form legs, the circular body surmounted by a cover of a boy holding a ball. Circa 1920. H.285mm.
$160 - $200
300 A Decorative Cast Bronze Buddha Headmounted on a wooden stand.
H.510mm.
$500 - $600
301 A Pair of Tibetan Lion Dogsin cast metal with extensive enamelled decoration in red, yellow and green on a blue background.
H.300mm. L.400mm.
$1,500 - $1,800See Illustration page 59
302 A Chinese Pair of Large Cloisonne Ginger Jars with Coversthe jar body with a spring time scene of prunus blossoms, rocks and a bird, the rear with a vignette of magnolia blooms on a mid blue ground, the cover with a fl owering prunus branch. 20th Century.
H.232mm.
$300 - $450
303 A Chinese Pair of Cloisonne Small Vasesof baluster form, pink and white peonies and prunus in a fl oral decorated vase, butterfl ies, brass fl oral inlay reddish-brown enamel ground. 20th Century.
H.150mm.
$60 - $100
304 A 20th Century Chinese Cloisonne Large Deep Bowlwith a shaped rim, the surfaces peonies and bird decorated, deep blue enamel ground with brass cloud inlay, and raised on a brass ring foot.
Diam.262mm. H.86mm.
$60 - $100
305 A 20th Century Chinese Blue and White Cloisonne Medium Vasethe bulbous form with mask and ring handles at the tapering neck, the body with a continuous various blues enamel fl oral and foliate decoration on a white ground.
H.204mm.
$50 - $100
306 An Early 20th Century Sumida Gawa Fern Bowlthe rim with two raised women fi gures opposed, the well wall with a rocky outcrop supporting a panelled dwelling. Note; hairline crack.
Diam.205mm. H.70mm.
$275 - $350
307 A Late 19th/Early 20th Century Table Top Revolving Bookcaseof square section and supported on a bevelled square base, fi nished in dark stained mahogany.
W. 295mm. H.280mm.
$200 - $300
308 A Smoker’s Cabinet in Oakwith metal mounts, two doors and a hinged lift-up cover, the interior fi tted with small drawers and a full drawer, a three pipe rest attached to one of doors. Note; the cream glazed humidor with old lid repair.
H.264mm. W.322mm. D.205mm.
$200 - $300
309 A Late Victorian Period Rosewood Stationery Cabinet/Compendium with Sheraton Revival Inlaythe box of rectangular section, the slightly domed hinged lid and fall front with anathemion inlay, opening to reveal a fi tted interior for papers and envelopes, ink bottle, two small drawers, the hinged fold-out writing support and lid underside with gilt bordered green moroccan leather inlay, brass hinges, escutcheon and lock (working) with key, gilt metal carry handles. Rd number 173368 in gilt, original trade label ‘Pearson & Son Ltd., 10 Angel Row, Nottingham. Circa 1890.
W.312mm. D.172mm. H.205mm.
$300 - $450
310 A Georgian Period Slope and Serpentine Front Knife Boxin walnut veneer, with brass swing side handles and pierced back plates, large brass escutcheon, brass clasp loss to the cover, the hinged cover with small brass pull handle opening to reveal a mahogany fi tted interior decorated with stringing inlay. The box supported on four ball and claw brass small feet. Note; veneer stress crack to left side.
H.362mm. W.226mm. D.220mm.
$800 - $1,200See Illustration page 59
FURNITURE, RUGS & CLOCKS
297 A Chinese 19th Century Wood Carved Card Caseall-over fi ne relief carved with spring scene of fi gures, pagodas, willows and trees in blossom. Note; some small wood loss.
H.108mm. W.68mm.
$450 - $600See Illustration page 59
60
338
DECORATIVE ARTS 61
311 A 19th Century Painted Louis XV Style Chaircane fi lled back and bowed caned seat in moulded frame, on crested cabriole legs.
H.890mm.
$180 - $220
312 An Early 19th Century Gallery Tray Topped Night Standin mahogany and with a single two doored cupboard. Note; attention required to gallery.
$400 - $700
313 An Early 19th Century Fold Over Topped Supper Table in Mahoganythe frieze with a simple ebony line inlay above four reeded and turned legs which terminate in brass casters. Circa 1820. Note; crack to top veneer.
H.950mm. W.500mm.
$800 - $1,200
314 Two Victorian Period Balloon Backed Chairs in Rosewoodthe backs and cabriole legs carved with bunches of grapes and vine leaves. Circa 1860. Note; the back of one in need of attention.
$400 - $600
315 A Hepplewhite Style, Serpentine Shaped Hall Table in Mahoganyand standing on tapered square section legs. Incorporating an earlier cock beaded drawer with rococo shaped brass handles. Circa 1890.
W.1130mm. D.510mm.
$800 - $1,200
316 A Good Carved Armchairthe frame and arm supports with carved decoration, turned legs to the front. Circa 1860.
H.990mm.
$800 - $1,100
317 A 19th Century Inverse Breakfront Sideboard in Mahoganywith four arch topped doors and central drawer below a mirror back, the mirror within a carved and moulded frame surmounted by a stylised crest. Circa 1860.
$2,800 - $3,400
318 A Victorian Period Dining Table in Mahoganystanding on four turned tulip shaped legs terminating in brass capped castors. Circa 1880.
W.1030mm. L.1510mm. Extended.
$1,000 - $2,000
319 A Victorian Spoon Backed Ladies’ Chairwith a pale walnut frame, scroll carved top rail and standing on cabriole legs.
$400 - $600
323 A Victorian Period High Backed Gothic Chair in Rosewoodthe back with twist turned columns supporting ornately carved cresting rail and the tapestry panelled back. The seat serpentine shaped with tapestry upholstery and standing on cabriole front legs. Note; partial loss on side dome. Circa 1860.
$500 - $700See Illustration page 62
324 An Early 19th Century Swivel Topped Supper Table in Flame Mahoganythe top supported on an octagonal baluster shaped column in turn on a circular platform on four carved feet. Note; some looseness requiring attention.
W.900mm. D.455mm.
$1,400 - $1,700
325 A Regency Sideboard in Oak (Rare)circa 1830, the twin pedestals with stylised column shaped doors with scroll carved tops. The top with three ogee shaped drawers and with a backboard of scroll acanthus and papyrus carving.
W.1900mm. D.640mm.
$1,800 - $2,500
326 A Victorian Period Walnut Side Chair of Delicate Stylethe balloon back and back splat pierced and with dome decoration. Circa 1870.
$150 - $300
320 An Early 19th Century ‘D’ Ended Extension Dining Table in Mahoganystanding on eight turned tapering shaped legs and with fl ame mahogany veneered frieze. Circa 1820.
W.1200mm. L.1680mm. Extended.
$2,000 - $4,000
321 A 19th Century Mahogany Pembroke Tablecirca 1830, standing on four tapering reeded legs terminating with replacement brass castors.
Extended L.900mm. W.470mm.
$500 - $800
322 An Early 19th Century Hooped Back Windsor Arm Chairin elm and with pierced beech wood back slats, standing on turned legs and stretcher rails. Circa 1820.
$700 - $900See Illustration page 62
DECORATIVE ARTS 61
338
62 62
322
334
327
323
333
DECORATIVE ARTS 63
343
342
64
335 A Small Regency Style Writing Table in Cedarstanding on four plain turned legs and with three drawers with ebony inlay, replacement handles. The top loose and with ring marks.
W.1000mm. D.520mm.
$500 - $700
336 An Oak Plank Top Farmhouse Tableof dowel construction, with cleated ends and a drawer at each, standing on chamfered post legs supported by square section stretchers. The legs have been raised on blocks. Circa 1880.
L.1600mm. W.720mm.
$2,500 - $3,000
337 A Continental Two Doored Cupboard in Burr Walnutthe doors with moulded panels under a shaped cornice crested by shell carving, the interior fi tted with adjustable shelves. W.1230mm.
D.520mm. H.2010mm.
$2,000 - $2,600
338 A 19th Century Chinese Camphor Wood Set of Three Screensthe upper panels with carvings of sages, attendants and auspicious characters on a river. Worn paint fi nish. From Dongyang Province, circa 1870.
Each H.2520mm. W.470mm.
$1,800 - $2,200See Illustration
339 A Chinese Pair of Antique Doors in Weathered Elmwith iron decoration and ring handles, the doors within a later frame.
$1,000 - $1,500
340 A Rosewood Cylinder Bureau Bookcase of Hybrid Originthe base with a two doored cupboard under a bureau which opens onto pigeon holes and a maroon baize writing surface. The glazed top with turned columns supporting the detachable cornice which along with the door is mounted with bobbin turning. Manufactured most probably within the last 50 years. Note; various splits and losses.
H.1250mm. W.610mm.
$3,000 - $3,500
341 An 18th Century Oak Cofferplain three panel top with later carved edge the front with three later carved inset panels. Replacement bracket feet.
W.1290mm. D.570mm.
$1,600 - $2,000
345 An Elkington, Manchester Bracket Mantel Clockveneered stepped domed top, the clock front with ribbon and fl oral inlay, the slightly convex face with black Roman numerals behind a hinged convex glazed cover, scrolling foliate fretworked side panels below brass carrying handles, the clock raised on brass bracket feet. Note; faults inc.some minor splitting to veneer.
H.422mm. W.345mm. D.246mm.
$600 - $1,200
346 A French Brass Encased Carriage Clockthe gilded brass case with a bow front, bevelled glass to all sides and an arched panel in the top, the convex dial with black Arabic numerals and fi ne Breguet hands, a smaller subsidiary alarm below with Arabic numerals with alarm and repeat, presented in an blue velvet lined old case (not original to the clock) and with key.
H.170mm. inc. carrying handle.
$4,000 - $5,000
347 A German Musical Alarm Clockin carriage syle chromed tin case with gilt metal carry handle and swing back door, with key, (not tested), embossed gilt metal face plate, paper dial (some age-related staining and foxing), with black Roman numerals, a small subsidiary dial with Arabic numerals a VI and subsidiary seconds at XII. Note; some corrosion to the body.
H.150mm.
$300 - $450
342 An Art Deco Dining Suite in Birdseye Maple and Coromandel Wood Veneerand laminate, comprising of six chairs and table. The table top with rounded corners and quartered veneer is supported at each end by prong shaped stands. The chairs with shaped veneer backs and with slightly sabre shaped front legs. Patterned velour upholstery. Circa 1930.
$4,000 - $6,000See Illustration page 63
344 A Chandelierwith six branches radiating from a central basket which has three lights. Modern.
$900 - $1,200
343 An Art Deco Cocktail Cabinet in Birdseye Maple Veneera companion piece to the previous lot. A large semi-circular door to the left-hand side opens to a satin beech lined cupboard with mirrored shelves with chrome galleries. Two lockable cupboards are under two drawers (one fi tted for cutlery), which are beside a sliding glass doored, mirrored cupboard. The handles and knobs in metal and patterned ivorine. The whole standing on a coromandel wood laminated plinth. Circa 1930.
L.1800mm. W.585mm.
$1,600 - $2,000See Illustration page 63
330 A Victorian Period Occasional Table in Walnutcirca 1860, the shaped oval burr top with inlaid fl oral cartouche, standing on a fl uted column on a carved tripod base.
$400 - $600
331 A Victorian Period Walnut Piano Stoolwith revolving seat and standing on a carved tripod base. Circa 1860.
$300 - $600
332 A Late 19th Century Corner Cupboard in Mahoganywith a single fi elded panel door opening onto two oak shelves. Circa 1890.
$400 - $600
333 An Interesting Chair in Kauri and Totarathe sides which also form the arms with carved gothic style tracery. Circa 1900, made for an Arts and Crafts house in Christchurch.
$800 - $1,200See Illustration page 62
334 A Rectangular Low Table in True Arts and Crafts Gothic Stylethe top with chamfered edges is probably in oregon pine and is supported on kauri square section legs and stretchers supported by pointed gothic arches. Circa 1900, made for an Arts and Crafts house in Christchurch.
$700 - $1,000See Illustration page 62
327 A William IV Period Large and Impressive Breakfronted Sideboard in Flame Mahoganythe base standing on a plinth with four cupboard doors each with recessed panels with ogee shaped mouldings. The two end cupboards with scroll mounted columns. Three ogee shaped drawers in the top frieze. Surmounted by a serpentine shaped back with central foliate and fruit carving. Circa 1835. Note; some veneer losses.
W.2260mm. D.640mm.
$3,000 - $4,000See Illustration page 62
328 A Regency Foldover Card Table in Rosewoodstanding on four reeded tapering legs. The frieze with a border of beaded moulding (some loss). Maroon baize lined interior. Circa 1820.
L.915mm. D.455mm.
$1,000 - $1,500
329 An Early Victorian Bow Fronted Chest of Five Drawersin faded mahogany, the drawers with rounded edges and replacement swan neck handles. Standing on replacement ogee shaped bracket feet.
W.920mm. D.520mm.
$800 - $1,200
DECORATIVE ARTS 65
363 An Oil Hunting Scene, attributed to Ansellpresented in a gilt wood frame. Note; some loss to gilt. Frame
W.544mm. H.352mm.
$200 - $300
364 A Set of Oval Mounted Rustic 18th Century Style Printsin good gilt frames, (some losses). Signed.
$200 - $400
365 A Mid 20th Century Framed Oil on Board Portrait of an Indonesian Young Womansigned, in original frame.
H.580mm. W.478mm.
$100 - $200
366 A Framed Watercolour of a Maritime Scene, signedA. Green. 1978. Depicting a vessel in full sail on the high seas, mounted in an old frame.
Frame H.625mm. W.778mm.
$150 - $200
362 A Machine Worked Modern Tapestrydepicting The Lady and The Unicorn. Frame H.506mm.
W.506mm.
$50 - $75
348 A German Musical Alarm Clockin carriage syle chromed tin case with gilt metal carry handle and swing back door, with key, (not tested), embossed gilt metal face plate, paper dial (some age-related staining and foxing), with black Arabic numerals, a smaller alarm dial at 6 and subsidiary seconds at 12. Note; some corrosion to the body.
H.150mm.
$300 - $450
349 A Car Dashboard Clockchromed case, the white enamel face with faults. Diam.90mm.
$150 - $200
350 A French Heavy Cast Brass and Four Glass Compensating Pendulum Clockwhite enamel dial with black Roman numerals, open escapement.
H.305mm.
$800 - $1,200
351 A Brass Cased Carriage Clockfour bevelled glass side viewing panels including the back door, and a glazed panel in the top, (the front panel with a chip to lower R. edge), black Roman numerals on a white enamel panel, repeat mechanism, key present, maker unknown. Leather carry case with faults.
H.122mm.
$500 - $1,000
352 A Black Bear Skin Rugwith full head mount and black felt edging.
$2,250 - $3,000
353 A Female Large Portrait in Oil on Canvasthe subject seated and distracted from reading a book, she wearing a red velvet gown with white lace and bows, signed S. Bambi. Mounted in an elaborate giltwood frame.
Frame H.1285mm. W.965mm.
$1,200 - $1,600
354 An Antique Copy of a Holy Family Groupoil on canvas. Frame
H.1250mm. W.1520mm.
$2,400 - $3,000
PAINTING & PRINTS
358 A French Pair Antique Engravings, Framed….De La Commune De Paris…’
Frame H.530mm.
$100 - $200
355 An Antique Copy of Rubens Portrait of His SonsAlbert and Nicholas oil on canvas.
Frame H.1650mm. W.1010mm.
$4,000 - $5,000
356 A Good Quality Portrait Miniatureof a woman in elaborate Regency costume, the original ornate gilt frame with some small faults, some fl aking to the painting.
C1830. H.235mm. W.187mm.
$320 - $400
359 A Framed Engraving ‘Bewohner der Sandwich - Inseln’of a young man and a young woman, handcoloured. Note; some minor foxing.
Frame W.442mm. H.378mm.
$100 - $160
360 A Framed Bookplate ‘Iles Hawai’titled ‘La Reine Kahoumanou’, handcoloured. Frame L.420mm. H.348mm.
$100 - $200
361 A Framed Needlepoint Tapestrydepicting a Romantic period scene.
Frame H.840mm. W.620mm.
$140 - $200
357 A Small 19th Century Oil Paintingof a European coastal landscape.
H.195mm. W.235mm.
$100 - $200
66
IMPORTANT WORKS OF ART 67
ImportantWorks of Art
Day 3
ViewingEvening PreviewThursday 19 June 6.00pm – 8.00pm
Friday 20 June 9.00am – 5.30pmSaturday 21 June 11.00am – 3.00pmSunday 22 June 11.00am – 3.00pmMonday 23 June 9.00am – 5.30pmTuesday 24 June 9.00am – 5.30pmWednesday 25 June 9.00am – 5.30pmThursday 26 June 9.00am – 5.30pm Friday 27 June 9.00am – 5.30pmSaturday 28 June 11.00am – 3.00pmSunday 29 June 11.00am – 3.00pmMonday 30 June 9.00am – 12.00pm
Monday30 June 2008 6.30pm
Illustrated left:Lot 529Gordon Walters
Rauponga No.1
acrylic on canvassigned and dated ‘85 verso 920mm x 685mm
$80,000 - $120,000
Note:
Lot numbers in red indicate works from the collection of the Art Appreciation Society
IMPORTANT WORKS OF ART 67
68
501 Dick FrizzellStill Life with Daffodils
oil on boardtitle inscribed, signed and dated 3/8/83 495mm x 360mm
$15,000 - $20,000
IMPORTANT WORKS OF ART 69
502 Garth Tapper11.30am from the Yugoslavia Series
oil on boardsigned; title inscribed and signed verso 560mm x 590mm
$4,000 - $6,000
503 Richard McWhannellDonagh
oil on canvastitle inscribed, signed and dated 2006 verso 760mm x 840mmProvenance: Collection of the Art Appreciation Society
$7,000 - $10,000
70
505 Paul BeadleBank/Rooms
bronzetitle inscribed and impressed with the artist’s cypher 195mm x 180mm x 130mm
$12,000 - $15,000
506 Ann RobinsonYellow Boat
cast glasssigned and dated 2004 NZ verso 240mm x 290mm x 100mmProvenance: Collection of the Art Appreciation Society
$7,000 - $10,000
504 Jeff ThomsonNZ Bouquet
screenprinted corrugated ironsigned and dated 2003 1950mm x 1350mmProvenance: Collection of the Art Appreciation Society
$7,000 - $10,000
IMPORTANT WORKS OF ART 71
508 Stanley PalmerIslands of the Gulf
oil on linen on boardsigned and dated ‘03 635mm x 755mmProvenance: Collection of the Art Appreciation Society
$7,000 - $10,000
507 Stanley PalmerAnawhata
oil on linen on boardsigned and dated ‘03 685mm x 1340mmProvenance: Collection of the Art Appreciation Society
$18,000 - $25,000
72
510 Pat HanlyGolden Age
monoprinttitle inscribed, signed and dated 1979 530mm x 505mm
$4,500 - $5,500
509 Fatu Feu’uUluia Moana
acrylic, dye and pastel on unstretched canvassigned and dated ‘99; title inscribed, signed and dated 1999 verso 1300mm x 1750mmProvenance: Collection of the Art Appreciation Society
$8,000 - $12,000
IMPORTANT WORKS OF ART 73
511 Colin McCahonNorth Otago Landscape
ink on papersigned and dated ‘67530mm x 417mm
$30,000 - $40,000
74
512 Richard KilleenPast, Present and Future 1978
acrylic lacquer on aluminiumtitle inscribed, signed and dated July 1978 verso 1210mm x 1210mm
$30,000 - $40,000
IMPORTANT WORKS OF ART 75
513 Ann RobinsonTe Rito (Cactus Pod Bowl)
cast crystal glasssigned and dated NZ 2004 250mm x 280mm x 345mm
$20,000 - $30,000
Ann Robinson’s distinctive cast glass vessels are luminous, beautiful studies in mass and translucency. Made from 45% crystal glass and utilising a lost wax casting technique developed from that used in bronze casting, Te Rito (Cactus Pod Bowl) is typical of her subtle and deeply felt understanding for this medium. Although physically weighty, Robinson’s forms afford a sense of solidity and mass that is not weighed-down or stolid. Scale is an important contributing feature in this achievement. The thickness of the body of the bowl and the blunting of the edges of the rim or of the simple cast chevrons enhance its capacity to occupy and displace the space in which it is seen. Yet, even in a low bowl such as this one, the honed sense of proportion and of the interrelation of the object’s dimensions with its material thickness are fi nely judged and unerringly appropriate.
At the same time, and due to Robinson’s acute understanding of her material and process, she ensures that multiple characteristics of glass are also realised. The way in which the deep green cavity captures the light, for example, grants the piece a luminosity that countermands its physical weight. The tiny bubbles
on the surface give a light textural patina to the exterior that suggests a delicacy or vulnerability of the otherwise massive form. Those bubbles visible inside the cast both capture and add complexity to the play of light and recount the essential and paradoxical nature of glass; its liquidity.
Together, such qualities help to account for the strong, dignifi ed but somehow modest or at least restrained presence of this work. It inhabits space confi dently but not dogmatically. The qualities of Robinson’s practice afford a work such as Te Rito (Cactus Pod Bowl) an elegant gravitas that complements the natural form that inspired it.
In the past decade, Robinson has been honoured for her achievements with a life time achievement award from the American Glass Society (2006), a New Zealand Laureate Award (2004) and in 2001 she was made an Offi cer of the New Zealand Order of Merit.
Peter Shand
IMPORTANT WORKS OF ART 75
76
515 Pat HanlyInside the Garden 26
watercolour and crayon on papertitle inscribed, signed and dated ‘69 and inscribed 26 550mm x 545mm
$20,000 - $30,000
514 Philip TrusttumNo.26, Hedge
oil on boardtitle inscribed verso 1360mm x 1210mmProvenance: Purchased at New Vision Gallery from the exhibition The Artist’s Garden, 1973
$10,000 - $15,000
IMPORTANT WORKS OF ART 77
516 Ralph HotereTe Whiti Series
acrylic, silver ink pen and varnish on papertitle inscribed, signed and dated ‘72 and inscribed From John White’s ‘The Ancient History of the Maori his Myths and Trad.’ Vol II, p 32. Note: accompanied by Gregory O’Brien and Lara Strongman Parihaka: The Art of Passive Resistance, (Victoria University Press 2001)555mm x 410mm
$20,000 - $30,000
The Te Whiti Series was produced at the bequest of James Mack on the occasion of the exhibition Taranaki Saw it All, shown at the Waikato Art Museum and the Taranaki Museum in 1973. These works feature texts taken from the ancient Maori story included in The Ancient History of the Maori, His
Mythology and Traditions Vol II, written in 1887 by John White.
Two fi shermen, Pungarehu and Koko-muka-hau-nei, are blown off course, their waka eventually being washed up on land belonging to a tribe to whom fi re was unknown. Building a fi re and cooking whale meat caused exclamations of wonder. The smell of the fi re brought forth a chant which is the title and inscription of the painting; Whispering ghosts of the west, Who bought you here to our land? Stand up and depart whispering ghosts of the west, Who bought you here to our land? Stand up and depart.
The bilingual text fl oats above the horizon line, reminiscent of an illuminated manuscript. Hotere’s use of a classical Maori source rekindles an old myth for a new audience. It has been suggested that the work was formerly in the collection of Olivia Spencer Bower, who, with her friend Doris Lusk, visited the exhibition. Both artists purchased a work from the series.
Emma Fox
78
517 Brent WongCloud Island
acrylic on boardsigned and dated ‘99; title inscribed, signed and dated 1999 verso 390mm x 558mm
$30,000 - $40,000
IMPORTANT WORKS OF ART 79
518 Michael IllingworthA Tree I Know Near Matauri Bay
oil on canvastitle inscribed, signed and dated ‘72 verso 510mm x 670mm
$45,000 - $65,000
80
519 Don BinneyFat Bird
oil on boardsigned and dated 1965; title inscribed, signed and dated 1965 verso 590mm x 695mmProvenance: Gifted to the present owner by the artist in 1965
$70,000 - $90,000
Don Binney established his reputation in the mid-1960s with paintings of New Zealand birds set against the landscape. Fat Bird, is a characteristic example of his early paintings of the Miromiro or North Island male tomtit. Buller in his Birds of New Zealand points out that ‘The strongly contrasted plumage of the male bird renders it a conspicuous object; but the female owing to her sombre colours and less obtrusive habits, is rarely seen.’ He adds: ‘Its usual attitude is with wings slightly lowered and tail perfectly erect, almost at a right angle with the body.’ Binney, however, shows the bird in fl ight, not perching, and its tail is swept back behind it while its wings appear to fl ap as it moves from left to right of the spectator as if passing by. The effect of fl ight is helped by the close viewpoint and the cropping of its tail by the picture frame. The bird’s beak is open as if it is uttering its cry, described as ‘a prolonged trilling note, very sweet and plaintive.’
Binney has observed the bird accurately in keeping with his ornithological interests and his concern for his subjects and their endangered habitat. But his reductive treatment of the forms of the Miromiro and the landscape is far removed from the highly descriptive illustrations by Keulemans for Buller’s lavish publication. Instead Binney’s sharp outlines register the patterns of the bird’s plumage while the strong tonal contrast enhances its striking appearance. The handling of the black areas where the paint is thick and striated causes a shimmer suggestive of light on plumage. His simplifi ed landscape, recalling McCahon, conveys the essence of the country rather than its specifi c fl ora. As usual with Binney, the bird, small in real life, is monumentalised compared with the landscape below, a disjuncture caused by looking at birds through powerful binoculars, effectively magnifying them and distancing them from the background. The painted effect is to take the subject far from the commonplace into a new reality where the bird takes on symbolic meaning.
The 1964 catalogue issued by the Ikon Gallery where the Fat Bird paintings were fi rst shown commented that ‘Don Binney’s paintings are indigenous to this country. They do not pretend, in their frequent use of land and bird forms to stress an obvious symbolism of New Zealand – they are not self-consciously ‘New Zealand’ in a literary sense. They are images, directly stated, of forms familiar to and closely observed by the artist as ingredients of an intimate environment.’ Whether intentionally or not, Binney’s paintings entered into the nationalist debate about New Zealand art in the mid-1960s, and then as now have strong appeal for anyone seeking imagery that evokes the distinctive ecology of this country.
Michael Dunn
Don Binney
IMPORTANT WORKS OF ART 81
82
521 Tony de LautourPowder Land 2005 No.1
oil on canvastitle inscribed, signed and dated 2005 verso 1010mm x 1010mm
$15,000 - $20,000
520 Gavin HurleyYoung Donald 2004
oil on hessiantitle inscribed, signed with the artist’s initials GJH and dated ‘04 verso Exhibited: Mixed Up Childhood, Auckland Art Gallery (2005)Illustrated: Janita Craw & Robert Leonard, Mixed-up Childhood (Auckland Art Gallery, Toi o Tamaki 2005)1400mm x 1000mm
$15,000 - $20,000
IMPORTANT WORKS OF ART 83
522 Tony de Lautour$
oil on canvassigned and dated 20021010mm x 1010mm
$25,000 - $35,000
523 Gretchen AlbrechtNocturne (The Still Point of the Turning World)
acrylic and oil on oval shaped canvastitle inscribed, signed and dated ‘93 verso 2420mm x 1550mm
$30,000 - $40,000
84
IMPORTANT WORKS OF ART 85
524 Shane CottonBlue Madonna
oil on canvastitle inscribed, signed with the artist’s initials SC and dated 03; title inscribed, signed and dated 2003 verso 1400mm x 1400mm
$55,000 - $75,000
IMPORTANT WORKS OF ART 85
86
525 Tony FomisonPortrait of a Cicus Clown
oil on hessian on dart boardtitle inscribed verso 460mm diameter
$45,000 - $65,000
Portrait of a Circus Clown uses the tondo or circular format associated especially with European religious art and in particular with Renaissance and Baroque paintings of the Holy Family and the Head of Christ. Fomison, who was well versed in European art, here uses the tondo for a secular subject, the head of a circus clown painted in sanguine on a grey ground. Caravaggio had used the tondo for his depiction of the severed head of Medusa, a work which provided a prototype for Fomison. Perhaps ironically, when we look at the back of Fomison’s painting we fi nd that the support for his canvas is a dart board.
Behind the comic mask Fomison’s clown is a sad and isolated fi gure. The artist often identifi ed with outcasts of society, the downtrodden and the mentally ill. Typically, rather than simply recording the subject’s features there is a strong psychological dimension to his portraits. The rough surface of jute gives a textural interest to the otherwise smooth paint and adds a sympathetic earthiness to his image. Fomison showed some portraits of clowns at the Denis Cohn Gallery in 1980 and this undated work may well have been one of them.
Michael Dunn
Tony Fomison
IMPORTANT WORKS OF ART 87
88
526 Richard KilleenLooking is Not Seeing No.3
alkyd on 14 aluminium piecestitle inscribed, signed and dated 3. ‘85; title inscribed, signed and dated March 1985 on each panel verso 840mm x 590mm approximately per panel, 3000mm x 2500mm approximately overall
$50,000 - $70,000
Killeen’s later cut-outs, of which Looking is Not Seeing, No.3 is a typical example, are more complex and have more individual pieces than his earlier ones. By the mid-1980s the pieces have become composites, made up of several different images which may or may not relate to the cut-out shape that contains them. Indeed the silhouette of each piece no longer tells us its contents. For example, in this work one single piece shows a small landscape with volcanic hills, a cloud above attached to the hills and an ocean below with swimming whales and fi sh, none cut out in silhouette. The piece becomes a small painting on an aluminium support.
The cut-outs are no longer spray painted in one colour to give an abstract unifying effect to the pieces, but are now hand-painted. This makes possible gesture and illusionistic effects of light and shade that had been eliminated in the earlier series. Also, titles no longer precisely name the subjects contained in the cut outs.
In his cut-outs Killeen helped move painting away from traditional categories such as landscape, still-life or portraiture. Today, over twenty years on, these works retain their fresh, colourful qualities and the experience of looking at them remains a puzzling and pleasant exercise.
Michael Dunn
Richard Killeen
IMPORTANT WORKS OF ART 89
90
527 Bill HammondContainers
synthetic polymer paint on canvastitle inscribed, signed and dated 1998 1060mm x 1440mmExhibited: Hokey Pokey, Peter McLeavey Gallery, Wellington, 1998
$240,000 - $280,000
One of the things we can be sure of with Bill Hammond’s bird people is that they represent beings outside of our control; one suspects the artist remains in continual thrall to his avian hierophants because he can’t control or predict them either. The two central actors in this richly theatrical painting disport themselves like fashionable and superior observers of their local habitat; a shared baton links them in their choreography of critique like the haughty Goncourt brothers, dandies of disdain in the parks and boulevards of 19th century Paris. But with their book and handgun, a partnership in mannered crime perhaps allies Hammond’s duo with those amoral stylists and demoniacally inventive villains Messrs Croup and Vandemar, in Neil Gaiman’s TV drama “Neverwhere”.
Hammond’s self-important bird-lords are like knowing and powerful opportunists who rise to the top, bearing all the pirated trappings of a moribund order, in a time of extensive cultural and economic collapse. They could be just nouveaux riches self-appointed cultural commentators, but they could be as dangerous as Russian mafi a surrounded with ostentatious signs of power in their theatre of material excess. As with many of Hammond’s large-scale forest and bird society nightmare paintings, its apocalyptic twilight mingles anxiety and beauty; the iridescent pigment, in tandem with the intensity of all the elaborated graphic details, act as mood accelerants towards a state of mania. Poses are extreme, artifi ce intoxicates, decay is opulent. A debonair pipe smoker perches on a classical balustrade, like an Evelyn Waugh fi gure lost in the syrup of impotent memories; a sleek black bird sits astride a barrel and cargo crate as if newly arrived on a foreign shore, ship-wrecked perhaps, with boxes of plundered exotica on return from some wasted New World. A solitary thinker-bird fi nds private solace in a bottle, squatting like a survivor on a twist of land that remains just visible above the golden fl ood. As weird, tall trees and ferns sprout from the top of a monolithic industrial building block, promising some uncanny re-run of the rank profusion and ecological richness of an ancient Carboniferous period, silhouette heads grow out of the dark soil at the building’s base and slip up the sides like shadows from the basement, all the more menacing because of the stupidity of their profi les. Just as things sprout from the mute modernist building on the left, the second large container, the storage cabinet on the other side of the painting, is host to disturbing generative activities. While open drawers reveal globular forms that drip and roll in their tray like eyeballs, a row of translucent eggs bide their time like the pods that Dr Miles Bennell fi nds in his trunk in the 1956 classic “Invasion of the Body Snatchers”. On top of the cabinet an imperious bird-dog feeds tiny Romulus and Remus creaturelings and invests in a future empire of beautiful mutants.
Allan Smith
Bill Hammond
IMPORTANT WORKS OF ART 91
92
528 Ralph HotereA Black Union Jack A Celebration Work for 1990
enamel on burnished baby irontitle inscribed, signed and dated ‘89; title inscribed, signed and dated Port Chalmers 89/90 and inscribed A celebration for 1990? verso1325mm x 1235mm
$150,000 - $200,000
The Union Jack has appeared often in Hotere’s work. Here it is defi ned in a simple graphic format. The name Union Jack is thought to have evolved from the term ‘jack’ which denotes a small national fl ag traditionally fl own at the bow of a warship. Whether or not this is in fact the derivation is unclear – in naval terms, however, and for Hotere, it is a name and an image that is associated with confl ict and war.
This is the context in which Hotere has consistently used it. If we look back 26 years, for example, to the fi rst Sangro paintings and to Winter Landscape, Sangro River from 1963 (a work now held in the collection of the Dunedin Public Art Gallery) there is the same segmentation of the canvas into the pattern of the British fl ag. The Sangro works are a lament for Hotere’s brother who was killed in action in World War II and is buried at the Sangro River War Cemetery in Italy. They are works full of anger at the stupidity of war – a war fought by New Zealanders under British command. More recently in the Jerusalem series of 2002-4 Hotere uses the Union Jack collaged into the form of a Star of David. Two of the works in this series are titled This is a Double Union Jack and another This might be a Double Cross Jack. These are images in which the Union Jack evokes the history of Palestine as a British Mandate territory prior to the formation of Israel in 1948. Embedded within the scrawled lettering is the sense of betrayal and desperation felt by those subjected to the ensuing Israeli/Palestinian confl ict. It is the same sense of betrayal that Hotere evokes with the burnt and abraded image of the Union Jack in this 1989/90 A Black Union Jack.
The divisions in the upper two quadrants of Hotere’s A Black Union Jack are an inscription of the capital letters NZ with the letters marked out in reverse in the lower half (in the lithographs, that form part of this extended series, the formation of the letters are more pronounced). The earlier Black Union Jack works were a protest against the 1981 tour of New Zealand by the South African rugby team.
Hotere was a strong supporter of the anti-apartheid movement. He once stated in an interview that he had taken part in every march in Dunedin opposing the Springbok tour. For someone who has always closely followed rugby this refl ected a deep political commitment.
This particular work is part of the Baby Iron series, which revisited previous themes explored in earlier work. On the back of the image, in Hotere’s handwriting, is the inscription a celebration work for 1990? This was the year South Africa’s then president F. W. de Klerk announced the government’s intention to abolish apartheid and the impending release of Nelson Mandela after 27 years of imprisonment. At the time it was produced, in late 1989 through early 1990, Hotere’s inscription with a question mark denoted both hope and uncertainty about the fulfi lment of de Klerk’s promises.
The addition of the qualifi er ‘black’ to the title A Black Union Jack plays on multiple meanings: the black of mourning, the black which is this country’s national colour, the black of skin, and the black that is part of the name of our national rugby team. Perhaps the most pronounced of these references for Hotere is the black of mourning. This was made clearer a few years later in 1985 with the Black Rainbow series in which the arcing banner of a black rainbow forms an elegy for the sinking of the Greenpeace vessel the Rainbow Warrior.
In other work in the Black Union Jack series Hotere makes it apparent that the word ‘union’ is used in a pejorative sense and is also a reference to the New Zealand Rugby Football Union. In one work he includes the inscription dedicated to the NZRFU and in another To the people of Soweto with love from the NZRFU.
In the contemporary art of the 1960s, when Hotere fi rst used the illustrative format of a Union Jack in his Sangro work, the inclusion of a fl ag inevitably drew comparisons with the Pop Art fl ag-paintings of the American artist Jasper Johns. For Hotere though the fl ag is loaded with political content and meaning in a way that Johns’ particular brand of Pop Art never allowed. Where Pop Art often played on irony Hotere’s fl ags, in contrast, are direct political statements.
Kriselle Baker
Ralph Hotere
IMPORTANT WORKS OF ART 93
94
529 Gordon WaltersRauponga No.1
acrylic on canvassigned and dated ‘85 verso 920mm x 685mm
$80,000 - $120,000
The art of Gordon Walters is subtle and seamless. Few other New Zealand artists have so fl uidly combined local emblems with a knowledge of international modernist abstraction. This is true of Walters’ well-known koru paintings. It is equally true of this painting, also one of a series based on duplication of a single, economical motif. For many New Zealand artists working during the mid-late twentieth century, modernism was a challenge. When avant-garde, often abstract, forms and styles were handed down from overseas, they had to be adjusted to fi t local concerns and personal preoccupations. Frequently the fi t was not good. The modifi ed modernism that resulted could be awkward and clunky. Walters, on the other hand, developed highly resolved pictorial formats remarkably swiftly and incisively. In both the koru and rauponga paintings, this process involved the simplifi cation of motifs found in Maori art – in kowhaiwhai and carving – to geometric components that proved fl exible and open to virtually endless variation.
The rauponga motif, derived from the ridged lines of Maori carving, has its origins in Walters’ work in paintings from 1970, like Black and Red and Hautana (Auckland Art Gallery). There, it appears in a system of alternating horizontal bands like those in the koru paintings, but instead of some of the bands terminating in, or being interrupted by, a circle or ‘bulb’, they simply curve up or down like hockey sticks, intersecting with the next band of the same colour. In Rauponga No.1, similar round-ended bands are arranged vertically in pairs, one of each pair curving to the right at the bottom and the other curving left at the top. Between each pair of uprights is enclosed a distinctive, vaguely paddle-like shape. The top and bottom are the same but inverted, and the shape stamps itself out in two pale colours across the picture plane.
In this picture, the quiet tonality imparts a gentle lyricism that is characteristic of the artist, as is the precision of technique. Walters was a perfectionist, taking great pains in the execution of meticulously worked-out compositions (this may explain why he did not produce a vast body of work, with examples of paintings on canvas appearing relatively rarely on the market). Walters effectively conceals the evidence of the work’s creation. There is no parading of ‘artistic temperament’ or ego, but rather, as Francis Pound has described it, a ‘complete modesty and circumspection of mark’.1
Edward Hanfl ing
1. Francis Pound, ‘A Prodigious Reserve: Walters’ Fifties Gouaches’, in Edward Hanfl ing & Francis Pound,
Gordon Walters/Milan Mrkusich: Works from the 1950s, Auckland: Sue Crockford Gallery, 2000, p. 20.
Gordon Walters
IMPORTANT WORKS OF ART 95
96
530 Pat HanlyHope Vessel Approaching Fire
oil on boardsigned and dated 1985; title inscribed, signed and dated 1985 verso 790mm x 890mm
$70,000 - $90,000
The mid 1980s was a period of signifi cant political, social and economic change in New Zealand. One issue that grew to enjoy a hitherto unprecedented level of consensus was our anti-nuclear stance. Whereas the preceding years had been characterised by various forms of civil protest on this and other contentious issues, the declaration of the country as nuclear free in 1987 became a matter of national pride and collective agreement after a decade of social division. Galvanised perhaps by the DGSE bombing of the Greenpeace vessel Rainbow Warrior and the death of Fernando Pereira on July 10 1985, the notion of the South Pacifi c “David” standing fi rm against the “Goliath” of its allies the Western nuclear powers took popular hold. Such a level of national unity marked a shift from the fraught response earlier to visits of military vessels such as HMS Invincible or Regent or the USS Pintato, Queenfi sh, Texas or Truxton.
A pacifi st, Pat Hanly was active in the Peace Movement for many years, including as a founding member of VAANA (Visual Artists Against Nuclear Arms). Coincident with this was his revisiting of his fi rst major series, the Fire works produced in London in 1959 and 1960. The Fire This Time series executed between 1984 and 1986 can be seen as having a direct and polemical message and intent. This is especially true of those undertaken following the bombing at Auckland’s Marsden Wharf.
Hope Vessel Approaching Fire is one of those post-Rainbow Warrior works. While it is an overtly political painting and a call to action, it is important to register that the fundamental attitude Hanly promotes is that of hope. The clear white-sailed yacht pushes forward into a fi rey confl agration as it sails out of a deep green fi eld emblazoned with the Southern Cross. As the spray from its bow reaches the serpentine vertical of the fi re there is a deliberate tension and sense of anxiety derived from the potential for calamity. Yet, as the title reiterates, there is also a profound sense of the possibility of positive outcomes founded on hope: “David” may vanquish “Goliath”; hope may quench the fi re. To this end, it is a remarkably optimistic painting at the same time that it responds to a deplorable incident and grave and terrible threat.
In a very real way, this optimism in the face of the most unimaginable horror is refl ective of the climate of unity, defi ance and hope that came to characterise the national psyche with respect to the nuclear free issue. As Hanly commented to dealer Rodney Kirk Smith: “We are looking toward a Pacifi c free of nuclear fi re, the holocaust – which was what the fi rst Fire series was really about – just that.”1 The joyous declaration of Hanly’s VAANA mural on the Karangahape Road reservoir No nuclear fi re for Amber is treated more allegorically than in this painting but the underpinning and defi ning quality of hope is similarly assured.
Peter Shand
1. “The Barry Lett Gallery and RKS Art: Two Decades: A Conversation with Pat Hanly,”
Art New Zealand 35 (Winter 1985), pages 50-53; page 51.
Pat Hanly
IMPORTANT WORKS OF ART 97
98
531 Colin McCahonIf you can afford a psychiatrist...(‘Try having a bonfi re’ Peter Hooper)
charcoal on wallpaper stocktitle inscribed, signed and dated Aug 26 ‘69 and inscribed ‘Try having a bonfi re’ Peter Hooper 1500mm x 540mm
Reference: Colin McCahon database www.mccahon.co.nz Record Number: cm001573
$120,000 - $160,000
From late August and throughout September 1969 McCahon worked on a large series of ‘written’ paintings and drawings now called the scrolls. The present example, dated August 26, 1969, is one of several painted that day. The artist used words from the poetry of Peter Hooper (1919-91), a West Coast poet, writer and teacher, who was a friend of John Caselberg and had sent McCahon a book of Hooper’s poems. McCahon wrote to Caselberg: ‘I have just written to Peter Hooper thanking him for the poems & now to you for the book. I am delighted, pleased, impressed and so on & have painted one for Peter himself (I hope it won’t terrify Peter when he gets it.) … the book arrived just when I needed it.’
Like others in the series, this example is executed on plain paper, part of several trial rolls of wallpaper supplied by his brother in law. McCahon cut the rolls into lengths of about 170mm high and inscribed on them words taken either from Hooper or Caselberg or from the New English Bible. This work is written rather than painted in lines of verse that run down the page from top to bottom. There is minimal embellishment of the text by McCahon, though elsewhere in the scrolls he ordered and composed the verses visually with paint and colour. Designed to be hung on the wall, the work retains the feel of a scroll manuscript that would work quite well if it were unrolled and read line by line, rather than seen all at once. The spare means used in its execution refl ects its written message with the emphasis on values of economy and moderation as a means to salvation. Signifi cantly, the large painting Can You Hear Me St Francis, also using Peter Hooper’s poetry, evokes the popular Italian saint whose poverty was legendary and symbolised by his ragged and patched habit, now a revered relic at Assisi.
In an exhibition at Barry Lett Galleries in October 1969, McCahon’s unframed scrolls were hung edge to edge giving the works a raw directness not possible with conventional mounting and framing. Indicative of the speed and unrevised nature of the scrolls was the large number – seventy-two in total – that had been created in a short space of time. Seen together, they created a text-dominated environment with barely any additional imagery. By any standards the scrolls are powerful works that seem as radical today as when fi rst exhibited nearly forty years ago.
Michael Dunn
Colin McCahon
IMPORTANT WORKS OF ART 99
100
532 Pat HanlyNew Order
oil on canvas on boardtitle inscribed, signed and dated ‘63 730mm x 595mm $40,000 - $50,000
IMPORTANT WORKS OF ART 101
533 ChenThe Spirit of the Green
hand welded marine grade stainless steel in three sections comprising an amorphus form and two spheres, each supported by a stained square section timber base2800mm x 3000mm x 1000mm approximately
$50,000 - $70,000
Chen’s unusual, often organically formed sculptures have been shown in the Netherlands, Japan, Australia, Singapore, Spain, Germany and America. The artist is of Chinese and Japanese descent and has committed himself to the medium of stainless steel for what now comprises 25 years. His pieces are created primarily for outdoor environments and revolve around the notion of Shibumi, as Chen remarks:
“Translated, Shibumi is something so correct that it does not need to be bold, so poignant or does not have to be pretty nor true, it does not have to be real. Shibumi is understanding rather than knowledge. In a man, it is authority without domination.” Chen, 2008
102
535 Leon Van den EijkelRefl ective Cubes 003, 2004
refl ective vinyl on three ACM substrate cubes, 2 pack acrylic lacquer600mm x 600mm x 600mm each; 1800mm x 600mm overall
$15,000 - $20,000
534 John ReynoldsPhantasmagoria: Garden for the Blind 1990
oil stick, metallic oil stick and graphite on papertitle inscribed, signed and dated 1990 and inscribed from Man’s blood-sodden heart are sprung those branches of the night and day - Yeats 2500mm x 650mm
$8,000 - $12,000
102
IMPORTANT WORKS OF ART 103
536 Ralph HotereDrawing for Requiem Series
watercolour and ink on papertitle inscribed, signed and dated Port Chalmers ‘74 505mm x 690mm
$30,000 - $40,000
104
537 Pat HanlyMaungawhau and Park
oil on canvas on boardsigned and dated ‘83; title inscribed, signed and dated ‘83 and inscribed Classic No18 verso 800mm x 810mmProvenance: Collection of the Art Appreciation Society
$45,000 - $55,000
IMPORTANT WORKS OF ART 105
538 Colin McCahonKaipara Flat
water based crayon and acrylic on papertitle inscribed, signed and dated ‘711025mm x 707mm
$100,000 - $150,000
106
539 Philip ClairmontAmorphic Sink Head and Grate
oil on unstretched canvastitle inscribed, signed and dated July ‘76 1580mm x 835mm
$40,000 - $50,000
One of the major fi gures of New Zealand painting of the 1970s, Philip Clairmont’s work can be too-easily summarised under the broad banner “expressionist.” There’s a risk in such a simplistic naming that the visible elements of an expressionistic mode or style (the gestural mark, the exuberant palette, the contortions of draughting) may be treated as the summary of his understanding of painting as a medium and of his contribution to New Zealand art. To do so would be to underestimate both that understanding and contribution.
It is true that there is a responsiveness to expressionist painting of the late nineteenth and early twentieth century in particular. Artists such as Vincent van Gogh and Max Beckmann are signifi cant progenitors of Clairmont’s painting, especially with respect to their domestically-focused content made over through the vigour and energy of their approach. In this way, he is a painter with an interest in and attachment to realism. The objects of his compositions (the sink in this work) are recognisable – transformed, but recognisable. That interplay between the known, common-place object and its reworking by the artist, his employment of compositional elasticity, strong colour and, at times, anarchic detail challenge the work’s viewers to understand the domestic setting anew. These are not contorted forms or exaggerated colours for their own sakes but means of affording new ways of seeing. The phantasmagoric or transformative character of the paintings subverts a strict realism but offers in its stead different insights into the object.
For Clairmont this project recognised the possibility that the object had a life of its own, an essence that he was attempting to express by changing and transforming its shapes. This is important for his painting in a number of ways. It refl ects the transformative capacity of painting as a medium – it’s ability to reconfi gure reality and demand that we pay attention to what is represented so as to understand it in a different way than in ordinary life. It also gives insight into his process, his belief that painting ought to be a struggle inasmuch it is a practice that for him was to attempt a break-though. As a result, painting also involves what he termed “a derangement of the senses, and a bombardment of the senses,” by which means he is able to challenge how we might be accustomed or conditioned to particular ways of seeing or particular styles. For him “[the] act of remaking or transforming an object is magic. Paint has a life of its own if you’re open to it.” 1
The amorphous quality of the object’s rendering noted in this painting’s title is a means of suggesting the transformative possibilities of both of the object itself and its painted double. In addition to the visual and interpretive possibilities open to the viewer, there is an inference of the sink as a double for the artist himself. The grinning, tiki-like face in the mirror shows the angled almond-shaped eyes and high-boned face that was his signatory self-portrait style. Indeed, this relationship was made explicit in a woodcut of the same subject from 1978 with the name inscribed on the frame.
This inference offers a further layer of the transformative possibilities of his work as revealing or exposing his essential artistic concerns. Of a related work, Sink No 2, Clarimont wrote:
SINK (title to latest sink painting)
1976
A sink is more signifi cant … Than my palette.A sink is fi lled with more meaning
… than all my acquired knowledge.
A sink will often see the beginning of… many works
My sink is experiences in my coloursThoughts and is a mute voyeur …
My sink is at times – the beginning(the sink Does not love)
me2
Peter Shand
1. “Philip Clairmont Paints a Triptych,” Art New Zealand 11, Spring 1978, pages 38-41, page 412. Philip Clairmont, “SINK,” 1976; quoted in Philip Clairmont, catalogue to the exhibition of the same name at the Sargent Gallery, Wanganui, 1987, p. 43.
Philip Clairmont
106
IMPORTANT WORKS OF ART 107 IMPORTANT WORKS OF ART 107 IMPORTANT WORKS OF ART 107
108
540 Frances HodgkinsThe River Tone, Somerset
watercolour on papersigned 365mm x 470mm
$30,000 - $40,000
IMPORTANT WORKS OF ART 109
541 Frances HodgkinsStill Life
gouacheinscribed By Frances Hodgkins. Demonstration given before a small class of senior pupils at Manchester High School for Girls November 1922. Given by HR & DJS 1931 verso 295mm x 345mmProvenance: From the Helen Ritchie CollectionNote: Accompanied by original exhibition catalogue
$20,000 - $30,000
110
543 Stanley PalmerIslands of the Gulf
oil on linen on boardsigned and dated ‘03 595mm x 970mmProvenance: Collection of the Art Appreciation Society
$10,000 - $15,000
542 Fatu Feu’uAlof4
acrylic, dye, pastel and varnish on unstretched canvastitle inscribed, signed and dated ‘99 1640mm x 1730mmProvenance: Collection of the Art Appreciation Society
$10,000 - $15,000
IMPORTANT WORKS OF ART 111
544 Bill HammondJudder Bars, Murals and Love
oil on canvastitle inscribed, signed and dated 1986 500mm x 600mm
$35,000 - $45,000
545 Ralph HoterePine
pastel, acrylic, graphite and ink on papersigned and dated ‘73 700mm x 500mmProvenance: Collection of the Art Appreciation Society
$10,000 - $15,000
112
548 Robin KahukiwaHongi
acrylic on two canvas panelstitle inscribed 1825mm x 1013mm each, 1825mm x 2026mm overallProvenance: Collection of the Art Appreciation Society
$15,000 - $20,000
546 Gretchen AlbrechtMaze
acrylic on canvassigned and dated ‘84 verso; title inscribed, signed and dated 1984 on original artist’s label affi xed verso 1250mm x 2500mmProvenance: Collection of the Art Appreciation Society
$15,000 - $20,000
547 Ralph HotereSong of Solomon
mixed media and collage on papertitle inscribed and dated Feb ‘91620mm x 490mm
$15,000 - $20,000
IMPORTANT WORKS OF ART 113
550 Rosalie GascoigneAcross Town
colour screenprint 85/99signed305mm x 560mm
$8,000 - $10,000
551 Gretchen AlbrechtNight Lake
watercolour and ink wash on paper collagetitle inscribed, signed and dated ‘89 1450mm x 2250mm
$12,000 - $18,000
549 Tony LaneJewels Constellations
gold and silver leaf, oil paint and gouache on boardtitle inscribed, signed and dated 1992 verso and inscribed Medium: gold and silver leaf, oil paint and gouache on gesso panel verso 280mm x 790mm
$7,000 - $9,000
114
552 Bill HammondGreen Egg
oil on ostrich eggtitle inscribed, signed and dated 2007 andtitle inscribed and signed on originalpresentation box120mm x 100mm x 100mm
$10,000 - $15,000
553 Colin McCahonBrooch
silver plated copperartist’s signature etched verso 30mm x 35mm x 2mmProvenance: Gifted to the present owner’s late wife by McCahon during the 1960s
$1,500 - $2,500
554 Colin McCahonPendant
brass and copper 45mm x 35mm x 3mmProvenance: Gifted to the present owner’s late wife by McCahon during the 1960s
$1,500 - $2,500
IMPORTANT WORKS OF ART 115
555 Robin KahukiwaConception
oil on unstretched linensigned and dated ‘97 1085mm x 1510mmProvenance: Collection of the Art Appreciation Society
$12,000 - $18,000
556 Garth TapperPeter Reid in Manet’s Cafe
oil on canvassigned and dated ‘86; title inscribed and signed verso 475mm x 575mmProvenance: Collection of the Art Appreciation Society
$8,000 - $12,000
116
558 Louise HendersonMother and Child
felt tip pen, pastel and paper collagesigned and dated 1975; original Charlotte H Galleries stamp applied verso 270mm x 205mmProvenance: purchased by the present owner from the artist in 1990
$3,000 - $4,000
559 Peter McIntyreRangitikei & Mt Ruapehu
watercolour on papersigned 715mm x 520mm
$10,000 - $15,000
557 Nigel BrownPortrait 1971
oil on boardsigned and dated ‘71 580mm x 610mm
$8,000 - $12,000
557
559
558
IMPORTANT WORKS OF ART 117
560 Tony LanePendant
oil and gold leaf on gesso panelsigned with the artist’s initials TL and dated 11.97; title inscribed, signed and dated 1997 verso 400mm x 580mm
$7,000 - $9,000
561 Rosella NamokHouses around Lockhart
acrylic on canvassigned and dated ‘04; inscribed RN290105 verso 1265mm x 630mm
$3,500 - $4,500
562 James RossChasm, Figure, Pool
oil on eight marine plywood and cedar panelstitle inscribed, signed and dated May - July ‘86 verso 2560mm x 1470mm
$10,000 - $15,000
562
560 561
118
565 John WeeksHead
tempera on paper 250mm x 170mmProvenance: Collection of the Art Appreciation Society
$2,000 - $3,000
566 J S ParkerPlain Song - The Easter Painting
oil on canvassigned and dated ‘97; title inscribed verso 1520mm x 1520mm
$10,000 - $15,000
563 Richard McWhannellSelf Portrait c.1996
oil on canvastitle inscribed, signed and dated c.1996 verso 605mm x 450mmProvenance: Collection of the Art Appreciation Society
$5,000 - $7,000
564 Peter SiddellNorth Beach
tempera on canvassigned and dated 1999; title and artist inscribed and dated 1999 on original printed artist’s label affi xed verso 300mm x 225mmProvenance: Collection of the Art Appreciation Society
$3,500 - $4,500
563 564 565
566
IMPORTANT WORKS OF ART 119
568 Peter McIntyreNew Zealand Soldiers Left Behind in Crete
charcoal on paperinscribed Crete520mm x 635mm Illustrated: Peter McIntyre: War Artist (AH & AW Reed, Wellington 1981), pg. 97
$3,500 - $5,500
569 Peter McIntyreWreck of the Italian Cruiser
charcoal on paper520mm x 635mm Illustrated: Peter McIntyre: War Artist (AH & AW Reed, Wellington 1981), pg. 122
$3,500 - $5,500
567 Sydney Lough ThompsonPeasant Milking
oil on canvassigned 360mm x 430mm
$20,000 - $30,000
120
571 Jacqueline FraserNerve Agent Sarin
oil pastel on upholstery fabrictitle inscribed, signed and dated 22.11.2002 300mm x 300mm
$1,500 - $2,500
570 Gretchen AlbrechtHemisphere
watercolour on papersigned and dated 1984 580mm x 755mm
$5,000 - $7,000
572 Leila AtayaCheckmate Black Cup
acrylic on board with velvet trimsigned and dated 2003 300mm x 300mmProvenance: Collection of the Art Appreciation Society
$500 - $1,000
570
571 572
IMPORTANT WORKS OF ART 121
574 John ReynoldsShock & Awe
oil paint marker and acrylic enamel on canvastitle inscribed, signed and dated 2003 verso 505mm x 405mm
$3,500 - $4,500
573 John ReynoldsBlue on Blue
oil paint marker and acrylic enamel on canvastitle inscribed, signed and dated 2003 verso 505mm x 405mm
$3,500 - $4,500
576 John ReynoldsStudy for Desert Road
oil paint marker and acrylic enamel on canvastitle inscribed, signed and dated 2003 verso 505mm x 405mm
$3,500 - $4,500
575 John ReynoldsSoft Target
oil paint marker and acrylic enamel on canvastitle inscribed, signed and dated 2003 verso 505mm x 405mm
$3,500 - $4,500
573 574
575 576
122
579 Richard LewerUntitled
mixed media on aluminiumsigned 1140mm x 1140mm
$5,000 - $7,000
577 Chris MulesSlice
tasmanian ash veneer over pine frame with lacquer fi nish 460mm x 1240mm x 320mm
$3,000 - $5,000
578 Elizabeth ReesForm Enlargement
acrylic on two canvas panelssigned and dated ‘95; title inscribed verso 2440mm x 1570mm
$6,500 - $8,500
580 J S ParkerPlain Song
oil on canvastitle inscribed, signed and dated ‘90; inscribed To John Parker 7 Old Renwick Road verso 1820mm x 1210mm
$7,000 - $10,000
IMPORTANT WORKS OF ART 123
581 Peter James SmithTerrain
oil paint and oil pastel on canvastitle inscribed, signed and dated 2001; title inscribed, signed and dated 2001 and inscribed 142001 verso 1220mm x 915mm
$9,000 - $12,000
583 Jacqueline FaheyThe Football Practice from the Down in Grey Lynn Park Series
oil on canvassigned and dated 2001; title inscribed, signed and dated 2002-1 and inscribed First time exhibited after my Show last year “Down in Grey Lynn Park” series verso 1210mm x 605mmProvenance: Collection of the Art Appreciation Society
$6,000 - $8,000
582 Robert EllisTe Ipumataaho
acrylic on canvastitle inscribed, signed and dated 2005; title inscribed, signed and dated Oct ‘05 verso 1010mm x 710mm
$8,000 - $10,000
581 582
583
124
584 Charles Blomfi eldMt Cook from the Hooker Glacier
oil on canvastitle inscribed verso 445mm x 595mmProvenance: Purchased from Webb’s, March 1994
$7,000 - $10,000
586 Peter McIntyreStill Life with Cyclamens
oil on boardsigned 390mm x 340mmProvenance: Collection of the Art Appreciation Society
$4,000 - $6,000
585 Ross RitchieTanker #2
oil and oil stick on canvastitle inscribed, signed and dated ‘04;title inscribed and dated 2004 on original Milford Galleries label affi xed verso 610mm x 760mmProvenance: Collection of the Art Appreciation Society
$4,500 - $5,500
584
586
585
IMPORTANT WORKS OF ART 125
587 Patrick HaymanMoses and the Burning Bush
oil on boardtitle inscribed, signed and dated 1966 verso, title and artist inscribed and dated 1966 on original John Leech Gallery label affi xed verso 410mm x 510mm
$6,000 - $8,000
588 Simon McIntyreDry Dock III
oil on canvassigned; title inscribed, signed and dated ‘87 and inscribed oil on canvas verso 1405mm x 1805mmProvenance: Collection of the Art Appreciation Society
$7,000 - $10,000
589 Greer TwissOwl
bronze sculpture with wooden base245mm x 100mm x 70mmProvenance: Collection of the Art Appreciation Society
$2,000 - $3,000
587 588
589
126
591 Lily LaitaKnowledge Led Economy
acrylic and varnish on three canvas panelstitle inscribed 345mm x 270mm eachProvenance: Collection of the Art Appreciation Society
$1,300 - $1,800
590 Carole ShepheardMezza Voce - Bell Ringing in an Empty Sky
acrylic and enamel on papertitle inscribed and dated 1997 on original label affi xed verso 300mm x 770mmProvenance: Collection of the Art Appreciation Society
$1,500 - $2,500
592 Anna PalmerAwana Great Barrier Island
chalk pastel on papersigned and dated ‘98 275mm x 375mmProvenance: Collection of the Art Appreciation Society
$200 - $400
593 Jeff ThomsonWoven
woven corrugated iron strips480mm x 970mm x 460mmProvenance: Collection of the Art Appreciation Society
$1,500 - $2,000
590
592
593
591
IMPORTANT WORKS OF ART 127
595 Nanette Lela’uluChurch at Awhitu
acrylic on canvassigned and dated 2004 verso 1225mm x 965mmProvenance: Collection of the Art Appreciation Society
$2,500 - $3,500
594 Nanette Lela’uluFigure in a Purple Robe
woven fl ax and acrylic on canvassigned and dated ‘96 verso 1210mm x 910mmProvenance: Collection of the Art Appreciation Society
$1,000 - $2,000
596 Emily KarakaUntitled
oil on unstretched hessian canvassigned and dated ‘91 verso 925mm x 1530mmProvenance: Collection of the Art Appreciation Society
$1,500 - $2,500
594 595
596
128
PRICES REALISEDSALE 295 ANTIQUES & DECORATIVE ARTS, A2 ART: 15 & 24 MAY 2008
128
* Under Negotiation
LOT $ LOT $ LOT $ LOT $ LOT $ LOT $ LOT $
1 380
2 200
4 130
5 200
6 200
7 100
8 725
10 300
19 50
20 200
21 250
23 140
24 160
25 1,400
27 60
28 70
29 180
30 50
31 65
33 4,000
34 600
35 275
36 200
37 120
39 100
40 50
41 50
42 210
43 40
44 110
45 210
46 120
47 30
48 100
49 625
50 70
51 50
52 50
53 30
54 100
55 200
56 30
58 3,000
59 100
60 2,100
61 400
62 6,600
63 50
64 100
65 100
67 30
68 10
72 160
76 1,200
78 250
79 675
80 50
81 700
82 60
85 50
86 80
88 170
89 160
90 100
91 120
92 250
94 200
95 50
96 90
99 50
100 30
102 400
103 240
104 100
105 280
106 650
107 120
108 260
109 100
110 200
111 160
112 50
113 20
114 170
116 280
117 300
118 400
119 750
121 6,400
122 350
126 50
126A 50
127 50
130 80
135 110
137 50
139 400
140 1,300
141 100
143 100
144 120
145 20
146 50
147 60
152 300
153 950
156 200
157 300
158 120
160 50
164 60
165 50
166 30
168 50
169 50
170 120
177 1,300
178 600
179 2,700
182 250
183 250
187 800
188 1,900
189 1,700
190 300
191 900
192 450
193 400
194 1,800
196 1,500
197 1,100
198 800
199 100
200 450
201 2,000
202 1,500
203 2,400
204 1,100
205 800
206 1,200
208 200
209 600
210 250
212 240
213 80
214 450
215 260
216 200
217 300
218 700
219 700
220 100
221 400
222 400
223 225
224 600
226 2,000
228 3,400
230 350
232 1,100
233 370
235 80
237 220
238 525
241 50
242 260
243 50
244 120
245 60
246 40
249 330
250 380
301 2,700
303 2,000
304 1,000
305 2,000
307 1,400
309 1,950
310 800
312 2,000
317 350
318 4,000
320 1,300
321 700
322 3,800
325 750
326 1,600
328 260
329 240
330 180
331 280
332 850
333 2,700
334 700
335 1,000
336 1,900
337 1,200
340 800
342 900
343 3,700
345 600
346 1,350
348 850
349 900
350 500
351 800
354 100
356 700
362 2,250
363 4,000
365 5,200
367 2,500
369 4,250
370 3,500
371 450
372 900
375 3,000
376 1,500
377 300
379 4,700
380 400
383 2,500
385 4,000
386 700
390 1,500
394 1,300
395 600
397 1,100
398 350
400 250
402 2,750
403 550
404 400
405 150
407 160
408 2,200
409 1,800
410 3,200
411 250
412 500
413 350
414 500
416 200
417 400
418 500
419 3,600
420 1,200
421 100
422 400
425 1,700
426 400
427 400
430 80
431 1,000
432 400
433 400
434 500
436 200
437 200
438 300
441 400
442 1,000
445 100
446 300
447 260
448 500
449 550
452 275
453 100
454 100
455 220
458 100
459 100
CATALOGUE INFORMATION 129
EIGHT CATALOGUES INCLUDING:Modern, Contemporary and Historical Paintings, Prints, Photography and Sculpture. Fine Jewellery and Watches. Antiques,
Decorative and Applied Arts including 20th Century Design, New Zealand History and New Zealand Pottery.
NEW ZEALAND $120 AUSTRALIA / PACIFIC $220
UNITED KINGDOM / EUROPE $350 USA / ASIA / OTHER $328
INCLUDE FINE WINE CATALOGUE AT NO EXTRA COST YES / NO (please circle option)
All international delivery is by First Class Airmail - New Zealand Post
Door-to-door courier available. Please enquire for specifi c charges.
Name: _____________________________________________________________________________________________
Email: ______________________________________________________________________________________________
Address: ____________________________________________________________________________________________
PH Work: ______________________________________ PH Home: ____________________________________________
PH Mobile: _____________________________________ Fax: ________________________________________________
Specific areas of collecting interest: ______________________________________________________________________
____________________________________________________________________________________________________
Payment by ChequeAmount of cheque enclosed: _______________________________________________________________
Payment by Credit CardCredit Card: Amex / Visa / Bankcard / Mastercard / Diners (please circle option)
Card Number: Expiry Date:
All information provided will be regarded as confi dential
CATALOGUE SUBSCRIPTION FORM
BANK ACCOUNT DETAILS PAYMENT BY DEPOSITImportant: Fax this form to Webb’s: +64 9 524 7048 so payment can be confi rmed and purchases released.
BUYER NAME: ........................................................... BUYER NUMBER: ................................................................
SALE NUMBER: .......................................................... Balance owing for purchase/s: NZ
*Please include a sale number and buyer number as reference for on direct credits to enable us to dispatch your items effi ciently.
BANK ACCOUNT DETAILS: BANK: WESTPAC 79 QUEEN ST AUCKLAND NAME: PETER WEBB GALLERIES LTDACCOUNT NUMBER: 03-0104-0448184-03 FOR INTERNATIONAL DEPOSITS SWIFT CODE: WPACNZ2W
Amount transferred (including freight if applicable): NZ
DATE TRANSFERRED: ............................................... SIGNED: ..............................................................................
CONFIDENTIALITY: The information contained in this facsimile is legally privileged and/or confi dential. If you are not the addressee listed below you are notifi ed that except as authorised agent to the addressee any use disclosure copying or distribution of any of the contents of this facsimile by you is prohibited.
Payment by On-line DepositBank: WESTPAC, 79 QUEEN ST,
AUCKLAND
Name: PETER WEBB GALLERIES LTD
Account No: 03-0104-0448184-00
Particulars: SUBSCRIPTION
Code: YOUR SURNAME
130
BIDDING SLIP
Please bid on my behalf at the above sale for the following lots up to prices recorded below. These bids are to be executed as cheaply as is permitted by other bids or reserves if any. * I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid on items in the Important Works of Art and Fine Jewellery & Watches sale a buyers premium of twelve and a half percent (12.5%) and in the Antiques & Decorative Arts sale a buyers premium of fi fteen percent (15%) will be added to the hammer price and that G.S.T is charged on the premium. On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge.
* Webb’s will do its upmost to carry out bidding instructions for absentee bidders. It will not be responsible however if circumstances prevent it doing so.
ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webb’s of my successful bid. Payment will be by cash cheque or bank transfer. I will arrange for collection of my purchases or I agree to pay for packing and freight costs incurred by Webb’s in having any purchases forwarded to me. In order to avoid delay in clearing purchases Buyers who are unknown to us are advised to make arrangements for payment before the sale or for references to be supplied. If such arrangements are not made cheques will be cleared before purchases are delivered.
SIGNED & DATED
SURNAME/COMPANY
EMAIL ADDRESSFACSIMILIEHOME PHONE
18 Manukau Rd NewmarketPO Box 99251 Auckland New Zealand
Ph: 09 524 6804 / Fax: 09 524 [email protected] / www.webbs.co.nz
BUSINESS PHONE MOBILE
MR/MRS/MS INITIALS
POSTAL ADDRESS
CONTACT NAME
LOT NO. CATALOGUE DESCRIPTION BID*
FOR ABSENTEE BIDDERS ON LOTS IN SALE 296 - FINE JEWELLERY & WATCHES, ANTIQUES & DECORATIVE ARTS AND IMPORTANT WORKS OF ART: 25 - 30 JUNE 2008
CATALOGUE INFORMATION 131
BANK ACCOUNT DETAILS PAYMENT BY DEPOSITImportant: Fax this form to Webb’s: +64 9 524 7048 so payment can be confi rmed and purchases released.
BUYER NAME: ........................................................................ BUYER NUMBER: ............................................................................
SALE NUMBER: ..................................................................... Balance owing for purchase/s: NZ
*Please include a sale number and buyer number as reference for on direct credits to enable us to dispatch your items effi ciently.
BANK ACCOUNT DETAILS: BANK: WESTPAC 79 QUEEN ST AUCKLAND NAME: PETER WEBB GALLERIES LTDACCOUNT NUMBER: 03-0104-0448184-00 FOR INTERNATIONAL DEPOSITS SWIFT CODE: WPACNZ2W
Amount transferred (including freight if applicable): NZ
DATE TRANSFERRED: ......................................................... SIGNED: ..............................................................................................
CONDITIONS OF SALE FOR BUYERS1. BIDDING: The highest bidder shall be the purchaser subject to the auctioneer having the right to refuse the bid of any person. Should any dispute arise as to the bidding the lot in dispute will be immediately put up for sale again at the preceding bid or the auctioneer may declare the purchaser which declaration shall be conclusive. No person shall advance less at a bid than the sum nominated by the auctioneer and no bid may be retracted.
2. RESERVES. All lots are sold subject to the right of the seller or his agent to impose a reserve.
3. REGISTRATION. Purchasers shall complete a bidding card before the sale giving their own correct name address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud.
4. BUYERS’ PREMIUM. The purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 12.5% of the hammer price (unless otherwise stated) together with GST on such premium, which combined sum shall be the total purchase price.
5. PAYMENT. Payment for all items purchased is due on the day of sale immediately following completion of the sale. If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days.Payment is by cash, bank (cashiers) cheque or Eftpos. Personal and private bank cheques will be accepted but must be cleared before delivery of goods will be given. Credit cards are not accepted.
6. LOTS SOLD AS VIEWED. All lots are sold as viewed and with all errors to description faults and imperfections whether visible or not. Neither Webb’s nor its vendor are responsible for errors of description or for the genuineness or authenticity of any lot or for any fault or defect in it and make no warranty whatever. Buyers proceed upon their own judgement. Buyers shall be deemed to have inspected the lots or to have made enquiries to their complete satisfaction prior to sale and by the act of bidding shall be deemed to be satisfi ed with the lots in all respects. 7. WEBB’S ACT AS AGENTS. They have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason.
8. COLLECTION. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains uncleared. If this is not done Webb’s will not be responsible if the lot is lost stolen damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to delivery of any lot.
9. LICENCES. Buyers who purchase an item which falls within the provisions of the Antiquities Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act.
10. FAILURE TO MAKE PAYMENT. If a purchaser fails either to pay for or take away any lot Webb’s shall without further notice to the purchaser at its absolute discretion and without prejudice to any other rights or remedies it may have be entitled to exercise one or more of the following rights or
remedies:a. To issue proceeding against the purchaser for damages for breach of contract.b. To rescind the sale of that or any other lot sold to the purchaser at the same or any other auction.c. To resell the lot by public or private sale. Any defi ciency resulting from such resale after giving credit to the purchaser for any part payment together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression “proceeds of sale” shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction. d. To store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot.e. To charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale.f. To retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due.g. To apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or it’s vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any money remains unpaid under this contract.h. To apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of or restriction placed upon such payment by the purchaser whether expressed or implied.i. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased in held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit the lot will be held by Webb’s as bailee for the vendor risk and title passing to the purchaser immediately upon notifi cation of clearance of funds or upon completion of purchase. In the event that a lot is lost stolen damaged or destroyed before title is transferred to the purchaser the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot but shall not be entitled to any compensation for any consequent losses howsoever arising.
11. BIDDERS DEEMED PRINCIPALS. All bidders shall be held personally and solely liable for all obligations arising from any bid including both telephone”and absentee bids”. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding.
12.”SUBJECT BIDS”Where the highest bid is below the reserve and the auctioneer declares a sale to be “subject to vendor’s consent” or words to that effect the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot.
13. SALES POST AUCTION OR BY PRIVATE TREATYThe above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under wheich the sale is negotiated.
132
INDEX OF ARTISTSAlbrecht, Gretchen 523, 546, 551, 570
Ataya, Leila 572
Beadle, Paul 505
Binney, Don 519
Blomfi eld, Charles 584
Brown, Nigel 557
Chen 533
Clairmont, Philip 539
Cotton, Shane 524
de Lautour, Tony 521, 522
Ellis, Robert 582
Fahey, Jacqueline 583
Feu’u, Fatu 509, 542
Fomison, Tony 525
Fraser, Jacqueline 571
Frizzell, Dick 501
Gascoigne, Rosalie 550
Hammond, Bill 527, 544, 552
Hanly, Pat 510, 515, 530, 532, 537
Hayman, Patrick 587
Henderson, Louise 558
Hodgkins, Frances 540, 541
Hotere, Ralph 516, 528, 536, 545, 547
Hurley, Gavin 520
Illingworth, Michael 518
Kahukiwa, Robin 548, 555
Karaka, Emily 596
Killeen, Richard 512, 526
Laita, Lily 591
Lane, Tony 549, 560
Lela’ulu, Nanette 594, 595
Lewer, Richard 579
McCahon, Colin 511, 531, 538, 553, 554
McIntyre, Peter 559, 568, 569, 586
McIntyre, Simon 588
McWhannell, Richard 503, 563
Mules, Chris 577
Namok, Rosella 561
Palmer, Stanley 507, 508, 543
Palmer, Anna 592
Parker, J S 566, 580
Rees, Elizabeth 578
Reynolds, John 534, 573, 574, 575, 576
Ritchie, Ross 585
Robinson, Ann 506, 513
Ross, James 562
Shepheard, Carole 590
Siddell, Peter 564
Smith, Peter James 581
Tapper, Garth 502, 556
Thompson, Sydney Lough 567
Thomson, Jeff 504, 593
Trusttum, Philip 514
Twiss, Greer 589
Van den Eijkel, Leon 535
Walters, Gordon 529
Weeks, John 565
Wong, Brent 517
ANNA BIBBY GALLERY226 Jervois Road. Herne BayAuckland. New ZealandT + 64 9 360 1151E [email protected]
TONY LANE29 JULY – 16 AUGUST 2008PREVIEW TUESDAY 29 JULY 5.30 - 7.30PM
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