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

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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]


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]


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

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IN FOCUS 15

14 - 22 Aug 2008 OPENING FUNCTION 14 Aug 2008 6 - 8pm

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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

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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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,000

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

[email protected]

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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

HHWC1002_S

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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


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.


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.


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.


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.


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.



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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JEWELLERY 31

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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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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.


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.


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.


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


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


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.


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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JEWELLERY 35

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.


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


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).


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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


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.


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.


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.


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.


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.


$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.


283 A Royal Doulton Fishscale Flambe Bud Vasethe varied green glazes with yellow speckled effects. Flambe and Royal Doulton marks.

H.206mm.


284 A Ruskin Orange Lustre Squat Baluster Vaseraised on a large ring foot, the base impressed RUSKIN ENGLAND 1922. H.155mm. Diam.120mm.


285 A Ruskin Orange Lustre Mallet Vasethe inverse baluster form with a slightly tapering neck, the base impressed marks RUSKIN ENGLAND 1915.

H.210mm.


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.


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.


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.


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.


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.


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.



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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


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.


$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.


$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.


$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


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


68

501 Dick FrizzellStill Life with Daffodils

oil on boardtitle inscribed, signed and dated 3/8/83 495mm x 360mm

$15,000 - $20,000


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


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


$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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


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


100

532 Pat HanlyNew Order

oil on canvas on boardtitle inscribed, signed and dated ‘63 730mm x 595mm $40,000 - $50,000


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


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


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


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


$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


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


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


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


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


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


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


$3,500 - $4,500

576 John ReynoldsStudy for Desert Road


$3,500 - $4,500

575 John ReynoldsSoft Target


$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


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


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


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

WINTER LECTURE SERIESPROF. PETER SIMPSONWEDNESDAY 13 AUGUST 6PM

PLEASE ENJOY THE GLENLIVET RESPONSIBLY

THE GLENLIVET 12 YEAR OLD SINGLE MALT SCOTCH WHISKY IS NOW AVAILABLE ON WWW.CELLARDOOR.CO.NZ

THE SINGLE MALT

THAT STARTED IT ALL

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