IN FOCUS 1
IN FOCUS 1
IMPORTANT PAINTINGS & CONTEMPORARY ART
FINE JEWELLERY & WATCHES
ANTIQUES & MODERN DESIGN
6-8 DECEMBER 2011
COVER: LOT 28TONY FOMISONCarcinoma of the Tongue Ulcerative Type Fig.51 Surgery for Nurses by Bailey and Love, London 1942 (# 15)$120,000 - $160,000
BACK COVER: LOT 73MAX GIMBLETTThe Door that Contains the Night (detail)$16,000 - $20,000 LEFT: LOT 229AJEFFREY APPLINGINGENUITY AN IMPORTANT JEWELLED NECKLACE $95,000 - $125,000
LEFT LOT 229BJEFFREY APPLINGHANDS TO WATER A JEWELLED RING $28,500 - $32,500 INSIDE BACK: LOT 29PAT HANLYGolden Age 3 With ButterflyIn interior of house designed by Richard Toy, 1946.$120,000 - $160,000
New ZealandsPremier Auction House
18 Manukau RoadPO Box 99 251
Newmarket, Auckland 1149New Zealand
P +649 524 6804F +649 524 7048
IN FOCUS 3
IMPORTANT PAINTINGS & CONTEMPORARY ART 20 Tue 6 December 2011 6:30pm
FINE JEWELLERY & WATCHES 108Wed 7 December 2011 6:00pm
ANTIQUES & MODERN DESIGN 136 Thu 8 December 2011 6:00pm
VIEWING FROM THURSDAY 1 DECEMBER 9:00AM EVENING VIEWING & URBIS FASHION EVENT | FRIDAY 2 DECEMBER 5:30 - 7:30PM
Webb's, in collaboration with Urbis, invites you to view the December suite of sales and enjoy a night of fashion as we
auction five beautiful white cotton dresses designed by some of New Zealand's top fashion talent with proceeds going
to the Christchurch Womens Refuge. All salerooms will be open for viewing throughout the evening. Its going to be a
fun and stylish night out with Peregrine wines served and a theatrical runway showcase of the designer pieces before
the bidding begins.
BUYERS PREMIUMA buyers premium of 12.5% will be charged on all items in the Important Paintings Contemporary Art sale and the Fine Jewellery & Watches sale, and a buyers premium of 15% will be charged on all items in the Antiques & Modern Design sale. GST (15%) is payable on the buyers premium.
LEFT: LOT 16DAVID HOCKNEYPortrait of Jack Kennedy, Model, U.C.L.A $10,000 - $15,000
INTRODUCTIONThis has been an emotional year, with natural disasters and continued financial market turmoil contrasting with Rugby World Cup excitement and positive signs of economic growth. From Webbs perspective, the auction market has been characterised by judicious and promising activity. To date, Webbs has successfully transacted over 32,000 lots in 2011 and overall turnover has substantially increased year on year. This has been made possible by the wonderfully talented and dedicated team of specialists that makes up Webbs.Webbs Fine Art Department, once
again led by Sophie Coupland, has enjoyed an increase in turnover of 15%. Webbs major art sales continue to attract competitive demand when the right works are presented, while our A2 affordable art events have consistently produced outstanding results, reflecting the enthusiasm of a group of younger collectors entering the art market.Webbs Fine Wine Department, led
by Simon Ward, has seen remarkable growth throughout the year. Simon has developed an unrivalled service, offering clients direct access to some of the best private cellars in the country. If you are looking for that extra-special drop for the holiday season, make sure you give him a call.Webbs Fine Jewellery Department,
led by independent consultant Chris Devereaux, has also enjoyed a year of strong activity. Recent highlights include the sale of a rare 4.85ct solitaire diamond for $229,000, setting a New Zealand record for a piece of jewellery at auction.The year has seen Webbs Automotive
Department generate over $2.6 million in turnover and secure its first international record on the classic car
scene with the sale of a 1963 Ferrari 250 Lusso for $1.1 million. Demand for rare motorcycles has remained remarkably high, reflecting New Zealands long association with outstanding engineering.Webbs established Antiques and
Interiors Department, led by James Hogan, continues to produce the best sale rates in the market. James never fails to impress with the wide variety of materials presented, from exquisite antiques to the downright bizarre, and the current sale is certainly no exception.Webbs Oceanic and African Art
department has enjoyed tremendous success this year, with premier sales attracting wide interest and setting both national and international records. Webbs expertise was underscored when we were commissioned to handle the private sale of the whare whakairo Te Tiki o Tamamutu, carved by legendary master-carver Wero Taroi and his apprentice Tene Waitere in the 1860s and 70s. With tenders due to close, an announcement is imminent as to the future of the only privately owned whare whakairo in existence.Bethunes at Webbs Rare Books, led
by specialist Francis McWhannell, has offered remarkable material throughout 2011 and has achieved consistently strong prices. The financial year will end on a high note with the sale of the impressive C L Thomas Collection, which features a number of items relating to celebrated polymath William Colenso, including his handsome botanical microscope, an artefact of tremendous historical significance.This year, Webbs has continued to
present exhibitions between auctions and to offer its services to help raise
funds for charity. Webbs assisted Scots College with an art auction to help raise funds for a new creative and performing arts centre. In August, we partnered with Mike Chunn and the Play It Strange Trust to auction a group of bespoke ukuleles, raising nearly $50,000. In September, Webbs played host to an exhibition of photographs by Alfred Gregory, including iconic images of Sir Edmund Hillary and Tenzing Norgay taken during their legendary ascent of Mt Everest. This month, Webbs presented the first exhibition in New Zealand of works by Shanghai-based artist Zhang Xianyong. On Friday 2 December, in association with Urbis, Webbs will present a night of fashion and philanthropy, auctioning five unique dresses by top New Zealand designers. All proceeds will go directly to Christchurch Womens Refuge.As a fun finish to the year, and to help
solve all your Christmas gift problems, Webbs will present Improbable Gifts for Impossible People. Diary 15 December for this unique auction of 50 hand-picked items, with complimentary wine from Peregrine Wines and food from Toto.This year, Webbs has had the pleasure
of working with numerous talented partners. We would like to thank in particular Greg Hay of Peregrine Wines, the mighty team at Moa Beer, Relais & Chateaux Luxury Lodges, Murray Crane of Crane Brothers and Chris Cherry and his team at Workshop. We would also like to acknowledge the importance of you, our clients, who continue to seek satisfaction in the art of collecting. From all of us at Webbs, best wishes for the holiday season.NEIL CAMPBELL, DIRECTOR
IN FOCUS 5
LEFT: LOT 28TONY FOMISON
Carcinoma of the Tongue Ulcerative Type Fig.51 Surgery for Nurses by Bailey and Love,
London 1942 (# 15)$120,000 - $160,000
RIGHT: LOT 40COLIN MCCAHON
Comet (F11)$160,000 - $220,000
Featuring a superb selection of vintage Champagne, Bordeaux and other drinkable treats.
Contact Simon WardE firstname.lastname@example.org P + 64 9 529 5600
FINE & RARE WINEMONDAY 5 DECEMBERTWO SESSIONS
NEW ZEALAND & AUSTRALIAN WINES - 4:30PM
OLD WORLD WINES - 6:30PM
CHRISTMAS WINE SALE
IN FOCUS 7
Crane Brothers / Tim Finn advertFull pageWebbs Important Paintings
IN FOCUS 9
IMPROBABLE GIFTS FOR IMPOSSIBLE PEOPLE
15 DECEMBER 6-10PM
Having enjoyed a highly successful year, Webbs invites you to our final sale of 2011 to celebrate the stranger things in life.
Offering 50 eclectic pieces, from the curious to the contemporary, Improbable Gifts for Impossible People is a chance to acquire the entirely unique for that
impossible person in your life.
Throughout the evening, Webbs will be serving French Champagne, Totos cuisine and fine music.
Come join us.
Webbs has been providing prompt, accurate valuation services to private collectors and public institutions for over 35 years. We provide a competitively priced and entirely confidential nationwide service with full comprehensive written reports for:
Insurance Valuations Post-Loss Insurance Valuations Family Asset Division Relationship Property Division Market Valuations Financial Reporting Purposes
In the event of loss or damage, it is important that you know the value of your art, antiques and household contents. With a current valuation, you can be certain that your items have the appropriate amount of insurance cover.
To discuss your valuation requirements or for a free no-obligation quote, please contact:
Brian Wood M 021 48 69 48 P 09 529 5609 E email@example.com
IN FOCUS 11
Couture for ChristChurCh
Urbis has invited some of New Zealands top fashion talents to make a bespoke white cotton dress and now you have your chance to make one of these unique pieces yours.
Along with Webbs Auction House, Urbis invites you to this stylish auction event on 2 December 2011. It will be a night of fashion and philanthropy as we auction these five designer dresses with all proceeds going directly to the Christchurch Womens Refuge. Live online bidding will also be available through the generous support of Artfact. Dresses will be available for viewing before
the auction on webbs.co.nz and urbismagazine.com
IMPORTANT WORKS OF ART
IN FOCUS 13
A. Gottfried Lindauer Ihakara Tukumaru $177,000
B. Don Binney Kotare Over Ratana Church, Te Kao $270,000
C. Peter Robinson Suite of eight works $41,030
D. Fiona Pardington
Taranaki Heitiki with Mussel Shell Eyes, Okains Bay Maori and Colonial Museum $10,000
E. Charles Frederick Goldie The Nest $171,600
F. Francis Upritchard Brown Sloth Creature $22,900
G. Don Binney Tui Over The Anawhata $145,000
H. Colin McCahon Waterfall $45,000
I. Dick Frizzell Apollinaire At 21 From An Age When Art Seemed Much More Fun $30,900
J. Frances Hodgkins Landscape, Ibiza $55,000
K. Grahame Sydney Pig Root Pond $75,000
L. Andy Warhol Marilyn $67,000
M. Bill Hammond Choreograph Screen $165,800
With excellent sale totals across the year and record prices achieved for works dating from the 19th to the 21st centuries, Webbs annual results reflect a healthy market for quality works by leading practitioners. Don Binneys Kotare Over The Ratana Church, Te Kao 1964 secured a top bid of $270,000 at Webbs in March with the proceeds donated by Dick Scott to the efforts of the Red Cross in Christchurch, setting a new auction record for a painting by the artist at auction. A portrait by Gottfried Lindauer of Maori Chief Ihakara Tukumaru sold for $177,000. This price reflected the quality of the work and importance of the subject combined. Entries are now invited for an A2 affordable art sale in February and the next sale of Important Paintings & Contemporary Works of Art to be held in March 2012.
ContactSophie Couplandscoupland@webbs.co.nzP +64 9 529 5603M +64 21 510 876
All prices realised on highlights pages include buyers premium and gst on the premium
A. 1963 Ferrari 250 Lusso $1,100,000 Record price for a motor car at auction in New Zealand
B. 1947 Norton Manx 350 $50,000
C. 1961 Mercedes 190SL Roadster $83,250
D. 1930 Rudge Ulster $23,450
E. 1971 Honda CB 500/4 $10,600
F. 1955 Vincent Black Knight Series D $100,000
G. 1964 Matchless Rickman Matisse G50 $70,000
H. 1915 Indian Light Twin 680cc Model B $52,800
CLASSIC MOTORCYCLES & CARS OF THE DAY
This year, Webb's offered two exceptional collections of vintage motorcycles and
classic cars which generated over $2.6 million in sales and established a range of
national and international record prices. The quality of machines within New Zealand
continues to astound newcomers and attract the seasoned collector. The high level
of competition, local and international, confirms that demand for quality examples
remains strong. Webbs has again established a new market, this time in the sale
of collectors' motorcycles within Australasia. Suitable entries are now invited for a
Classic & Vintage Motorcycle & Car auction to be held in March 2012.
Contact Neil Campbell
M +64 21 875 966
P +64 9 529 5607
IN FOCUS 15
Webb's Oceanic & African Art Department held two exceptional sales in 2011, which offered the
very best examples of Maori, Oceanic, African and North American material the quality and breadth
of which is rarely seen in the New Zealand market place. Achieving total sales of $895,995 for the
2011 season, Webbs secured a range of New Zealand and world records and continues to lead the
local market. Another highlight for 2011 was the invitation to represent the most prestigious
Maori work to be offered in living memory the remarkable wharenui Te Tiki O Tamamutu.
Envisaged by one of the most revered 19th century master carvers Wero Taroi, Te Tiki O Tamamutu
was the last project Wero and his then-apprentice Tene Waitere worked on before Wero passed
away. In 2012, Webbs will be offering two significant international collections. Entries are currently
invited to complement these events.
A. Dogon Mask $24,600
B. Superb Kahu Kiwi - Kiwi Feather Cloak $23,450
C. Tahitian Shark Hook $16,400 Record price for an Oceanic fish hook at auction in New Zealand
D. Superb Kotiate $25,800
E. Prestigious Mere Pounamu in the name of Tinirau $51,600
F. Mere Pounamu Tupoho $22,300
G. Ngutuparera Tupara Important Historic Shotgun $30,500
H. Finely carved hoe $20,000
I. Shark Tooth Ear Adornment $2,000 J. Matau - Fishing Hook $12,000
OCEANIC & AFRICAN ARTS
M +64 21 503 251
M +64 21 875 966
P +64 9 529 5607
A. 19th Century French Automaton $25,800
B. Chinese Kingfisher Feather Picture $12,900
C. Four George IV Sterling Silver Candlesticks $23,450
D. A Pair of Victorian Carved Oak Angels $10,200
E. A Pair of Modernist Black Leather Armchairs $4,100
F. Rare Early 19th Century Mahogany Doctor's Travelling Medicine Cabinet $3,100
The Antiques & Modern Design Department saw another successful year. Our high-quality offerings and competitive bidding saw an 85% clearance rate on over 2,000 items. The market for pieces of Chinese origin is experiencing strong growth, in particular Chinese porcelain. Georgian and Victorian sterling silver and items of New Zealand historical significance continue to attract interest from collectors. Taxidermy, lighting, vintage furniture and modern design also continue to sell well consistently.
Entries are now invited for the next sale of Antiques and Modern Design to be held in February 2012.
Contact James Hogan E firstname.lastname@example.org M +64 21 510 477
IN FOCUS 17
FINE JEWELLERY & WATCHES
FINE & RARE WINE
A. An important solitaire diamond of 4.85ct. $229,000
Record price for a diamond at auction in New Zealand
B. Diamond necklace with diamond drop $30,000
C. An important diamond of 5.04ct $195,000
D. Patek Phillippe, a ladys wristwatch set with diamonds $10,300
E. Rolex, Ladys Datejust Wristwatch $9,150
F. Fancy yellow and white diamond pendant $9,150
Sales of jewellery during 2011 have been exceptionally buoyant with high clearance rates and results some 40% ahead of target to date. The season has seen Webbs in association with consultant Christopher Devereaux achieve a new record price of $ 229,000 for a 4.85ct solitaire diamond at auction, closely followed by a second highest record of $ 195,000 for a diamond of 5.04ct. The unusual combination of uncertainty in the traditional investment market, coupled with high returns for primary produce, a strong exchange rate and a relatively soft landing in the recession, appears to have supported confidence in a market seeking alternative, portable investments.
Entries are now invited for the next sale of Fine Jewellery and Watches to be held in February 2012.
Contact Chris Devereaux to discuss the inclusion of items in this next major auction event.E email@example.comP + 64 9 529 5606
Wine auctions at Webbs have continued on an upward trend over the last two years and 2011 produced record results. The New Zealand secondary market has mirrored trends internationally seeing strong demand for high quality and marque wines and particularly investment-class wines from Europe (Bordeaux, Burgundy, Piedmont and Champagne). The sales highlight came during a charity wine auction for the Christchurch Earthquake Appeal when a single bottle of 1971 Domaine de la Romanee-Conti sold for $12,500.
1971 Domaine de la Romanee-Conti, Romanee-Conti $12,500
1989 Chateau Petrus, Pomerol - $4,400
2005 Chateau Lafite Rothschild, Pauillac - $3,250
1995 Champagne Krug Clos dAmbonnay - $2,900 (Illustrated right)
1995 Domaine de la Romanee-Conti, La Tache $2,500
2000 Chateau Lafite Rothschild, Pauillac - $2,500
1982 Chateau Latour, Pauillac - $2,400
1999 Chateau Lafite Rothschild, Pauillac - $1,900
1980 Chateau Petrus, Pomerol - $1,600
1986 Chateau Mouton Rothschild, Pauillac - $ 1,500
1961 Chateau Latour, Pauillac - $1,500
1982 Chateau Margaux, Margaux - $1,500
Entries are now invited for the next sale of Fine and Rare Wine to be held in February 2012. Contact Simon Ward to discuss inclusion in this next major auction event.E firstname.lastname@example.org P + 64 9 529 5600
When you enjoy a bottle of Peregrine or Saddleback you not only experience a taste
of Central Otago, you also directly contribute towards the survival and recovery of
our New Zealands endemic Falcons and Saddlebacks.
Peregrine is a major sponsor of both the New Zealand Wingspan Trust and
the Fiordland Conservation Trust, who are fully committed to the protection
and survival of these rare and unique birds. We think this is something worth
savouring. To order our wines and to find out more information on these projects
visit our website or call into our cellar door.
Peregrine Wines, Kawarau Gorge Rd, Gibbston, Queenstown
IN FOCUS 19
THE C L THOMAS COLLECTION
Bethunes at Webbs is proud to be offering the C L Thomas Collection of rare books and related materials. The Collection was begun by Thomas, a Napier pharmacist, at the beginning of the 20th century and was subsequently extended by his son and daughter-in-law.
In addition to a profusion of New Zealand classics, the C L Thomas Collection features an important group of items relating to notable pioneer William Colenso, including books and pamphlets, manuscript diaries and papers, a collecting tin and a handsome botanical microscope.
The C L Thomas Collection will be offered for sale on Wednesday 21 March 2012.
Further quality entries are now invited for this sale.
Contact:Francis McWhannellE email@example.comP +64 9 529 5602M +64 21 232 6032
A BOTANICAL MICROSCOPE, GIFTED TO WILLIAM COLENSO BY LADY JANE FRANKLIN IN 1841
Colenso collected and described thousands of specimens of plants, many of which were new to science.
This year has seen the book auction market abuzz with activity. Attendance at viewings and auctions has been strong, and bidding has been noticeably more confident than in 2010, with impressive prices achieved for rarities and more common publications alike.
A. Walter Lawry Buller A History of the Birds of New Zealand$9,000
B. Joseph Banks et al Banks Florilegium, Part XXVI$8,700
Peregrine Wines, Kawarau Gorge Rd, Gibbston, Queenstown
IN FOCUS 21
TUES 6 DECEMBER 6:30PM
Thu 1 December 9:00pm - 5:30pm
Fri 2 December 9:00am 7:30pm
Sat 3 December 11:00am 3:00pm
Sun 4 December 11:00am 3:00pm
Mon 5 December 9:00am 5:30pm
Tue 6 December 9:00am 12:00pm
BUYERS PREMIUMA buyers premium of 12.5% will be charged on all
items in the Important Paintings and Contemporary Art
section of this sale. GST (15%) is payable on the buyers
IMPORTANT PAINTINGS &
graphite on paper, 2003
560mm x 420mm
$6,000 - $8,000
EVENING VIEWING & URBIS FASHION EVENT
Friday 2 December 5:30 - 7:30pm
View the December suite of sales and enjoy a night of fashion
as we auction five beautiful white cotton dresses designed
by some of New Zealands top fashion talent with proceeds
going to the Christchurch Womans Refuge, thanks to Urbis. All
salerooms will be open for viewing throughout the evening.
1ROHAN WEALLEANSAuralhousehold acrylic paint and dressmakers pins on found window frame 845mm x 585mm
PROVENANCEPurchased by the current owner from Ivan Anthony Gallery, 2002
EXHIBITEDResidual Love, Ivan Anthony Gallery, 2002.
NOTECompleted in the same year that the artist won the Trust Waikato National Contemporary Art Award, Waikato Museum, Hamilton, 2002.
$5,000 - $7,000
IN FOCUS 23
3JULIAN DASHPERDrumskin, Untitledvinyl on drumskin diameter 400mm
$15,000 - $20,000
4JAE HOON LEERock Pools and Blue Skyduratran print, perspex and light fittings in wooden construct 2002mm x 510mm x 180mm
PROVENANCEPurchased from Starkwhite Auckland, March 2007
$7,000 - $11,000
2ALLEN MADDOXUntitledoil on stretched canvas signed with artists initials am and dated 95 verso upper centre.1680mm x 490mm
$10,000 - $15,000
5PETER STICHBURYUntitledgraphite on paper signed P. Stichbury and dated 2003 in graphite lower right 560mm x 420mm
Private Collection Dunedin. Purchased by the current owners from Temple Gallery, Dunedin, 2004.
$6,000 - $8,000
IN FOCUS 25
PETER STICHBURYUntitledgraphite on paper signed P. Stichbury and dated 2003 in graphite lower right 560mm x 420mm
Private Collection Dunedin. Purchased by the current owners from Temple Gallery, Dunedin, 2004.
$6,000 - $8,000
7JEFFREY HARRISUntitledacrylic, oil and pastel on paper signed Jeffrey Harris and dated 1988 in pencil upper right 1535mm x 1100mm
$4,500 - $6,500
8TONY DE LATOURDetailacrylic on board inscribed Detail in brushpoint upper left and Common People in brushpoint lower edge; inscribed Detail 2004 in another hand verso690mm x 540mm
NOTEThis work was donated by the artist to raise funds for ArtBox, an initiative to raise funds for the construction of studios for Christchurch artists affected by the earthquakes.
$2,500 - $3,500
IN FOCUS 27
9SERAPHINE PICKUntitledoil on canvas inscribed S. Pick 2005 in brushpoint lower right 610mm x 500mm
$8,000 - $12,000
10PAUL DIBBLEReclining Female Formcast bronze, 1/5 signed Paul Dibble, dated 99 and inscribed 1/5 incised on base260mm x 510mm x 73mm
$5,000 - $7,000
11BRIAN BRAKEOfferings to the Unknown Dead - Kyoto, 1964printed from 4 x 5 interneg on Ektacolor paper by Labtech, Auckland, 1994. Overseen by the artists partner, Raymond Lau. 345mm x 495mm
REFERENCE35mm chromogenic transparency (slide mounted) held in the collection of Te Papa Tongarewa.
PROVENANCEFrom the collection of Eric Taylor, friend, colleague and student of the artist. Taylor is author of publications including Auckland, Collins, 1968, forward by Brian Brake text by Michael King; This Land of Light, Oxford University Press, 1982, text by James K. Baxter; Volcanic New Zealand, Oxford University Press, 1983.
ILLUSTRATEDBrian Brake 40 Photographs. Introduction by Millar, David P., Dowse Art Gallery, Lower Hutt, 1976, pl. 21.
$7,000 - $12,000
IN FOCUS 29
12BRIAN BRAKEBuddha Hand, National Museum, Gampeng Pet, Thailand, 1970printed from 4 x 5 interneg on Ektacolor paper by Labtech, Auckland, 1994. Overseen by the artists partner, Raymond Lau. 500mm x 400mm
REFERENCELarge format chromogenic transparency (slide mounted) held in the collection of Te Papa Tongarewa.
PROVENANCEFrom the collection of Eric Taylor, friend, colleague and student of the artist. Taylor is author of publications including Auckland, Collins, 1968, forward by Brian Brake text by Michael King; This Land of Light, Oxford University Press, 1982, text by James K. Baxter; Volcanic New Zealand, Oxford University Press, 1983.
ILLUSTRATEDBrian Brake 40 Photographs. Introduction by Millar, David P. , Dowse Art Gallery, Lower Hutt, 1976, pl. 21.
$4,000 - $6,000
13BRIAN BRAKESanzen, In Temple in Autumn, Kyoto, 1963printed from 4 x 5 interneg on Ektacolor paper by Labtech, Auckland, 1994. Overseen by the artists partner, Raymond Lau. 485mm x 345mm
PROVENANCEFrom the collection of Eric Taylor, friend, colleague and student of the artist. Taylor is author of publications including Auckland, Collins, 1968, forward by Brian Brake text by Michael King; This Land of Light, Oxford University Press, 1982, text by James K. Baxter; Volcanic New Zealand, Oxford University Press, 1983.
$1,500 - $2,500
14DICK FRIZZELLUntitled (A Super-Kiss for a Super-Man)acrylic on shaped composite board signed Frizzell, dated 1980 and inscribed Commissioned and RF. in ink verso, upper left 2400mm x 1200mm
PROVENANCECommissioned for a caf 1980, Vulcan Lane, Auckland, acquired by the present owner, 1999
$30,000 - $40,000
15DICK FRIZZELLArchtiki No.1oil on wooden relief signed Frizzell, dated 13/7/92 and inscribed Archtiki #1 in brushpoint lower left; original Gow Langsford Gallery label affixed verso 480mm x 406mm
EXHIBITEDDick Frizzell - Portrait of A Serious Artiste. City Gallery Wellington, 15 March - 25 May 1997 and the Dunedin Public Art Gallery, 7 June - 17 August 1997.
ILLUSTRATEDDick Frizzell - Portrait of A Serious Artiste. GP Publications, City Gallery, Wellington, 1997, n.p.
$18,000 - $25,000
IN FOCUS 31
16DAVID HOCKNEYPortrait of Jack Kennedy, Model, U.C.L.A.pen and ink on paper signed D.H., dated 66 and inscribed Portrait of Jack Kennedy, Model, U.C.L.A. in ink lower right 415mm x 350mm
PROVENANCEImpressionist, Modern and Contemporary Paintings, Drawings and Sculpture. Sothebys, New York, 8 October 1986, lot 49.
$10,000 - $15,000
17ANN ROBINSONCurved Vase #3copper blue, 45% crystal glass, 1/1 signed A Robinson, dated 2009 and inscribed 1/1, A.P. engraved foot490mm x 365mm x 335mm
PROVENANCEAccompanied by certificate of authenticity.
NOTEThe artist has donated proceeds from the sale of this work to the University of Auckland Society.
$20,000 - $25,000
18COLIN MCCAHONWaterfalloil on board signed Colin McCahon, dated June July 64 and inscribed Waterfall, N.F.S; inscribed 25 in ink and c56 in ballpoint verso lower right possibly in another hand, (Ikon Fine Arts code) 294mm x 197mm
PROVENANCEPurchased from Ikon Gallery, 1964.
EXHIBITEDSmall Landscapes and Waterfalls, Ikon Fine Arts, 14 - 25 September 1964, cat. no. C56.25, 11 gns.
ILLUSTRATEDColin McCahon Database Reference (www.mccahon.co.nz) cm000394
$35,000 - $45,000
IN FOCUS 33
19CHARLES FREDERICK GOLDIEPortrait of Ena Te Papatani, a Ngapuhi Chieftianessconte on paper signed C F Goldie and inscribed Kia Ora in conte lower right 188mm x 155mm
$12,000 - $18,000
IN FOCUS 35
20COLIN MCCAHONFlowercrayon and wash on paper signed Colin McCahon and dated Nov. 70 in pencil lower left 550mm x 440mm
REFERENCEColin McCahon Database Reference (www.mccahon.co.nz) cm001114
$30,000 - $40,000
21ALLEN MADDOXUntitledoil on stretched canvas signed with artists initials am and dated 90 verso upper left1200mm x 1200mm
$12,000 - $18,000
IN FOCUS 37
22PAT HANLYStill Life Figureacrylic on stretched canvas signed Hanly and dated 66 in brushpoint lower right 745mm x 690mm
$30,000 - $40,000
23COLIN MCCAHONNecessary Protectioncharcoal on paper signed McCahon, dated 71 and inscribed Necessary Protection in pencil lower edge460mm x 610mm
EXHIBITEDA significant number of Necessary Protection paintings and drawings were exhibited in McCahons 1971 exhibition, Necessary Protection, Barry Lett Galleries, Auckland, 1 - 12 November 1971. No catalogue accompanied the exhibition so it is not possible to determine exactly which works were shown on that occasion.
REFERENCEColin McCahon Database Reference (www.mccahon.co.nz) cm000339
$35,000 - $45,000
Necessary Protection, torn straight from the artists sketchbook, belongs to sprawling series of works defined by both a central conceptual framework and a common set of formal constraints. The works from this series are loosely based on both the sunset and the cliff formations that the artist observed at Muriwai Beach. The cliffs on either side of the beach are described by the two blocks of dark, negative space and the sunset is contained by the Tau shape in the centre of the image. Necessary Protection is not a reflection on one place in particular. Rather, in this work, the artist has sought to address the relationship between human beings and the earth beneath them. In the catalogue for his 1971 Earth/
Earth exhibition at Barry Lett Galleries in Auckland, McCahon told of a cliff section at Muriwai that had been put on the market: just like everything else, he lamented, it was for sale. Further, he speculated that if it were bought by someone who sought to develop the land, it would set in motion a vicious cycle that would only lead to further gentrification and the gradual pollution of the black-sand beach that he loved so dearly with plasticised sundae containers and ice-cream sticks and wrappings and plastic bags from the new seasons bikinis. It feels slightly off-key to refer to any of McCahons work as protest pieces as he was not an artist who provided the viewer with straightforward readings that could be shouted out across the room. However, upon first glance, the full frontal weight of the cliff faces makes them appear almost as barricades, thrown up by the artist as if to say stop!The Tau form and the landscape
draw meaning from each other. In this
early iteration of the series, the artist has purposefully chosen not to define whether the sky has been framed by the landscape or, alternatively, whether the Tau form has been juxtaposed on top. Most readily, the Tau form presents itself as a divine entity. It appears almost like the mid-section of a crucifix and it is implied that, beyond the viewers narrow frame of reference, the form extends up into the heavens and down through the core of the earth. Further, it also serves as an illustration of an uphill path to enlightenment. Outside of Christian imagery, the symbol Tau, from the Greek alphabet, has other connotations of which the artist was well aware. In mathematical equations, Tau serves as a symbol for time and, when set into the picture plane with this charge, its infliction is altered considerably. In this light, we see a diorama of the future that McCahon predicts. Stripped of its character, the Tau has cut the landscape into a uniform mass. Produced with only rudimentary
materials and completed in the same setting in which it was commenced, Necessary Protection is a direct translation of the artists thought and feeling. The staple format the divided landscape that inverts to a Tau was used by the artist like a ready-made: a set of concerns and associations that could easily be inserted into a work simply by drawing the shape. Each time it was used, the treatment altered slightly and some new understanding was gained; thus McCahon repeated the Necessary Protection form exclusively for a period of two years. This series is responsible for the introduction of symbolic, hard-edged abstraction into the artists work.CHARLES NINOW
IN FOCUS 39
24DON BINNEYTwo Aspects of Tokatokaoil, acrylic and impasto on two sheets of primed steinbach paper, laid onto MDF board or similar signed Don Binney and dated 1979 in brushpoint upper right; inscribed Two Aspects of TokaToka in another hand on label affixed verso; inscribed NY/NW/29 N 33. Don Binney. Aspects of Tokatoka in another hand on original Barry Lett Galleries label affixed verso 1465mm x 1100mm
PROVENANCEPurchased by the present owner from Barry Lett Galleries, 1979.
$60,000 - $80,000
The flattened forms and hard-edged style, with its sharp outlines and tight control of paint, immediately mark Two Aspects of Tokatoka as the work of Don Binney. Painted in 1979, the work takes the idiosyncratic and highly recognisable form of Tokatoka Peak as both its point of focus and its point of departure. The rare plug of the volcano, with its distinctive chiselled peak, that is situated near the edge of the Wairoa River in Northland is accurately captured in Binneys painting. As the hardened lava core of the plug has lost the majority of its mountainous terrain through gradual erosion, the sculptured peak appears in Two Aspects of Tokatoka as an arid summit that dominates its surrounding environment.Dividing the painting in half, Binney
offers two views that differ in angle and in distance from the mount. The potential for the painting to become fractured and disorientating is neatly avoided by Binney, who substantially reduces and distils the landforms, body of water, clouded sky and small scattering of trees. In doing so, he has ensured that individual forms and slices of colour in Two Aspects of Tokatoka cohere into an ostensibly abstract series of concordant patterns. Further pictorial harmony is achieved by a balanced contrast of paint application and breadth of setting between the two tableaux. The use of thick impasto paint in the grassy hill at the base of the painting combined with the visibly brushed paint in the bulging grey cloud in the bottom view gives way to a smoother, more polished handling of paint in the top half of the painting. This division between a seemingly solid, fortified base and a comparatively lighter, more incorporeal, top portion is carefully
mitigated by painting the top vista at a closer proximity to Tokatoka Peak so that the solidity of the mountain anchors the scene.The clarity of form, sinuous outlines
and sharp, crisp light of Two Aspects of Tokatoka is characteristic of the approach to the New Zealand landscape that Binney developed and consolidated in the late 1960s and throughout the 1970s. During this time, Binney came to refocus on the landscape as an object of interest in its own right, rather than using it as a compositional backdrop for the birds that had assumed pride of place in his canvases of the 1960s. By the early 1970s, a realist approach
that embraced reduced forms, hard light and an omniscient landscape presence had come to be the hallmarks of Binneys mature style. These features were heralded by art critics as the defining characteristics of a distinctively New Zealand approach to painting that were seen to confirm the existence of an identifiable tradition. In this, Binneys painting Two Aspects of Tokatoka can be seen not only as an iconic and characteristic piece within the artists own oeuvre, but also as one of a series of landmark paintings that Binney produced at a time when New Zealand art history was seeking to establish its own historical lineage. That lineage was seen to extend from the regionalists of the 1930s into a diversity of later styles that included abstraction yet were nevertheless linked by the artists responses to the unique landscape forms and quality of light in New Zealand; this is a consistent aspect of Binneys work and is central to Two Aspects of Tokatoka from 1979.JEMMA FIELD
IN FOCUS 41
25PETER SIDDELLWestern Balconyacrylic on board signed Peter Siddell and dated 1979 in brushpoint lower right 960mm x 1200mm
ILLUSTRATEDSiddell, Peter and Michael Dunn. The Art of Peter Siddell. Godwit/Random House, Auckland, 2011, p.131.
$80,000 - $120,000
Siddell has said that he could never paint a place where he has not himself lived. Perhaps this is because, rather than simply transcribing or reproducing a single view from a single vantage point, Siddell paints the essence of a place. The landscapes that he paints are arranged in his head, carefully constructed from pieces of reality that are familiar to him. Peter Siddells Auckland is a serene place where urban sprawl is dictated by a governing order. Western Balcony was painted at the height of the artists career, at a time when a perfect balance had been struck between his painterly tendencies. Here, we experience the full force of his uncompromising brushwork of the 1980s; autogenetic and yet deeply human, it has been allowed to take on a life of its own in this large-format work. Further, we are graced with the subtle hues and finely balanced colouration that would be a keystone of the artists practice thereafter.Like a blanket of tiny timber
constructions, he has pictured houses running almost right to the edge of the shoreline. It is a gesture that gives the work a distinctly New Zealand feel, implying the narrowness of the land on which Auckland was built at the same time as giving the work a slightly foreboding quality. Much in the same way that the works of Charles Goldie are a snapshot into our nations past,
implying a great deal more than they depict, Siddells paintings continue to gain currency long after they were painted. The word suburbia now brings with it a raft of connotations and, in Western Balcony, the proximity of the houses to the shoreline highlights the vulnerability of Siddells wonderland. The main focal point of the painting
the house in the foreground prompts the viewer to continually re-evaluate its presence. On one hand, it offers itself completely; four out of five windows are transparent and allow the viewer to see right into the home, revealing a series of typical Siddell tableaux such as an exposed timber hallway with a view to the outside world and neatly arranged living areas with modestly sized pictures on the walls. However, the title Western Balcony draws the viewer to the French door on the upper left-hand side of the house where the glass holds an opaque glare; while its presence is not wholly sinister, one cannot help but wonder whether it contains some unknown potential. A close examination reveals the reflection to be that of a cloudy sky framed by the arch of the underside of the awning in front.As with elsewhere in Siddells
practice, we see both overt religious symbols and less-obvious allusions to religious practice. In this work, the highest point in the roof is that at the top
of a steeple-like pinnacle and attached to the awning are two upward pointing spires. One imagines that it was not Siddells intention to paint the house at the end of the street with an uneasy air or, further, a haunted presence. Rather, any disquieting power that the building has can be attributed to the themes with which the work engages. While Siddell has both directly and indirectly canvassed the concept of religion in his work, his aim has never been to promote or condemn any such practice. His works are not about the evils of man but, rather, his aspirations. Siddell could not have come from more humble origins. He was the son of a wharfie who worked on the Auckland docks and he himself left school at the age of 16 to become an apprentice electrician. In the memoir from his recently published book, The Art of Peter Siddell, he stated that even though his father could barely read, one of the few books that the family owned was a Bible.1 If there is anything that Siddells works do promote then it must certainly be the importance of ritual and its significance in the lives of the unseen population which inhabits the vistas of his mind.CHARLES NINOW
1 Siddell, Peter and Michael Dunn. The Art of Peter Siddell. Godwit, Auckland, 2011, p.7.
IN FOCUS 43
26FRANCES HODGKINSStill Life Compositionwatercolour on paper signed with artists initials F.H. in brushpoint lower right 355mm x 400mm
$20,000 - $25,000
Thought to be painted in 1924 while the artist was working as a teacher at Manchester High School for Girls, this untitled still life is a rare glimpse into the oeuvre of an artist whose practice was, at the time, going through rapid stylistic development. It presents itself as somewhat of a crossroads, mirroring the strategies that the artist used elsewhere in her practice of the time as well as consisting of aesthetic qualities that would feature heavily in the work that she would make in the latter stage of her career. In 1925 Hodgkins briefly took up work as a textile designer. Her image-making practice from 1922 to 1924 would have a very direct influence on her practice as a designer where she worked with flat angular planes of colour, creating abstract patterns and assemblages that had a figurative mandate.Prior to the outbreak of WWI in
1914, Hodgkins was based in mainland Europe and worked between Italy and France. However, the advent of war forced her to move to the small town of St Ives in Cornwall and it was during this period that the artist would begin to experiment with working in oil paints as opposed to the watercolours with which she was accustomed. From this time until the year of 1924, her work would increasingly engage with analytic cubism and, in relation to such works, this still life serves as an important statement of her intent. When Hodgkins was working in oils, it was particularly dry paint that she favoured; it was a stiff
medium that would wear the texture of the bristle and had a stubborn opacity. In contrast, watercolour was a flat, fluid medium that left a sharp line and, while oil paint allowed Hodgkins to indulge in a modernist tendency to create works that documented their own making, this still life shows Hodgkins examining the potential of breaking down and reassembling shards of reality in a very direct manner.The clarity of line seen here is also
important because it echoes the assured handling that is so central to the works on paper that she would paint from the latter half of the 1930s onwards. Undiluted watercolour has a very particular quality; because it consists of pigment only and of no opaque medium, laying it on thick may not make it louder but certainly amplifies the colours severity. While the work is clearly figurative, the brush strokes also hold a concrete value of their own. Like the more freely flowing later works of a fauvist bent, this work is as much about the physical qualities of colour as it is about a still life arrangement. Still life arrangements have been present throughout Hodgkins career with typical groupings of objects such as vessels, flowers, vegetables and fruit as well as less-typical compositions featuring things like dead game and sea shells. As a constant feature, they together formed a controlled variable that shone a light on the true nature of her painterly exploration.CHARLES NINOW
IN FOCUS 45
27COLIN MCCAHONKaipara Flat With a Blue Skywatercolour on Steinbach paper signed McCahon, dated 71 and inscribed Kaipara flat with a blue sky (1) in pencil upper right 1017mm x 670mm
REFERENCEColin McCahon Database Reference (www.mccahon.co.nz) cm001746
$100,000 - $150,000
1 Colin McCahon as quoted in Marja Bloem and Martin Browne, Colin McCahon: A Question of Faith (Nelson: Craig Potton Publishing and Amsterdam: Stedilijk Museum, 2002), p.215.
Painted by Colin McCahon in 1971 as part of a trilogy of works that makes up the series Kaipara Flat, the present work Kaipara Flat with Blue Sky presents a painterly exercise in mark-making and chromatic nuances. Like the other works in the series painted that year, the horizontal division of the composition immediately places the spectator within the familiar genre of landscape painting. The environs that McCahon
transcribes in these works, however, have been distilled and reduced so that only the barest suggestion of a landscape setting remains. Pared back to a thin stretch of ground and a wide sweep of sky, the scene presented in Kaipara Flat with Blue Sky is one of contemplation, observation and overwhelming quietude. Kaipara Flat with Blue Sky features a solid brown band at the base of the painting that works to anchor the composition and above which an amorphous field of azure paint is allowed to billow and weave.In January 1971, McCahon resigned
from his teaching position at Elam School of Fine Arts in order to paint full time. He left the city to work in the countryside and Kaipara Flat with Blue Sky along with the other watercolours and acrylics that he completed at this time comprise a suite of landscapes that pay homage to his inspirational surroundings. Depicting the climes of Helensville, Muriwai, Ahipara and Kaipara, these energetic pieces are underpinned by McCahons environmental concerns and were intended to highlight the increased number of industrial and residential developments that McCahon believed
would ultimately deface and despoil New Zealands largely uncorrupted (and) unique1 landscape. As such, McCahon presents the environs in their pristine and unadulterated form completely devoid of the human presence that was responsible for the exploitation and destruction of the countryside. Despite, or maybe because of, the
absence of formal elements, Kaipara Flat with Blue Sky is home to a wealth of visual interest in the visible traces, dabbles, sweeps and dots of McCahons brush. Composed using only a russet brown and a rich sapphire blue, the work contains an impressive and alluring quantity of textures, tonal variances and gestural line. The densely coloured ground is home to a soft mottled finish and is further moderated by patches of a slight golden hue as though having caught a glimmer of light. A thin fillet of snowy white divides land from sky, emphasising the untouched emptiness of the terrain. The top portion of the painting is taken up by a broad expanse of sky that swarms across the page in the manner of scudding clouds. This rippling sphere of royal blue is tempered by an array of fine bleeding points of paint, which are evocative of a fine misting rain or shower of lights. Here too, squiggly traces of McCahons brush are noticeable and work to further activate the composition. Blazing a trail across the firmament, McCahons brush neatly records the scene before him, securing the memory of a sanctified landscape before it succumbed to the pressures and desires of human advancement.JEMMA FIELD
IN FOCUS 47
28TONY FOMISONCarcinoma of the Tongue Ulcerative Type Fig.51 Surgery for Nurses by Bailey and Love, London 1942 (# 15)oil on stretched jute canvas signed Fomison and dated March 1964 in brushpoint lower right and inscribed Carcinoma of the Tongue Ulcerative Type Fig.51 Surgery for Nurses by Bailey and Love, London 1942 in brushpoint upper left; inscribed Fomison exh. No. 34 crate no. 2 on typed label affixed to stretcher verso 917mm x 710mm
PROVENANCEFormerly in the collection of Martin Fisher, Dunedin; Robert May, Dunedin; currently held in a private collection, Dunedin.
REFERENCEChristchurch 71, New Vision Gallery, Auckland, 1971, cat. no.5, price $40; Keith, Hamish, review of New Vision Gallery, Auckland, exhibition 1971, Auckland Star, 20 March 1971; Barr, Jim and Mary, interview, 1978.
ILLUSTRATEDTrussell, Denys. A provincial talks of religious compassion, City News, Auckland, 17 August 1976; Reprinted in Pilgrims vol. no.1, Christchurch, February 1977; Peter Webb Galleries (Webbs), auction catalogue, December 1987.
EXHIBITEDCanterbury Society of Arts, Christchurch, 1970; Christchurch 71, New Vision Gallery, Auckland, 1971; Dawsons Exhibition Gallery, Dunedin, 1972; Still Life: The Art of Anatomy, Dunedin Public Art Gallery, 10 July 12 September 2010.
$120,000 - $160,000
Fear! Fear of a painful, lingering death. Fear of the unknown. That is an essential ingredient of Tony Fomisons graphic image Carcinoma of the Tongue, painted in Christchurch in 1969. Conceived in stark black and white with powerful chiaroscuro, the work shows us a head and what a head close up and contagious. Put out your tongue, the nurse has said. And what a tongue! All else pales by comparison. The eyes of the afflicted victim are frightened by it and its ulcerous, cancerous growth. Fomisons source, acknowledged in a lengthy inscription, was a medical diagram in a handbook for nurses. But his is no impersonal diagram. On the contrary, we feel the full psychological impact of the diagnosis carcinoma of the tongue on the unfortunate patient. How do we react to this finding? How does the victim respond to this traumatic, life-threatening analysis? What is the prognosis? What are his chances? The head emerging from total darkness, the blackness of a void, rivets our attention. See those eyes staring out from the top corner, one cut off, the whole face cropped by the frame and distorted. Each orifice of sense mouth, nose and eye is wide open and receptive to the darkness and finality of death. This is an abject image of human mortality. All we have, it says, is our life and health; take it away and we are nothing.Of New Zealand artists, only Fomison
could have selected this subject to paint. Colin McCahon, an important mentor, had his dark moments but few as bleak as this. Fomison inhabited what Ian Wedde has described as dark spaces when creating works such as these, probing the innermost recesses of the subconscious seeking out the hidden, the shameful and the forbidden that which could not be seen inside the conventions of respectable art. He
explored magazines and medical books seeking out images of the mentally ill, the disfigured and those afflicted by diseases. This is but one of a series of unforgettable images made between 1969 and 1971. It was first exhibited in Auckland at New Vision Gallery in March 1971 in a group show called Christchurch 71 cat. no.5, price $40. The show marked the beginning of Fomisons rise to national prominence as a painter and foreshadowed his move to Auckland soon afterwards.Tony Fomison had attended life
classes at the Canterbury School of Art while he was a student there between 1958 and 1960. It was then that he first made facial studies, life sized, in black and white on rough sheets of paper. These were drawings in charcoal but have affinities with paintings like Carcinoma of the Tongue in the way the forms emerge from a dark ground and are cut off from any identifiable background. In 1963, he was awarded a travel grant to Europe and it was there he saw at firsthand the dark paintings of Caravaggio and his followers in Italy, Spain and France. He studied these closely, bought postcards of them and made a number of careful copies. Back in Christchurch in 1967, he taught himself to paint slowly and carefully, simplifying and intensifying the imagery by the controlled use of chiaroscuro. His brushwork is smooth but the painting is enlivened by the texture of the rough canvas which shows through the paint.In this work, Fomison has highlighted
a scourge of modern society cancer the often incurable epidemic of our times. We can name, categorise and record diseases such as carcinoma of the tongue but how do we deal with the unpalatable diagnosis when there is no cure?MICHAEL DUNN
IN FOCUS 49
29PAT HANLYGolden Age 3 with White Butterflyenamel on board signed Hanly, dated 78 and inscribed Golden Age in brushpoint lower left; signed Hanly, dated 78 and inscribed Golden Age 3 with white butterfly and N.F.S. in ink verso900mm x 900mm
PROVENANCEPurchased directly from the artist by the present owners, 1978. The current owners attended an exhibition of Pat Hanlys Torso Series at RKS Gallery in 1978 and subsequently made enquiries as to the availability of another work. They were shown a selection from which they chose this work. The owners met with the artist at his Windmill Rd, Mt Eden studio where he informed them that hed added the white butterfly to this Golden Age painting because while he was painting it, a butterfly had flown past across the doorway and he wanted to capture that instant. Accompanied by a signed letter of authenticity from Gil Hanly stating that the work was purchased in 1978 for a price of $500 and has been in the sole possession of the current owners since the date of purchase. The letter also states that the work has never been publicly exhibited or photographed for publication while in the possession of the current owners.
EXHIBITEDA group exhibition of contemporary New Zealand painting, gallery unknown, Hamilton, 1978.
$120,000 - $160,000
In this rare, early example from the Golden Age series, we see Hanly return to painting full human figures and, for the first time in his practice, depicting male and female forms together as equal counterparts in a seemingly harmonious relationship. While this work was not included in the Golden Age exhibition at RKS Art, the following statement about the series was broadcast on the invitations: The Golden Age, all races in harmony, love, live despite greed and wars. Birds sing, stars appear, moon and sun shine, colours glow and life goes on. If, in the sensory exploration and vibrating particles of his work from the late 1960s, we witnessed Hanly become lost in the world, then in the Golden Age series we surely see him rediscover it again.In comparison with the later works of
the series, Golden Age 3 with Butterfly is somewhat unique as it has been painted predominantly using the drip technique pioneered in the artists Pure Paintings of 1975. In addition to the unadulterated drips (clearly applied last), we also see evidence of a technique that the artist used to flatten the profile of dripped paint, where a sheet of newspaper was immediately thrown over a new line in order to absorb any excess. The Pure Paintings were simply arrangements of abstract line. They were intended as a completely transparent means of emotional expression that sidestepped any figurative mandate. However, in Golden Age 3 with Butterfly the effect is rather different. As one part of a greater whole, the dripped paintwork injects the work with an unpredictability: a life of its own.The jutted, angular approach to
figuration that we see here harks back to
the studies that the artist painted whilst in London during the late 1950s and early 1960s. Hanly was painting during the day and working as a stage manager at a nightclub in the evenings and the works depict the woman that he met during his time there. He was actively engaged in cubism then and, accordingly, the woman appeared almost totem-like. They were not by any means idealised forms; rather, these early studies had a dirty, gritty, impolite quality that examined every facet of their person. In Golden Age 3 with Butterfly, the figures are not idealised, nor are they symmetrical or smooth edged as they are later in the series. They are confronting and serrate but also utterly at ease. This is not the world seen through rose-tinted glasses; this is the world as it really is where everything has its own unique shape and colour.Hanlys Utopia was not a separation
from his everyday life or a private quarter where problems could be escaped. Rather, Hanly found his Utopia in the knowledge that the world was a balanced place that somehow would always find its equilibrium. In spite of greed and wars, one could still take pleasure in the incidental beauty of everyday life. When explaining to the paintings original owners the presence of the butterfly mentioned in the works title, Hanly disclosed that while he was painting the work, a butterfly just happened to pass by the doorway of the room in which he was working. The moment had such an arresting and poetic beauty that he decided he would capture it in the painting, thereby making the work complete.CHARLES NINOW
IN FOCUS 51
30JEFFREY HARRIS3 Childrenoil on board signed Harris and dated 70 in brushpoint upper right; signed Jeffery Harris, dated March - Nov 1990 and inscribed 3 Children and 48 x 48 in ink verso lower left. 1210mm x 1210mm
$40,000 - $60,000
IN FOCUS 53
31DICK FRIZZELLAll Is Numberoil on 6 stretched canvases signed Frizzell, dated 29/9/98 and inscribed All is Number in brushpoint lower left 1830mm x 1210mm
ILLUSTRATEDFrizzell, Dick. Dick Frizzell - The Painter. Godwit/Random House, Auckland, 2009, p.195.
$20,000 - $28,000
32KEITH ALEXANDERThe Celebrationacrylic on stretched canvas, signed Alexander and dated 94 in brushpoint lower right; signed Keith Alexander, dated 1994 and inscribed The Celebration and 011-884 5552 in ink verso upper left 760mm x 1060mm
PROVENANCEPurchased from Elizabeth White & Associates, Johannesberg, South Africa, and passed by descent to the present owners. Accompanied by a certificate of authenticity signed by the artists agent Elizabeth White & Associates, Johannesberg, South Africa, and the artist dated 13 October 1997.
$50,000 - $60,000
Keith Alexander was born in Zimbabwe, then named Rhodesia, in 1946. He would later move to South Africa where he went on to study fine arts at the University of Natal in the mid-1960s. There he would attain a masters degree, his research focusing on surrealist sculptural practice. It could be said that, though he would alter his strategy somewhat in 1975 by choosing to paint flat imagery rather than work with three-dimensional materials, his astute spatial awareness would continue to influence the works that he made. Naturally, his first painted works were firmly grounded in an exploration of surrealist imagery; however, he would soon develop an approach to image-making that sidestepped his fascination with physical impossibilities. A significant turning point in the artists career occurred after he first visited the vast expanses of the Namib Desert of southern Namibia. In 1982, the year after his visit,
his work would be solely dominated by sparse depictions of the Namib Desert. However, not only was it the setting that marked these works as a turning point, but also they embodied a distinct conceptual shift. Pictured in the works was the small mining town of Kolmanskop, a real location situated only a few kilometres from the coastal town of Lderitz. The town was abandoned in 1954 after its diamond field was exhausted and it is now in a semi-submerged, sandblasted state. In these works, the artist can be seen using space and perspective to inject a sense of unease. While the paintings depict actual architectural sites, the composition suggests that there was some internal narrative at play: that each doorway and window frame had a very specific role to play. In the years following, this ability to construct a narrative using a sparsely assembled set of objects has been at the heart of Alexanders practice.
IN FOCUS 55
33KEITH ALEXANDERUntitledacrylic on stretched canvas signed Alexander and dated 84 in brushpoint lower left 600mm x 900mm
PROVENANCEPurchased from Elizabeth White & Associates, Johannesberg, South Africa, and passed by descent to the present owners.
$40,000 - $50,000
Untitled of 1984 is emblematic of the techniques learnt in the formative part of the artists career. There are two solitary abodes positioned on top of a hill surrounded by nothing but a lifeless expanse. The more visible of the two buildings is clearly in a state of disrepair, indicated by the fact that its roofing beams are exposed on one side. While only a silhouette of the second house is visible, one assumes that it too is uninhabitable. There is a distinct contrast between the bare rock and loose sand of the hillside and the smooth, almost vacuum-formed texture of the foreground. The golden-yellow haze of the ground mass places the abode on the outer edge of the desert and the salt-licked perfection of foreground indicates that the houses are situated on the edge of the shoreline. While the dwellings are not isolated in the middle of the desert, they are still, in a sense, caught between a rock and a hard place:
cemented in a divide between two vast expanses.
The Celebration, painted a decade later, presents a different kind of isolation. Here an interior feels as barren as the deserts with which Alexander is so well versed. In the foreground, a table holds a covered silver serving tray and, in the distance, the artist has painted a man, likely to be a self-portrait, standing just outside of the doorway with his gaze focused to the distance, following that of the viewer. In colonial Africa, it was common for each rural housing compound to have a separate building in which food was prepared and, therefore, the figure has wandered away from a celebration that is happening nearby. His formal attire suggests that he is not where he belongs and yet, his strict denial of the serving tray implies that he has an intimate knowledge of its contents. CHARLES NINOW
34COLIN MCCAHONSeaweed on the Beachsynthetic polymer paint on Steinbach paper mounted on board, 1972 signed Colin McCahon, dated Feb - August 72 and inscribed Taitimu Tangi Muriwai, Seaweed on the Beach in brushpoint lower edge 730mm x 1112mm
REFERENCEColin McCahon Database Reference (www.mccahon.co.nz) cm000438
$250,000 - $350,000
In 1969, Colin and Anne McCahon acquired some land at Muriwai Beach, north-west of Auckland, on which they built a dwelling and a large studio for Colin; soon afterwards, he retired from teaching at Elam. Suddenly, for the first time in his life, he was a full-time painter. These changes led to a huge increase in McCahons output in the early 1970s, much of it stimulated by the new landscape opened up to him at Muriwai. At first it was the towering cliffs at Maori Bay and the rock stack of Moturoa with their associated bird colonies that attracted his attention, especially in the large series of abstracted landscapes he called Necessary Protection (1971) and in later series such as Jump (1974). However, increasingly from 1972, it was Muriwai Beach itself which became the focus of many paintings, especially in such grand series as Beach Walk (1973), Blind and The Shining Cuckoo (both 1974). Before these more ambitious works were conceived, McCahon made a number of individual paintings with the beach as his subject of which Seaweed on the Beach is one. A second painting with the same title, but on canvas rather than paper, is also dated 1972, as are two closely related paintings (one on paper, one on canvas) with the title Low Tide, Muriwai. While they are primarily descriptive of the conditions referred to in their titles, there is another layer of meaning introduced by the words inscribed along the bottom of all four paintings: Taitimu. Tangi. Muriwai. Taitimu in Maori means low tide, while tangi, of course, alludes to grieving for the dead. Some years earlier, McCahon had acquired a book called The Tail of the Fish: Maori Memories of the Far North by Matire Kereama on which he drew
for many paintings, the best known of which is The Larks Song (1969). By 1972, the part which most pre-occupied him was Chapter 24, Going Out with the Tide, which begins: When I was a child, no person died without first asking about the state of the tide, whether it was full or low. People always liked to die at low tide because the tide had to be completely out to enable them to reach Te Reinga Wairua, The Leaping Place of Spirits, in the Far North. This is a large hole at the bottom of the sea which is exposed at low tide, permitting the spirits to go inside. When the tide is full, the hole is under water and covered with masses of seaweed (p. 74). These words are the clue to the wider meaning of the works under discussion. They are paintings about death and the spirits journey to Cape Reinga: a pathway that included Muriwai Beach as one of the stations along the way. In later paintings, McCahon would associate this spirit journey with dead friends such as the poets James K. Baxter, R.A.K. Mason and Charles Brasch. The white lines on black suggest waves at night, while the seaweed of the title is signified by the words Taitimu. Tangi. Muriwai. The identification of seaweed on the beach with writing is explicit in a September 1972 letter McCahon wrote to the painter Pat France while working on these paintings. Unique to this particular painting is the remarkable sky, with its curdled grey clouds and its curiously ominous dark rain cloud, like a portent of death, perhaps, much like the similarly threatening cloud above an ocean in Allen Curnows exactly contemporary poem, Lone Kauri Road.PETER SIMPSON
IN FOCUS 57
IN FOCUS 59
36PAT HANLYPure Painting 10enamel on board signed Hanly, dated 76 and inscribed Pure Painting in brushpoint lower right; signed Hanly, dated 76 and inscribed Pure Painting in brushpoint verso upper centre 915mm x 915mm
$20,000 - $30,000
35ROBERT ELLISMotorway/City No. 30 (Auckland Festival)oil on board signed Robert Ellis and dated 69 in brushpoint upper left; signed Robert Ellis, dated 1969 and inscribed No. 30 Motorway/City and 123 x 107cm. Auckland Festival. PO 2175 Auckland. N.Z. verso upper centre 1220mm x 1060mm
$20,000 - $25,000
37CHARLES FREDERICK GOLDIETe Aitu Te Irikau (An Arawa Chieftainess)oil on stretched canvas in original rough cut Kauri frame signed C.F. Goldie and dated 1919 in brushpoint upper left 270mm x 215mm
John Leech Gallery, Auckland, original label affixed verso. Austin family, NSW, Australia since 1950, passed by descent to Elizabeth Austin, Sydney, NSW, Australia and recently repatriated to New Zealand.
$180,000 - $220,000
The present portrait, Te Aitu Te Irikau (An Arawa Chieftainess), is a fine example of the work of one of New Zealands most revered portrait painters, Charles Frederick Goldie. Completed in 1919, this painting is one of at least ten portraits that Goldie completed of Te Aitu Te Irikau, which illustrates his common tendency to repeatedly paint the same sitter in a variety of different costumes and poses.Goldie was a highly accomplished
portrait painter with an eye for detail and his paintings are typically characterised by a meticulous attention to details, small imperceptible brushwork, even all-over lighting, and they often feature an indeterminate background in order to focus attention on the sitter. These elements are clearly apparent in his portrait of Te Aitu Te Irikau and they are recognised as the hallmarks of one of New Zealands most celebrated and iconic portraitists of the colonial period, whose works have come to possess additional significance as factual documents. Although Goldie has received mixed reviews over the past century due to his personal beliefs and artistic practices, it is worth noting that his portraits are now celebrated by many as historical records of the identity and existence of ancestral koroua and kuia, which are considered to be taonga, or sacred, to Mori.Composed in bust-length format and
orientated three-quarters to the right, Te Aitu Te Irikau gazes thoughtfully into the middle distance. Like the best of Goldies paintings, the portrait of Te Aitu Te Irikau exudes something of a pensive nostalgia. As is repeatedly mentioned in relation to
Goldies work, the artist was convinced by current thought that the Mori people represented a dying race and that their existence needed to be captured in paint before they disappeared. As a result of this belief, a distinctive element of sentimentality is discernable in many of his paintings. It is evident in his portrait of Te Aitu Te Irikau through her averted gaze, slightly bowed head and slumped posture but it is also moderated by the prominent trappings of her elite standing.As an Arawa chieftainess, Te Aitu Te
Irikau is shown wearing accoutrements that immediately spell out her high-class stature to the viewer. Wrapped in a flax and feather cloak, with the details of her moko clearly visible, the sitter is adorned by a long slender kuru (greenstone earring) and a prominent greenstone tiki pendant that she wears around her neck. A further mark of her noble position is seen in the three white-tipped huia feathers that are embedded in her hair. The huia was a sacred bird to Mori and, because of this, they used its feathers to adorn warriors and the deceased as well as to ornament those of high social distinction. Goldie is celebrated for his assiduous focus on each specific aspect in the execution of his paintings and his portrait of Te Aitu Te Irikau resounds with a detailed elegance. The myriad of lines that etch her face combined with the visible strands of smoky-grey hair, the perceptible texture of her moko and fibres of her cloak, render Goldies portrait of Te Aitu Te Irikau both an invaluable historical artefact and a painting of innate artistic value.JEMMA FIELD
IN FOCUS 61
38COLIN MCCAHONManukau IIwatercolour and gouache on paper signed McCahon, dated Jan 54 and inscribed Manukau 2 in brushpoint lower left 543mm x 740mm
EXHIBITEDThe Group Show 54, Canterbury Society of Arts Gallery, Durham Street, 2 - 17 October 1954, cat. no. 64, 12 gns.
ILLUSTRATEDBloem, Marja and Martin Browne. Colin McCahon: A Question of Faith. Stedelijk Museum, Amsterdam, Craig Potton Publishing, Nelson, 2002, p.180; Shaw, P. Rainbow Over Mount Eden: Images of Auckland. Godwit/Random House, Auckland, 2002, p.93; Simpson, Peter. Colin McCahon: The Tirangi Years, 1953-1959. Auckland University Press, Auckland, 2007, p. 84
REFERENCEColin McCahon Database Reference (www.mccahon.co.nz) cm000852
$70,000 - $90,000
This fine watercolour belongs to a numbered series of landscapes inspired by Colin McCahons response to his new environment at French Bay on the Manukau Harbour. He had moved north to Auckland in May 1953 and was immediately struck by the wet climate and dramatic lighting compared with Canterbury. He recalled: At this time the bush and the harbour were of prime importance as subjects the November light for that first year was a miracle. It remains an obsession and still a miracle. Painted in watercolour and gouache on paper, Manukau 2 depicts the harbour and background hills to the left and bush to the right. Above a cloudy sky animates the scene and is reflected in the waters of the harbour. Although it is easy to make out the
landscape elements in naturalistic terms, McCahons painting has other concerns. The artist shows a modernist interest in the formal structure of the imagery as evidenced in the division of the surface by a scaffolding of curved and straight lines. These divisions have very little to do with nature and much to do with constructing a painting on a two-dimensional surface. The lines animate the surface and refer us to it. They also help divide the surface into planes that are merged into one another by the technique of passage introduced into painting by Czanne and the Analytic Cubists. In this technique an opening, allowing one form to be merged with another, facilitates the transition between them and allows foreground and background to be interlocked. Cubism, and especially the work of Georges Braque, was of interest to McCahon at this time.
He was especially concerned with making the painting appear as something solid and permanent rather than ephemeral and illusory. He noted: In nature there are no empty spaces, the air between houses is as real as the air inside houses and the houses themselves In this painting we can see this principle in action as the clouds and their reflections in the water are made as substantial as the hills and the foreshore. A further aspect to note is the subdued palette restricted to mainly blue/grey and ochre tints. Rather than imitating local colours, McCahon creates an image based on the contrast between cold and warm hues, the blue of sky and water and the ochre of bush and foreshore. In doing so he was once more following the example of Braque and Picasso who found that a restricted palette enhanced the objecthood of their Cubist works and drew attention to their formalist nature. It is also possible to see in Manukau
2 the use of multiple viewpoints, for at times we seem to be looking at forms like the hills at eye level while the harbour and bush appear as if viewed from above. This presentation had the advantage of freeing the artist from the constraints of conventional one-point perspective and allowing the element of time and movement to enter the work. All these ideas and more were to figure prominently in McCahons later paintings. Related works include the Towards Auckland paintings and the Kauri series. This is fine painting in its own right and one that is of great interest because it contains fertile ideas that McCahon was to follow up in his later series.MICHAEL DUNN
IN FOCUS 63
39MICHAEL SMITHERBowl and Spoonoil on board signed with artists initials M.D.S. and dated 74 in brushpoint lower left1670mm x 1210mm
ILLUSTRATEDGribben, Trish. Micheal Smither Painter. Ron Sang Publications, Auckland, 2004, p.147.
$60,000 - $90,000
Proffering a clean and empty bowl and a clean spoon to the spectator, Michael Smithers Bowl and Spoon is one of many paintings which he has completed that feature objects taken from the domestic realm. Seemingly mundane items such as teacups, broken eggshells, coffee pots and rubber gloves are dotted throughout Smithers oeuvre and his decision to accord such everyday things the entire gamut of an image causes the viewer to rethink and reappraise both their appearance and their value. Under Smithers brush, these objects come to possess an otherworldly dimension by way of compositional structure, distortions of scale, unusual viewpoints, strong lighting and a smooth polished technique. In Bowl and Spoon, the single focus and close-up viewpoint transforms the banal everyday kitchen items of a breakfast bowl and teaspoon, elevating them into the realm of the rare and celebrated. The slightly upturned angle of the
bowl in Bowl and Spoon and the large bulbous shadow that it casts, which extends towards the viewer, create an invitation to enter the painting and take up residence at the table. Yet on the other hand, there is no specifically designated space and, in fact, Smithers tightly controlled composition with its close-up view of china bowl and metal spoon leaves very little inhabitable room. The scene is further distanced from the viewer by Smithers use of abrupt cropping which, combined with the tilted picture plane and the enlarged
scale of the bowl and spoon, renders an immediately recognisable and familiar subject, curiously strange and unknown. The sense of immediacy that the cropping produces and the tantalising desire to know what lies beyond the confines of the painting creates a fine and nuanced tension within the work. It is this balance that Smither consistently strikes between the known and unknown, the familiar and the strange, in his still-life paintings that makes them so alluring.Like all of Smithers still-life paintings,
the use of domestic objects results in an inferred human presence. While the lack of activity and the exceptional stillness of the painting would seem to preclude any narrative, the work still resounds with anecdotal potential. The gleam of the spoon and the crisp pallor of the bowl suggest that the items remain unused and abandoned on an unidentified surface. The paired pieces are perhaps still patiently awaiting their guest or they may be the remnants of a breakfast that has been discarded due to lack of time or some unforeseen event. In any case, the formal perspicuity of Bowl and Spoon that is wrought through Smithers union of opposites (light and shadow, absence and presence, simplicity and convolution) results in a captivating painting. Frozen in time, Smithers Bowl and Spoon maintains its immaculate and unsullied appearance, offering an enticing diorama, which allows for each viewer to weave their own story.JEMMA FIELD
IN FOCUS 65
40COLIN MCCAHONComet (F11)acrylic on unstretched jute canvas signed C.McC, dated 74 and inscribed Comet (F11) in brushpoint lower edge920mm x 620mm
REFERENCEGreen, Tony. Colin McCahons Necessary Protection In Auckland. Art New Zealand, No.134, winter 2010.
EXHIBITEDJumps and Comets: Related Events In My World - Colin McCahon, Barry Lett Galleries, 27 May - 7 June 1974.
ILLUSTRATEDColin McCahon Database Reference (www.mccahon.co.nz) cm001562
$160,000 - $220,000
Comet (F11) belongs to suite of works that McCahon produced in 1974 while working from his studio in Muriwai (where he was based from 1968 to 1978); it has been suggested that every work that he painted during this year (including the Blind and Jump series) was cut from a single role of jute sacking, identified by a purple thread that marks the selvedge.1 Each work from the Comet series shares a similar format: an evenly daubed black background overlaid with an arrangement of sparsely distributed horizontal strokes. While every work carries an individual code based on the classification system used for naming comets prior to 1994, these works are not observations of orbital periods but, rather, they are reflections upon the fragility of human life in a universe of untamed forces. During his time at the Muriwai
studio, McCahon made many works that reflected upon the division between earth and sky, with the compositional structure often relying on only a solitary horizontal line. While these works were deeply grounded, McCahon has here presented us with a physical impossibility: a comet described by a burst of white and a tail that gently kisses the pronounced jute weave sandwiched between two parallel horizons. A clarification of the artists rationale can be found in the Blind series that directly preceded the Comets. These works, too, consisted of a double horizon; however, while the lower band parted earth and sky, the upper boundary separated the sky from the heavens. As such, the amber line offers itself as
divine presence, a world away from the chaos far below. The black, uninterrupted stillness of
this work has a moving calm. Without a single light in sight, it is easy to imagine the artist at his studio, staring out over the water and into the night sky, pondering the unseen events occurring in the darkness of space. This work was painted only a few years before McCahon was forced to move from his studio in Muriwai and work once again from his family home in Grey Lynn. His rapidly deteriorating health, caused by decades of alcoholism, denied him the ability to make the long drive out to the west coast. Therefore, it is hard to say whether this is the work of a believer or of a man who had lost faith. The comet, sailing over the surface of the work, presents as both an omen of apocalypse and as evidence of a divine influence on the forces of the universe. It calls into question the incidental nature of life, which can flourish if given only a little nourishment and yet can just as easily be crushed without warning, in the blink of an eye. The Comets act as a bookend to
the works made in the latter part of McCahons Muriwai tenure. They demonstrate a distinct shift from his earlier engagement with earthly physics to a fascination with objects that werent governed by the forces of gravity. In formal terms too, the artists refined use of a binary colour scheme can be seen to pave the way for the Noughts and Crosses and Rocks in the Sky works that he would produce in 1976, where free-floating objects were suspended in black space. CHARLES NINOW
1 Green, Tony. Necessary Protection in Auckland. Art New Zealand No. 11, Spring 1985.
IN FOCUS 67
41RALPH HOTEREUntitled (Study For National Bank Mural)brolite laquer on hardboard signed Ralph Hotere and inscribed National Bank Mural. Hanging instructions. This would depend to a large extent on the situation (plaster wall? Stone wall? Wood? Ply? Hardboard?). This mural is designed to be made in sections (3/16 hardboard brolite lacquers). The sections depending on the size of the final work. The simplest method possibly is to attach a grid of 6 x 1 seasoned panels directly on the existing walls. Thus the sections are then glued onto this with a proven contact adhesive, RH. in ink on label affixed verso600mm x 905mm
ILLUSTRATEDBaker, Kriselle. Hotere. Ron Sang Publications, Auckland, 2008, p. 91.
$80,000 - $100,000
Hoteres Untitled (study for National Bank Mural) was painted in the same year as was his monumental commission for Founders Theatre in Hamilton and belongs to the Requiem series which was produced from 1973 to 1975. Starting out as an exercise in visual harmonics that had its roots in his Black Paintings of the 1960s, the series would develop to include stencilled text and distressed line and texture. While the death of the artists mother, Anna Maria, is considered to be the impetus for the series,1 the grief that was so central to the works would evolve to have a universal relevance.The work is the result of a long,
rigorous process that involved a sprayed layer of undercoat, two layers of black overlaid, hand-painted coloured detail and a transparent topcoat. Hoteres aim was to create a work that was totally impersonal, where the artist was removed from the picture plane and the viewers reflection was projected back at them in a cold, ascetic manner. And while Untitled (study for National Bank Mural) can be considered to be redolent of American minimalism of the 1950s, where practitioners such as Barnett Newman and Ad Reinhardt made works that had no meaning beyond their immediate physical properties, the vacuousness of this work carries with it a distinct set of conceptual concerns with which the artist has engaged throughout his career. Hoteres friend and college, Hone Tuwhare, refers to this void as a visual kind of starvation. 2
The colour black is ubiquitous in Hoteres work and the allusions included here, to cycles, harmonies and perhaps even music, help to provide some understanding of its function, within both this work and the artists wider practice. So too does the velvety, mottled texture, contained within the central circle that emulates the silent lick of a flame. While the death of the artists mother is a deeply personal event, there is recognition within the work that, at the same time, grief is something that everybody will experience. Like global anthems, grief, melancholy and desolation are things that we all understand. Untitled (study for National Bank Mural) is utilitarian in its aims and speaks of a common thread that both binds us together and connects us to our past. On the verso side of this work, a
handwritten note by the artist dictates that this work was intended as a study for a much larger work that should be completed on a series of panels and then attached to the wall so that they sit flush against its surface. The artists intention to develop Untitled (study for National Bank Mural) into a mural suggests that the works repeated line was intended to weave its way into the fabric of the world. What is truly remarkable about the brolite works of the early part of Hoteres career is that they are able to penetrate to the very heart of human nature while never emitting anything more than a quiet, tonal hum.CHARLES NINOW
1 Baker, Kriselle. Ralph Hotere. Ron Sang Publications, Auckland, 2008, p.69.2 Tuwhare, Hone. Ralph Hotere. Dir. Sam Pilsbury. National Film Unit, Wellington, 1974.
IN FOCUS 69
42FRANCES HODGKINSThe Cow (Calf)gouache on paper signed Frances Hodgkins in brushpoint lower right circa 1938 520mm x 710mm
$65,000 - $90,000
Characterised by a painterly lyricism that hovers on the edges of abstraction, Frances Hodgkins The Cow (Calf) is a work that is rich both in metaphorical potential and in the formal possibilities of colour and line that are completely divorced from ostensible content. Standing in a pastoral environ that is fringed by houses, the central and dominant figure of the cow stands orientated towards a body of water that cascades down from the back of the painting and curves under a small bridge on the left-hand side of the painting. The animal in Hodgkins The Cow (Calf) is a veritable Pandoras Box of implication where it could be seen as a symbol of sacrifice or, conversely, as an image of productivity and fecundity. In addition, the cow could also be seen as an agricultural motif, which connects the painting to the suite of works that Hodgkins completed between 1937 and 1939 which contained quotations from the farming industry such as tractors, farm carts and water tanks as well as to the number of farmyard and earlier threshing scenes that she completed. At this time, Hodgkins was staying in the village of Worth Matravers near Corfe Castle, from which she would journey into nearby farms and to those slightly further afield in Kimmeridge Bay and Wiltshire. The shimmering element of
ambiguity that cloaks The Cow (Calf) is representative of Hodgkins later work when her interests lay in the exploration of iconography, colour, form and line. There is a pleasing disparity in Hodgkins painterly treatment of forms in The Cow (Calf) that shifts from the cursory to the definitive and allows for the viewer
to read the familiar figurative aspects of the painting while a sense of the transitory and ephemeral is given over by the abstracted shapes and swathes of colour. Solid lines and thick areas of paint are used to spell out the rump and feet of the cow and the main background house and work to circumscribe the watery trail in the foreground. By comparison, small tufts of grass and a shrubby tree can be seen loosely brushed into the foreground, a barren tree is just discernable in the distance while perfunctory strokes of apricot and dark grey float on the top of the water, indicating a rapidity of movement and a rippling surface. A second farmhouse is hinted at in the background but, unlike its neighbouring residence, the curved sides and dabbed front door and windows anthropomorphise the property so that it takes on an almost ghoulish appearance.Connections between objects and
ground continually shift and elide in Hodgkins later work as the nuanced effects of changes in scale, perspective and depth of field are constantly explored. In The Cow (Calf), the relationship of the animal to the surrounding landscape is of key importance to the success of the painting. Although Hodgkins has done away with the simple structural devices, namely perspective and scale, the solidity of the cow, tongue of water and main farmhouse provides legibility and helps to unify the composition. The rich variations of colour and expressive handling of paint in The Cow (Calf) are couched within a clear overall design and cast the painting among those of the late 1930s that were referred to at the time as marvellous agglomerations of colour and shape1JEMMA FIELD
1 Elizabeth Eastmond, 19311947, pp.5387, in Michael Dunn, Iain Buchanan and Elizabeth Eastmond, Frances Hodgkins: Paintings and Drawings (Auckland: University Press, 2001), p.69.
IN FOCUS 71
43RAYMOND CHINGArkoil on board signed Ray Ching and dated 2005 in brushpoint lower right 1050mm x 1680mm
EXHIBITEDArk, Artis Gallery, 4 - 29 April 2007.
ILLUSTRATEDChing, Raymond et al. Ark (exhibition catalogue). Artis Gallery, Auckland, 2007.
$45,000 - $65,000
Internationally renowned as a painter of ornithological specimens, Raymond Ching is also a significant portrait painter and works such as Ark from 2005 showcase a seamless amalgamation of these two areas of the artists speciality. Painted in a reduced monochromatic palette of white on a black background that is completed by little accents of yellow and green, Ark presents a calming reverie that showcases the possibility of humanity flying effortlessly amongst birdlife. The technicalities of flight, the structure and appearance of birds and the possibility that humans might fly have each retained a strong thematic presence in Chings work over the decades. In Ark, this possibility is realised as a female figure is joined in her flight path by two swans and a dove. The outstretched arms of the woman echo the angle of the wings of the dove and the front swan, creating a graceful and rhythmical pattern that crosses over the boundaries between humans and bird life.The alabaster dove complete with
emblematic olive branch turns and glances out of the picture plane at the viewer while the female figure and two large swans stare resolutely ahead. The olive branch neatly echoes the curve of the womans head and functions as something of a halo or crown. Small leaves scatter from the branch and spill out over the swans. In conjunction with the passages of vibrant yellow seen on the swans beaks, this little trail of verdant greenery both creates chromatic interest and provides an invocation of forward motion.Attired in what is possibly a simple
white sundress or perhaps a nightdress,
with her hair woven in a plait at the back of her head, the gliding female character in Chings narrative exudes serene repose as though soaring through the night sky were a commonplace occurrence. Set against a raven ground, the ivory white of the birds feathers and the figures dress strikes a compelling and dynamic contrast. The female figure in Ark appears almost weightless as she skilfully sails across the black expanse of the painted panel. Modelled from life, Ching consistently chooses models that he finds personally interesting and, in painting them, seeks to reveal something of their interiority. The sitter for Ark is thus characterised by serenity and peacefulness that is echoed symbolically in the olive branch, yet she also displays determination and an ability to conquer adversity: such as the travails posed by gravity.
Ark is executed with a high level of finish and Chings aptitude for details is readily apparent where the mimetic transcription of bird feathers, bills and webbed feet as well as human form is carried out in his barely perceptible brushwork. Chings tightly controlled brushwork borders on the bounds of photographic realism, although the artist commonly chooses to leave the backdrop as an unmodulated field of colour. In doing so, he plucks his subjects from the tangible world and casts them into the domain of the imaginary and fantastical where humans can indeed fly and birds readily accompany them as they arc and float across the sky.JEMMA FIELD
IN FOCUS 73
44ALFRED SHARPELogging Kauri on the Coromandelwatercolour on paper signed Alfred Sharpe and dated 1882 in brushpoint lower right 600mm x 900mm
ILLUSTRATEDBlackley, Roger. The Art of Alfred Sharpe. Auckland City Art Gallery/David Bateman Ltd, Auckland, 1992, p.69.
$80,000 - $120,000
Painted in 1882, Alfred Sharpes Kauri Logging on the Coromandel is a valuable historical document that bears witness to the logging of native timber in New Zealand during the colonial period. Like most of Sharpes watercolours, Kauri Logging on the Coromandel is executed with an almost photographic veracity that is achieved through the use of tightly controlled brush strokes, sharp focus and saturated colours. The barely perceptible strokes of Sharpes brush coupled with the clear, all-over lighting, the use of atmospheric perspective and the firmly structured composition pay tribute to Sharpes mastery of the watercolour medium. Although, like the majority of Sharpes paintings, Kauri Logging on the Coromandel offers a high level of detail, Sharpes sophisticated watercolour technique nevertheless allows for the viewer to take in the overall essence of the scene without being distracted or inundated by the mimesis of his chosen tableau. The majority of Kauri Logging on the
Coromandel is taken up with the accurate portrayal of the topography of the kauri forests of the Coromandel. Majestic kauri trees flank the foreground of the work and extend back into the picture plane where they are seen blanketing the rolling hills in the middle distance. Evidence of human industry is seen in the small wooden hut and curling tendril of smoke, which are dwarfed by the surrounding forest. Future human dominance is, however, indicated by the large ominous kauri stump in the right-hand foreground. This, in turn, is echoed by the scattering of stumps to the
left, which together bear witness to the inevitability of fallen trees and barren hills. These pale, white, ghostly forms render the remainder of the forest fragile and vulnerable. Sharpes distinctive ability to build
and present to the viewer a balanced equilibrium between man and nature is clearly illustrated in Kauri Logging on the Coromandel. Here, the artist records the tracts of remote native forest that spilt out across the Coromandel and pays tribute to the untouched paradise of New Zealand. This extensive and seemingly timeless idyll is, however, subtly undercut by Sharpes documentation of the signs of human progress. By reducing the physicality of human endeavour though, Sharpe accords the dignified splendour of the New Zealand woodland centre stage. As a result, Sharpe is able to produce a painting that is compositionally and chromatically appealing without sacrificing his factual objectivity. The number of topographical watercolours that Sharpe produced during his time in Auckland during the 1870s and 1880s collectively attests to a landscape that has been irrevocably lost and to an artist who had a supreme command of watercolour and an eye for his and his mastery of colour. As such, Kauri Logging on the Coromandel from 1882 is an historically valuable watercolour that evidences the now-lost kauri forests of the Coromandel prior to the extensive logging that was carried out by the colonial settlers throughout the closing decades of the 19th century.JEMMA FIELD
IN FOCUS 75
45RALPH HOTEREHiroshima Mon Amouracrylic and gold leaf on glass signed Hotere, dated 92 and inscribed HIROSHIMA MON AMOUR in brush point lower edge; inscribed HIROSHIMA MON AMOUR in pencil on top edge of frame; signed Hotere, dated 92 - 93 and inscribed HIROSHIMA MON AMOUR, Title from the French/Japanese film directed by RESNAIS. 1959 and Port Chalmers, Medium - gold leaf & acrylics on 4mm. glass in ink verso 1040mm x 500mm
$70,000 - $100,000
Completed in 1992, Hiroshima Mon Amour is one of a number of works by Ralph Hotere that illustrate the artists response to environmental and social issues. The title of the work, which can be translated to Hiroshima, My Love, combined with the unmistakeable mushroom-shaped cloud in the centre of the piece indelibly links the work to the nuclear disaster that resulted from the American bombing of Hiroshima on 6 August 1945. Conversely, however, the title of the piece Hiroshima Mon Amour was similarly used as the title for an acclaimed French film from 1959. The non-linear film explored concepts of forgetfulness and memory and connected failed personal relationships to the bombing of Hiroshima. Like the film, Hoteres painting plays with memory and the passage of time insofar as it demands that the viewer cast their mind back to a catastrophic event that remains only in memory or, arguably, is now etched into the collective unconscious. As well as being an historic event, the nuclear disaster of Hiroshima still remains topical as debates over nuclear power continue to be waged and the possibility of devastation caused by nuclear fallout continues to be a concern. Such potent content renders Hoteres painting timeless and universally relevant while also connecting it to his earlier series Polaris from 1983 to 1984 that traced the artists reaction to the potential destruction wrought at the hands of the Polaris nuclear missiles.The surface quality of Hiroshima
Mon Amour, like the vast majority of Hoteres work, is of central importance to the overall visuality of the piece. The glass faade of the painting appears sleek, glossy and flat and Hotere has delicately offset the tenebrous ground
with aurous patches that render the painting enchantingly majestic. As such, Hiroshima Mon Amour recalls the Black Paintings series of the late 1960s that have become almost synonymous with Hoteres name. Resplendent in their jet-black flawlessness and their impossibly perfect lines of thin colour, these works established Hoteres achromatic mastery. Like these earlier paintings, the technical execution of Hiroshima Mon Amour is key to the sumptuous finish of the painting that Hotere has achieved by adhering patches of gold leaf to the reverse of the glass panel and blanketing the remainder of the painting with a layer of black acrylic that has been scratched into in order to convey the dynamism of nuclear power. As a result, a finely navigated tension is viewed between the inky darkness of the glass panel, the almost ethereal trails of white and the glimmering, glistening patches of radiant gold. Despite the seemingly obvious
contrast between light and dark in Hiroshima Mon Amour, the sweep of black, as is so often the case with Hoteres work, not only absorbs light but appears to contain and emit its very own. The glassy surface enables the pooled blackness to reflect and refract so that nuances of various forms and colours as well as light are seen shimmering across its surface. Questioning the seen and unseen, Hoteres elegantly sombre Hiroshima Mon Amour, pays an elegiac tribute to lives lost and times past while offering an invocation for environmental and social issues to remain at the forefront of both memory and contemporary concern; all of this is finely etched out in a glory of black and gold.JEMMA FIELD
IN FOCUS 77
46JOHN GULLYDiamond Lakewatercolour on paper signed John Gully and dated 1882 in brush point lower right 740mm x 1300mm
$60,000 - $80,000
47WALTER WRIGHTMaori Villageoil on stretched canvas signed W. Wright and dated 10 in brushpoint lower right; Ferner Gallery label affixed verso 275mm x 485mm
$10,000 - $15,000
48CHARLES BLOMFIELDWhite Terraces, Rotomahanaoil on stretched canvas signed C Blomfield and dated 1903 in brushpoint lower left 445mm x 595mm
$20,000 - $26,000
IN FOCUS 79
IN FOCUS 81
51COLIN MCCAHONNorth Otago Landscapeoil on paper signed McCahon and dated 67 in pencil lower left 660mm x 420mm
REFERENCEColin McCahon Database Reference (www.mccahon.co.nz) cm000347
$25,000 - $35,000
49GRETCHEN ALBRECHTJeweloil and acrylic on oval stretched canvas dated 2000 and inscribed Jewel in pastel on stretcher verso 980mm x 1500mm
$15,000 - $20,000
50RALPH HOTEREDrawing for Requiemacrylic on paper signed Hotere, dated 74 and inscribed Drawing for Requiem and Port Chalmers in ink lower left 500mm x 690mm
$20,000 - $30,000
52MILAN MRKUSICHUntitled Darkacrylic on stretched canvas signed Mrkusich, dated 1985 and inscribed Untitled Dark in pencil verso upper edge 1600mm x 1600mm
$40,000 - $60,000
The immaculate surface of this canvas and the refinement of the painted structure identify Untitled Dark as a mature work by Milan Mrkusich. Painted in the fourth decade of his career as an artist and seventeen years following the first of his colourfield Monochrome series, this large painting is part of the logical and constant development seen in Mrkusichs oeuvre. Dark paintings are notoriously
difficult both for the artist and the viewer, with Mrkusich himself claiming, it is very difficult to make black or darkness work. Yet in spite of the difficulties what becomes apparent in viewing Untitled Dark is that the simplicity of the unambiguous squared format is in perfect balance with the restricted colour: Mrkusich makes darkness work. The schema for this iconic dark
painting is an uncomplicated geometric structure of colour and form, the enveloping darkness shadowing the formal relations of squareness. The soft qualities of colour are restricted to three shades of subtly varying but sumptuous darkness in three separate blocks: one large upper rectangle in a darkened mauve with two squares below, the left a dark earthy tone alongside a much more saturated and weightier tone of near black. Peter Leech, when discussing
Mrkusichs dark paintings in Art New Zealand, said of them, In the dark, of course, formal definition and outline blur. The eyes see only the vaguest relations of intensity and saturation of darkness. This is the case in Untitled Dark, where the tones are all variations
in the dark and consideration of them is only able to be in terms of that darkness, of their being more of a blueish darkness, a brownish or even a charcoal darkness. Colour relations have always been a focus and source of vigour in Mrkusichs painting and so it is in Untitled Dark, even with its restricted and darkened palette and mathematically restrained structure. There is always a perceptual to-ing and fro-ing of colours placed next to each other, and in this painting the heavily saturated lower right square lies perceptually in front of those around it, the large upper rectangle more distant. Each carefully built up colour is
consistently worked without modulation technically no mean task given the area of paint yet the eyes perceive a draining of darkness alongside the saturated weight of the lower right square and to a lesser extent alongside the lower left square, as if there were a luminosity that escapes from the border between the tones. In spite of that the demarcation of the separate areas is not harsh, rather, it is a separation softened by the artists hand, by his choice of colour. This is not hard-edged geometric abstraction, this is abstraction of the human kind, with the sensations and qualities of the varying shallow depths of the darkened structure both softening the mathematical structure and gently enlivening the painted surface. Given the refinement of Untitled Dark what we see in the opulence of that dark colour structure is the embodiment of technical accomplishment and the certitude of Mrkusichs painting process.CHRISSIE CRAIG
IN FOCUS 83
53COLIN MCCAHONNorthlandink on paper signed McCahon, dated April 59 and inscribed Northland in brushpoint lower centre 620mm x 495mm
PROVENANCEPurchased by the current owners from the Barry Lett Gallery, circa 1964.
$45,000 - $55,000
In his seminal text on the life and work of McCahon Colin McCahon: Artist Gordon Brown asserts that McCahon can be seen as a proponent of practical religion: a faith that unfolds in the everyday events of human existence and in circumstance applicable to everyone.1 My painting, says McCahon, is almost entirely autobiographical it tells you where I am at any given time, where I am living and the direction I am pointing in.2 This Northland painting is a visual record of one mans relationship with a particular piece of earth. While elsewhere religion can be seen to be a tormenting, unbalancing influence on the artists life, in this work we see an artist who at ease with both the pragmatics of modern life and the ideals of Christianity: it is a recognition of the landscapes immediate beauty as well as an acknowledgement of the profound force that he believed to be responsible for its existence.Ink is not a material that drapes
itself over a surface; it is not a covering that can be used to conceal or change a surface from one colour to another. Ink stains. Upon contact, ink plunges itself into a surface and saturates its support
and yet, in McCahons Northland works, the ink feels light. The slight, gentle variances between brush strokes suggest that the wash has hovered for a split second before seeping into the surface below. In reality, the tonal variances are the result of fast and rapid movement, the motion of the artists hand outpacing the weight of the ink. The Northland works are the
product of an artist with a newfound understanding of the gravity and implication of the human gesture. They were produced shortly after the artists tour of the United States in 1958. The tour was funded by the Auckland City Council and the Carnegie Trust and it was envisaged that the artists exposure to large American art institutions would benefit his own practice as an arts administrator. McCahon visited institutions in every major American centre and it was here that, for the first time, he was exposed to the new school of expressionist painting championed by practitioners such as de Kooning, Rothko, Motherwell and Pollock. This contact can be seen to have had a direct bearing on the works that McCahon made on his return to New Zealand.CHARLES NINOW
1 Brown, Gordon, Colin McCahon: Artist. Reed, Auckland, 1984, p.2062 Brown, Gordon, Colin McCahon: A Basis for Understanding. Art New Zealand No. 8, Summer 1977 -78.
IN FOCUS 85
54TOSS WOOLLASTONDevils Thumb, Nelsonoil on board signed Woollaston and dated 86 in brushpoint lower left; signed M.T. Woollaston, dated 1986 and inscribed The Devils Thumb in black ink on stretcher verso 1215mm x 1825mm
$100,000 - $150,000
Painted in 1986, Sir Tosswill Woollastons painting Devils Thumb, Nelson is a work that resounds with romantic flourishes of dense oil paint, which eloquently point to the artists refined sensitivity to the rhythmic gradations of landscape. The viewer is placed on a high and omniscient vantage point and the terrain swoops out below in a graceful arch, hugging the basin of water and continuing out beyond the confines of the paintings physical parameters. Gestural passages of burnt umber,
rich ochre, dove grey and sapphire blue flit across the surface of Devils Thumb, Nelson, offering the viewer a chromatic patchwork that speaks of summery days and coastal glissades. The artists treatment of the landscape in Devils Thumb, Nelson is consistent with Woollastons approach to landscape painting throughout his long career, which was generally marked by a reductionist aesthetic that was filtered through expressionistic concerns. In this, Woollaston was influenced by the post-impressionist works of the so-called father of modern art, Paul Czanne, and the work of the romantic poets, William Wordsworth, Percy Shelley and John Keats. This idiosyncratic combination of inspiration that is drawn from sensually emotive poetry and pared-back visual forms endows Woollastons landscapes with a delicate subjectivity. This in turn invites the individual to draw from his paintings their own emotive responses to the evocative nature of the roughly hewn shapes and pigment variegations. Despite Woollastons commitment to clarify and condense the scene before him, the finer details of the landscape of Devils Thumb, Nelson are still discernable. A low, curving coastline,
distant hill, winding ribbon of water and two bays at the foreground that are trimmed with golden sand can be clearly made out.The dynamic sweeps and thick
dollops of paint in Devils Thumb, Nelson are testament to Woollastons belief in the importance of the artists bodily relationship to his paintings. In this, the energetic arm movements, the hand flourishes and the rhythmical fluid motion of the artists body before the painting are seen to be marked out in the two-dimensional scene that results. The significance that Woollaston placed on the relationship between the physical entities of artist and canvas combined with his inherent interest in always maintaining and expressing an authenticity of feeling points to the omnipresent tension in his work between object and subject. In a letter written in 1980, Woollaston asserted that art is hard on the subject and the subject on art, which can be seen to underline his pre-eminent belief in the primacy of individual perception, whereby painting consistently demands a lot from its subject.1 Devils Thumb, Nelson clearly illustrates the two central threads of Woollastons landscape art: his ability to reduce the countryside into a series of almost abstract patterns and forms that are presented through a bustle of painterly strokes; and his searing dedication to preserving an emotional validity through which the landscape comes to be painted. It is this intrinsic duality in Woollastons work that has accorded him a unique place in the history of New Zealand art as one of the countrys most-crucial modernist landscape painters.JEMMA FIELD
1 Tosswill Woollaston as quoted in Tony Green, Toss Woollaston: Origins and Influence (Wellington: Victoria University Press, 2004), p.37.
IN FOCUS 87
55TOSS WOOLLASTONLights Around Tasman Bayoil on board signed Woollaston and dated 93 in brushpoint lower right; inscribed Lights around Tasman Bay in ink verso upper edge 1130mm x 1350mm
$60,000 - $80,000
Taking Tasman Bay in the South Island of New Zealand as its point of departure, Sir Tosswill Woollastons Nocturne presents a tranquil crepuscular landscape. Blanketed by the night sky, the scene is enlivened by a luminous thread of gold light. Painted in 1993, the lyrical landscape recorded in Nocturne is composed from a flurry of cross-hatched strokes of paint. Featuring a predominately gloomy palette of dusky grey, rich brown, purple and sober blue, the piece is brightened by a thin filigree of burnished gold. Coiling in a hook-like fashion around the base of a mountainous scape, this trail of light traces the mouth of the bay and neatly divides land from sea. The poetic title of the painting
speaks of musical compositions that are traditionally inspired by, or suggestive of the night. It also immediately conjures the series of Nocturnes by the mid-19th-century painter James McNeill Whistler, who sought to capture and distil the atmospheric qualities and visual experiences of the River Thames when it was partially obscured by rain, mist, fog, smog or nightfall. These elegiac paintings were an illustration of Whistlers formalist theory that art should be concerned with the harmonious arrangement of colour, light and form and, as such, like the current work by Woollaston, they bordered on abstraction as form was sacrificed to the overall emotive potential of the shadowy scene.As with many of Whistlers Nocturnes,
Woollastons Nocturne is tinged with an element of gloom as the painting is given over to the murky depths of twilight. Woollaston carefully balances this gloominess by the small traces of light that prick through the silent darkness of
the painting and endow the work with an elegiac golden resonance. The high viewpoint of the painting, places the spectator in a privileged position as the surveyor or owner of the landscape spread out beneath. This vantage point, situated high in the hills, accords the turbulent sky a large portion of the painting and the night-time sea below is seen to be encircled in a honeyed nimbus of gold. Woollastons modernist approach to
the New Zealand landscape is evident in Nocturne where forms are condensed and refined beneath his signature thick, almost palpable, application of paint. In this, Woollaston reduces the recognisable in order to accentuate the expressionist and personally emotive potential of the landscape. Woollastons early attitudes to landscape painting were heavily informed by the work of the pioneer modernist and post-impressionist, Paul Czanne, and remnants of that figure are still present in his later paintings such as Nocturne. Here, the reductionist aesthetic, the absence of linear or atmospheric perspective and the characteristic lattice pattern of paint recalls the series of paintings that Czanne completed of Mont Sainte-Victoire near his home in Aix-en-Provence. However, while Czanne was primarily concerned with resolving a new language of pictorial formalism, Woollastons work is richly contemplative. Woollastons paintings such as Nocturne possess a gilt-edged intimacy as they are consistently shadowed by the artists concern to present a genuine expression of his emotional response to the landscape laid out before him.JEMMA FIELD
IN FOCUS 89
56HORACE MOORE JONESTable Top, Gallipoliwatercolour, ink wash and graphite on paper signed Sapper Moore Jones and dated August 1914 (sic)
PROVENANCEFrom the collection of Fred Deans who served at Gallipoli with the artist. Passed by descent to Alfred Amory John Deans (John Deans) and gifted to the current owner, circa 2005.
A partial gift from the artist to Fred Deans on the occasion of his wedding held on 25 September 1917, the anniversary of the artists own wedding. The original price was 10-10-0 and 5-5-0 was paid by Fred Deans.
Accompanied by the original receipt for the work dated 29 April 1918, addressed to Mr F Deans, price inscribed 5-5-0, paid with thanks Moore Jones.
Accompanied by a hand written inscription, likely to be in the hand of Fred Deans which reads The position was taken by No 2 Troup (sic) of the 9th W.M.R. on August 7th 1915, lead thro the gulley by Serg. Max Christie followed by Fred Deans. Silently, near midnight, single file. The position was recognised as impracticable for infantry, but, said Sir Ian Hamilton, in his dispatches, No words can do justice to the achievement of Brig. Gen Russell and his men. The scarped heights were scaled and the plateau was carried by midnight.
NOTEAccompanied by the original framing receipt from The Australian Art Photography Co. 35 Shortland Street.Accompanied by a news clipping relating the fire in which the artist died. 315mm x 227mm
$10,000 - $15,000
Although dated August 1914, Table Top, Gallipoli by Horace Moore Jones is likely to have been painted in August 1915 and to have been incorrectly dated by the artist at the time of completion. The ANZACs landed on Gallipoli peninsula on 25 April 1915 to join the Allied troops in the nine-month battle against the Ottoman Empire for possession of the strategic peninsula. The title of Moore Jones painting refers to an actual location of a successful battle by New Zealand troops in Gallipoli. Table Top is a flat-topped hill at the base of Rhododendron Spur and just south of the narrow valley of Chailak Dere, which is likely to be the basin that is shown in Moore Jones painting. It was successfully captured by the Wellington Mounted Rifles on the night of 6 August 1915 in preparation for the attack on Chunuk Bair.
Table Top, Gallipoli is undoubtedly the work of Moore Jones and the likelihood of the artist having incorrectly dated the painting is reinforced by a note that accompanies the work, which states that the painting is the hand of Moore Jones who gifted it as a wedding gift to a friend, Fred Deans, who was getting married on 25 September 1917 the anniversary of Moore Jones own wedding. It is probable that the original owner, Fred Deans, who fought alongside Moore Jones at Gallipoli is one of the infantrymen who are depicted in the painting. The note also reiterates historical fact and links the events of the campaign to the specifics of the scene depicted, which shows the position taken by the No. 2 Troup (sic) of the 9th W.M.R. (Wellington Mounted Rifles) on Aug 7th 1915, lead thro the gulley by Serg. Max Christie followed by Fred Deans. Silently, near midnight, single file. The position was recognised as
impractical for infantry, butthe scarped heights were scales and the plateau was carried by midnight. Thus, Moore Jones Table Top, Gallipoli honours the victorious night battle staged by New Zealand troops during the Gallipoli Campaign of World War I.The towering escarpment with
its sharply barren face takes up the majority of Moore Jones painting while the single file of infantry is just discernable amongst the shadowed foliage. Tracing the central line of the valley, the helmeted heads of the trail of soldiers are seen inching slowly towards the steep rise of the cliffs. Dwarfed by the rocky heights of this inhospitable environ, small infantrymen are seen quietly advancing through the painting; for example, there is a lone soldier just visible in the shrubbery above Moore Jones signature. Table Top, Gallipoli is testament to Moore Jones skill as a draughtsman, as the work is executed with a paucity of line and with thin washes of pigment that poignantly evoke the trepidation, excitement and quietude that would have accompanied that specific night. Although Gallipoli was ultimately an unsuccessful and costly campaign, it remains seared into the national identity as a defining historical moment for the young nation. Gallipoli was the first time that New Zealand fought on an international scale and it was also the first time that New Zealand entered the military history books as having tough and resilient soldiers fighting for global good in a foreign and hostile environment. It is this fighting spirit, sense of camaraderie and international unity that Moore Jones Table Top, Gallipoli ultimately commemorates.JEMMA FIELD
IN FOCUS 91
59DON BINNEYTe Hengacrayon on paper signed Don Binney, dated 75 and inscribed Te Henga in crayon upper right550mm x 745mm
$7,000 - $9,000
57MILAN MRKUSICHPainting 62-1oil, graphite and metallic foils on stretched canvas inscribed Mrkusich 1/62 in ink lower right; inscribed Painting 62-1 in pencil verso, upper edge 830mm x 885mm
$45,000 - $65,000
58MILAN MRKUSICHUntitledgouache on paper signed Mrkusich and dated 73 in brushpoint lower left 340mm x 420mm
PROVENANCEPurchased by current owner from Peter McLeavey Gallery 1973.
$6,000 - $10,000
IN FOCUS 93
IN FOCUS 95
61RALPH HOTERETowards Aramoanaoil pastel on paper signed Hotere, dated 81 and inscribed Drawing for a black window. Towards Aramoana from the stables @ AURORA Tce Port Chalmers in ink lower section500mm x 400mm
$15,000 - $20,000
60RICHARD KILLEENPast, Present and Futureacrylic lacquer on aluminium signed Killeen, dated July 1978 and inscribed Past Present and Future. Acrylic lacquer on aluminium. 1210mm x 1210mm. Hang close to the wall from 2 tacks or flat headed nails in brushpoint verso upper centre 1210mm x 1210mm
$15,000 - $25,000
VIRGINIA KINGUntitled (from the Stem series)carved and assembled kauri 970mm x 970mm
PROVENANCEPurchased directly from the artist, 2004.
$6,000 - $9,000
64ROSE NOLANHelp Me To Do Things Differentlyflag pendants, oil paint, hessian and cotton signed RN and dated 2001 verso1020mm x 1300mm
REFERENCEAnother work from this series, Help Me To Say More (red on white version), is in the Chartwell Collection, Auckland Art Gallery, Toi o Tmaki.
$8,000 - $12,000
63BILL HAMMONDMeantime - Organ Donor Swappa Crateacrylic on paper signed Hammond and dated 1989 in brushpoint lower right; inscribed Meantime upper left and Organ Donor Swappa Crate 3 in brushpoint lower left505mm x 1600mm
$35,000 - $45,000
IN FOCUS 97
67KATHY TEMINLandscape Treessynthetic fur, synthetic filling, cotton thread, wool and steel, wooden base signed Kathy Temin, dated 2006 and inscribed Landscape Trees underside540mm x 200mm x 150mm
$2,000 - $4,000
66KATHY TEMINI Dont Know Myselffelt on wooden stretcher
inscribed I Dont Know Myself in collaged felt centre right 480mm x 450mm
$1,200 - $1,800
65EMILY WOLFELace Curtainoil on stretched canvas 660mm x 810mm
$5,000 - $7,000
IN FOCUS 99
68ALVIN PANKHURSTShifting Sandsoil on stretched canvas signed Alvin Pankhurst and dated 2006 in brushpoint lower right 1000mm x 1510mm
PROVENANCEPurchased from Pankhurst Studio Gallery, Parnell, 2007.
$10,000 - $15,000
69ALVIN PANKHURSTEvening Tideacrylic on stretched canvas signed Alvin E. Pankhurst and dated 1985 in brushpoint lower left 875mm x 1175mm
PROVENANCEPurchased directly from the artist, 1985.
$8,000 - $12,000
70DICK FRIZZELLMan Rowing Boatoil on canvas signed Frizzell, dated 16/7/85 and inscribed Man Rowing Boat in brushpoint upper right 2360mm x 1795mm
$25,000 - $35,000
IN FOCUS 101
71EMILY KARAKAIwi Representationoil and pastel on stretched canvas signed E Karaka and dated 07 in brushpoint and pastel lower right; signed E Karaka and dated 07 in brushpoint verso upper right 2030mm x 2130mm
REFERENCEThis painting is from a suite of six works that share the title Iwi Representation. One work from this suite is held in the permanent collection of Te Papa Tongarewa. Iwi Representation presents themes around the Ngati Whatua o Orakeis claims in the Waitangi Tribunal Tamaki Makaurau Settlement of 2007, an issues central to the artists practice.
$10,000 - $15,000
72PAT HANLYPacific Fire Benamel on board signed Hanly, dated 85 and inscribed Pacific Fire in brushpoint lower right; signed Hanly, dated 85 and inscribed Pacific Fire in brushpoint verso upper centre 585mm x 1180mm
$35,000 - $45,000
73MAX GIMBLETTThe Door that Contains the Nightgold leaf on board; acrylic polymer paint on canvas 380mm x 760mm
$16,000 - $20,000
74COLIN WHEELERRural Farm Houseoil on board signed C. Wheeler and dated 1976 in brushpoint lower left 600mm x 755mm
$6,000 - $10,000
Colin Wheeler is one of New Zealands most published artists with eight books illustrating his work. They include: Historic Sheep Stations of New Zealand (1968), Historic Sheep Stations of the South Island and Historic Sheep Stations of the North Island, all published by A H and A W Reid. Other books include Kingdom
of the Hills 1930s Canterbury, Mackenzie Roundup More of Our Favourites and Blue Cliffs by A E Woodhouse .Wheeler was a contemporary of Peter
McIntyre and both artists recorded New Zealands rural and urban landscapes, producing visual testimony of the New Zealand that they thought would disappear and be lost to New Zealanders of the future.Colin Wheeler was born in
Dunedin in 1919 and was trained at the Canterbury School of Arts. In 1996, Wheeler was honoured with a major retrospective, An Otago Odyssey Six Decades.
IN FOCUS 103
75TOSS WOOLLASTONLandscapeoil on board signed Woollaston in brushpoint lower right; dated 70/2 and inscribed 6/338 (struck through by the artist) in ink verso upper left 590mm x 1200mm
$25,000 - $35,000
76PAT HANLYGarden - Cool and Hot Scentindian ink, goauche and oil pastel on paper signed Hanly, dated 81 and inscribed Cool and Hot scent in pencil upper right535mm x 630mm
$9,000 - $12,000
IN FOCUS 105
77PETER SIDDELLIslandacrylic on board signed Peter Siddell and dated 1981 in brushpoint lower left; inscribed Island Bay by Peter Siddell $1500 in ink on label affixed verso; catalogue details inscribed in type script on original Fletcher Challenge Limited collection label affixed verso 800mm x 598mm
PROVENANCEFormerly in The Fletcher Trust Collection.
$10,000 - $15,000
80TERRY STRINGERUntitledcast bronze, 4/20 signed Terry Stringer, dated 09 and editioned 4/20, incised162mm x 57mm x 55mm
$1,600 - $2,500
82JEFF THOMSONMap of New Zealandcorrugated iron signed J.G. Thomson and dated 2004 incised lower left 1250mm x 700mm
$4,500 - $6,500
79SALVADOR DALIGretchenetching with watercolour and gold leaf, 28/80 signed S. Dali, dated 70 and inscribed 28/80 in pencil lower right 380mm x 275mm
PROVENANCEPurchased by current owner from Forum North Antique and Fine Art Auction, 19 October 1991. Purchased records included.
$4,500 - $5,500
78MONIQUE JANSENPochoirpencil, tusche and charcoal on stretched canvas signed Monique Jansen, dated 1998 and inscribed Pochoir in pencil verso, upper centre 1220mm x 1220mm
$3,000 - $5,000
81TRACEY MOFFATTHillary R. Clinton From Under the Sign of Scorpio Series archival pigment ink on acid-free rag paper 2005 inscribed Hillary R. Clinton in printed type lower left and Scorpio in printed type lower right 432mm x 584mm
$2,000 - $4,000
IN FOCUS 107
83FRANCES HODGKINSMother and Childwatercolour on paper c.1944 signed Frances Hodgkins in graphite lower left; Original Redfern Gallery, label affixed verso 525mm x 350mm
PROVENANCEPurchased from the Redfurn Gallery Ltd. 20 Cork Street, Burlington Gardens, Bond Street, London, purchased by Mrs M. Hill, September 1945
$15,000 - $20,000
84ANDRE FRAYEFrench Harbour Sceneoil on stretched canvas signed Andre Fraye in brushpoint lower right 580mm x 710mm
$5,000 - $7,000
85TOSS WOOLLASTONThe Fishermanoil on board 605mm x 455mm
$9,000 - $12,000
251 225 242
224 231 237
232 233 252
IN FOCUS 109
Thu 1 December 9:00pm - 5:15pm
Fri 2 December 9:00am 7:30pm
Sat 3 December 11:00am 3:00pm
Sun 4 December 11:00am 3:00pm
Mon 5 December 9:00am 5:15pm
Tue 6 December 9:00am 5:15pm
Wed 7 December 9:00am 11:30am (sharp)
AT 1PM LOTS 1000 - 1250 AFFORDABLE & ESTATE JEWELLERY DESIGNER COSTUME JEWELLERY
AT 6PM LOTS 100 - 130 WRIST AND POCKET WATCHES LOTS 131 - 135 ACCOUTREMENTS & MINING INTEREST LOTS 136 - 139 LOOSE DIAMONDS LOTS 140 - 284 FINE JEWELLERY
NO DELIVERY OF ITEMS PURCHASED CAN BE GIVEN DURING THE SALE SESSIONS.
WED 7 DECEMBER 1:00PM & 6:00PM
FINE JEWELLERY & WATCHES 109
Early commencement of Affordable
& Estate Jewellery sale.
A buyers premium of 12.5% will be charged on all
items in this Fine Jewellery & Watches sale.
GST (15%) is payable on the buyers premium only.
MAGNIFICENT AND FINE
JEWELLERY & WATCHES
WRIST & POCKET WATCHESImportant Conditions of Sale for Watches:Please note: as many of the timepieces are old, or their history is unknown, Webbs offers no guarantee as to mechanical condition or condition of seals etc. A timepiece described as fine or as new is an opinion as to appearance only. All watches are sold as viewed. It shall be assumed that all buyers have inspected the lots and that they are happy with them in all respects. Watches cannot be returned on the grounds that repairs or service have been carried out, or parts (including straps or bracelets) have been supplied, by anyone other than the named maker. Notwithstanding the foregoing condition, named wristwatches are sold on the basis that the movement (or movement and case where both would normally have been manufactured by the named maker) were manufactured by the named maker. It is recommended that buyers have watches serviced promptly to ensure that damage does not arise from faulty seals or any other aspect of mechanical condition.
1.00PM(NOTE EARLY STARTING TIME)
AFFORDABLE, ESTATE AND DESIGNER COSTUME JEWELLERYLOTS 1000-1250An exceptionally good selection of antique and modern jewellery, diamond rings, heavy gold chains and affordable trinkets; including many items received to late for inclusion in the catalogue. Mostly without reserve. Please ask for an inventory at viewings, or see on-line from 1st day of viewing.
6.00PMFINE JEWELLERY & WATCHESIncluding accoutrements, mining interest and loose diamonds.
100 ROLEX, A MID-SIZED OYSTER SPEEDKING PRECISION STAINLESS CASED WRISTWATCH.
Ref: 6430 S/N 1758788 (C.1964/65). Silver face with polished batons and sweep second. Manual with screw-down crown. Brown leather strap.
$1,000 - $1,500
101 JAEGER-LE COULTRE, A GENTLEMANS MASTER CONTROL ULTRA THIN STAINLESS STEEL CASED WRISTWATCH.
Ref: 145.8.79, Ltd.Edn. No 3194, 1000 Hours. Water resistant 5Atm. Manual mechanical movement, silver face with Arabic quarters and polished batons. 34mm. Black crocodile leather strap with J-L buckle. As new appearance, with original box.
$3,000 - $4,000 see colour illustration p 113
102 ROLEX, A GENTLEMANS ALL 18CT YELLOW GOLD OYSTER PERPETUAL DAY/DATE WRISTWATCH.
Ref: 18238 S/N A572518 (1999). White face with raised Roman numerals, sweep second, day and date window. President bracelet. With original tag and guarantee. Excellent appearance.
$14,000 - $18,000 see colour illustration p 111
103 BREGUET, AN 18CT YELLOW GOLD CASED MID-SIZED WRISTWATCH.
Ref: 3210 Classique No. 705. Manual. Silver guilloch face with subsidiary seconds and unusual radial Roman numerals. Blue cabochon end-stone to crown. Replacement black crocodile leather strap with 18ct buckle. (C.mid 1990s). Very good appearance.
$4,500 - $6,500 see colour illustration p 113
104 OMEGA, A GENTLEMANS VINTAGE `STAYBRITE STAINLESS CURVED CASE WRISTWATCH.
Case No.9637355. Monolithic case back and lugs with lift-out case and enclosed movement. C.1940. Art Deco silver face with Arabic numerals and subsidiary seconds. Black lizard replacement strap. Excellent appearance.
$1,000 - $1,400
105 A LADYS ART DECO PERIOD WRISTWATCH SET WITH DIAMONDS.
The elongated octagonal case of platinum having a continuous line of round cut diamonds set in the bezel. Manual mechanical movement, silver face with Arabic numerals. Black suede replacement strap. Monogram and date March 7, 1930 engraved on case back.
106 TIFFANY & CO, A GENTLEMANS AUTOMATIC DIVING WATCH.
Circular outline case and matching bracelet in stainless steel and charcoal grey ceramic rubber. Grey and silver face with silver Roman numerals, sweep second and date window. Rotating outer bezel with adjustment by off-set crown. Movement exposed under crystal back. Water resistant 10 ATM. Signed Tiffany & Co and numbered 020240682. With original box. As new appearance.
$1,500 - $1,800
IN FOCUS 111
FINE JEWELLERY AND WATCHES 111
107 CONCORD, A LADYS `LA TOUR ALL 14CT WHITE GOLD WRISTWATCH SET WITH DIAMONDS.
Ref: 66.25.648. No 0391074. Tank style case bordered by rows of small brilliant cut diamonds. Mother-of-pearl face with Roman quarters and diamond indexes. Quartz movement. Gatelink bracelet with deployant clasp. Brand new old stock.
$3,500 - $4,000 see colour illustration p 111
108 ROLEX, A GENTLEMANS ALL 18CT YELLOW GOLD DAY/DATE OYSTER PERPETUAL WRISTWATCH WITH DIAMOND INDEXES.
Ref: 18038 S/N 8578291 (C.1984). Champagne face with day and date windows, sweep seconds and diamond indexes. President bracelet. With original box. Excellent appearance.
$11,000 - $13,000 see colour illustration p 111
109 A LADYS 18CT YELLOW GOLD HALF-HUNTING CASED FOB WATCH ENHANCED WITH ENAMEL.
Keyless lever, handset button in the band. Ornate gold `telephone dial face with Roman numerals. Outer numerals blue enamel Roman under pink enamel guilloch. Cuvette also 18ct, bow (replacement) rolled gold. Unblemished appearance.
$1,000 - $1,400 see colour illustration p 111
110 PATEK PHILIPPE, A GENTLEMANS RARE VINTAGE `GONDOLO STYLE ART DECO WRISTWATCH.
Movement 832302 case 617695 (C.1938). Curved case with extended curved lugs. Silver face with raised Roman numerals and radial batons, subsidiary seconds. Two body case, tonneau shaped 18 jewel movement. Replacement black leather strap with 18ct PP buckle. Very good appearance for age, a highly collectable example.
$10,000 - $12,000 see colour illustration p 111
111 CARTIER, A LADYS `MUST DE CARTIER` 21 WRISTWATCH.
Stainless steel and gold. Ref: 1340 No.PL122298. Circular outline with Roman numerals to bezel. Quartz movement. With original box.
$1,200 - $1,500 see colour illustration p 111
112 I.W.C. (INTERNATIONAL WATCH CO.), SCHAFFHAUSEN, A GENTLEMANS 14CT YELLOW GOLD CASED AUTOMATIC WRISTWATCH.
Movement 1647377, Case 1650025, 21 Jewels. Cal853. Cream face with polished batons and sweep second. Replacement black leather strap. Cal 853 was introduced in 1958 and continued in production until 1963. Cal853 was an improvement on the original Pellaton winding system introduced in 1950. Excellent appearance, little surface wear. With original box.
$3,250 - $3,750 see colour illustration p 113
113 ROLEX, A GENTLEMANS ALL 18CT YELLOW GOLD OYSTER PERPETUAL DAY/DATE WRISTWATCH.
Ref: 1803 S/N 4205783 (C.1975). Champagne face with polished batons, sweep second, day and date windows. President bracelet. Very good appearance for age.
$9,000 - $12,000 see colour illustration p 113
114 BVLGARI. A GENTLEMANS AUTOMATIC WRIST WATCH.
Assioma ref: AA48. SL2299. Rectangular stainless case and integrated tapered bracelet. Charcoal grey tonneau shaped face with polished batons. Arabic meridians, sweep second and date window. As new appearance with original box.
$1,400 - $1,800 see colour illustration p 113
115 OMEGA, A GENTLEMANS VINTAGE STAINLESS STEEL CASED AUTOMATIC WRISTWATCH.
Circular outline, silver face with pink gold batons, hands and sweep second. Some spotting to dial. Tan snakeskin strap. Cal505. C.1958/60. Waterproof.
$400 - $600
116 OMEGA, A VINTAGE STERLING SILVER CASED WRISTWATCH WITH INTERESTING PROVENANCE
Circular outline case, white enamel face with Roman numerals and subsidiary seconds. Manual mechanical movement signed Omega and numbered 4814354. Water resistant screw down bezel with milled edge. Swing-out movement. Case hallmarks for London import 1915. The dial is an Omega replacement, the original (damaged) dial is supplied with the watch for reference. Verso engraving: To Capt. J.R. Kirk from C.C.W. Guild 3.1.17. Brown leather strap. The watch was presented to Captain Kirk, ex-Mayor of Gisborne, by the Cook County Womens Guild on the eve of his departure to take command of New Zealand troups going to war on board the S.S. Turakina. The chronical of the voyage on 26 April 1917 was recorded in a souvenir magazine The Klink. With copies of contemporary newspaper articles and Museum archive.
$2,500 - $3,000 see colour illustration p 111
IN FOCUS 113
FINE JEWELLERY AND WATCHES 113
117 VACHERON & CONSTANTIN, AN 18CT YELLOW GOLD CASED MID-SIZE WRISTWATCH.
Ref: 355058-6184, Movement 524344, manual 18 jewel mechanical. Slim case, silver face with polished batons and sweep second. Red crocodile leather strap. Excellent appearance.
$2,500 - $3,000 see colour illustration p 111
118 A 14CT YELLOW GOLD CASED OPEN FACE POCKET WATCH.
Keyless lever, white face with Arabic numerals and subsidiary seconds. The face and movement signed James R. Armiger, Baltimore and numbered 97613. The bezel and band enhanced with rich decoration. Cuvette also 14ct. 84g.
$1,000 - $1,500
119 OMEGA, A GENTLEMANS VINTAGE 14CT ROSE GOLD CASED WRISTWATCH.
17 jewel manual movement No 10643864 (C.1945) case No 10646121. Cal360. Circular outline silver face with Arabic quarters and polished batons, subsidiary seconds. Remarkable almost new appearance. Replacement red leather strap with Omega buckle. With Omega box of later date.
$2,750 - $3,250 see colour illustration p 111
120 HAMILTON, A GENTLEMANS PLATINUM CASED OPEN FACE POCKET WATCH.
Keyless 17j lever, movement ref: 916 S/N 3114952, platinum case No 100651. Art Deco design, silver face with Arabic numerals and subsidiary seconds. Bow of geometric design, case back with monogram in relief. Diameter 44mm.
$1,850 - $2,250 see colour illustration p 111
121 BULOVA, A GENTLEMANS `AMBASSADOR AUTOMATIC STAINLESS WRISTWATCH WITH ORNATE GOLD DECORATION.
Textured gold face with raised batons, sweep second and date window. The bezel ring of gold nuggets, the lugs of 10ct gold set with Yukon nuggets to Dal sheep rams heads in gold, the eyes set with rubies.
$1,250 - $1,750 see colour illustration p 113
122 ROLEX, A LADYS STAINLESS AND GOLD DATEJUST OYSTER PERPETUAL WRISTWATCH WITH DIAMOND INDEXES.
Ref: 79173, S/N Y685858 (2004). Champagne face, fluted bezel, jubilee bracelet. With original box and guarantee showing purchase new in New Zealand 22/7/2004. As new appearance.
$3,750 - $4,750 see colour illustration p 111
123 UNIVERSAL GENVE, A GENTLEMANS 18CT YELLOW GOLD CASED `POLEROUTER AUTOMATIC WRISTWATCH.
Ref: 10379/2, SN 2063337 (C.1960). Polerouter Jet. Champagne face with polished batons and sweep second. Replacement black lizard strap. Good appearance, spotting to face.
$1,500 - $1,800 see colour illustration p 111
124 GIRARD-PERREGAUX, A LADYS ALL 18CT YELLOW GOLD WRISTWATCH SET WITH DIAMONDS.
Ref: 4127 SA. Cushion outline case with integrated mesh bracelet. Gold face with polished batons signed Girard-Perregaux. The bezel set with a continuous line of round modern brilliant cut diamonds. Manual mechanical movement.
$3,000 - $4,000 see colour illustration p 113
125 BUCHERER, A LADYS ALL 18CT WHITE GOLD WRISTWATCH SET WITH DIAMONDS.
Ref: 4008/16017. Oval case with integrated textured mesh bracelet. Textured white gold face signed Bucherer. The bezel (appears non-factory) set with a line of 16 round modern brilliant cut diamonds of TDW around 2.0ct. Manual mechanical movement, the crown set with a black onyx cabochon.
$3,500 - $4,500 see colour illustration p 111
126 ATLANTIC. GENTLEMANS 18CT YELLOW GOLD CASED WRISTWATCH.
`Jubilee model. Reeded silver face with bar hour indicators and sweep second. Manual mechanical movement. Brown lizard strap.
$400 - $500
IN FOCUS 115
127 JAEGER-LE COULTRE, A GENTLEMANS VINTAGE 18CT YELLOW GOLD CASED WRISTWATCH.
Circular outline, the case and lugs with textured finish. Case 168898, movement 218671, Manual Cal450. Black face with Arabic quarters about a rectangular frame motif. Sweep second. Rotating lock-down back with (replacement) mesh strap also of 18ct yellow gold. Fair/good appearance with J-L presentation box.
$1,400 - $1,800
128 ROLEX-TUDOR, A GENTLEMANS STAINLESS AND GOLD OYSTER PRINCE DAY/DATE WRISTWATCH.
Ref: 94613 S/N B346379. Champagne face with luminous hands, polished batons, sweep second, day and date windows. Jubilee strap. With box and guarantee showing purchase new in New Zealand. 7-6-91.
$1,500 - $1,800 see colour illustration p 113
129 A GENTLEMANS 18CT YELLOW GOLD CASED OPEN FACE POCKET WATCH.
Keyless 3/4 plate lever, white face with Roman numerals and subsidiary seconds. Handset button in the band. Movement numbered 144843, diamond pivot to balance cock, the face bearing the word Adjusted. 18ct Cuvette. Unblemished appearance. 120g.
$1,850 - $2,250 see colour illustration p 113
130 AUDEMARS PIGUET, A GENTLEMANS STAINLESS AND GOLD ROYAL OAK AUTOMATIC WRISTWATCH.
Ltd Edition No20/D51842. Octagonal gold bezel with exposed screws, stainless case. Hobnail face with polished batons, sweep second and date window. Red crocodile leather strap with AP deployant clasp. With original box and instruction book.
$5,000 - $6,000 see colour illustration p 113
131 A FOB PENDANT SET WITH GOLD BEARING QUARTZ.
The broad mere shaped piece of gold-bearing quartz set in a frame of 15ct yellow gold with a decorative cap centred by a vacant shield. The property of the descendant of a New Zealand gold mining family.
$400 - $600
132 A PAIR OF CUFFLINKS SET WITH GOLD DUCATS.
14ct (tested) yellow gold sprung toggle design, each free-mount set with an Austro-Hungarian gold Ducat dated 1915 (Franz-Joseph). 14g.
$500 - $700
133 A NATURAL GOLD NUGGET.
With host quartz rock. 11.3g. $400 - $500
134 A PAIR OF 9CT YELLOW GOLD CUFFLINKS.
Oval plate, chain and bar design in polished and satin finish. As new. 8.3g.
$300 - $400
135 A FOB PENDANT SET WITH GOLD BEARING QUARTZ.
The mere shaped piece of gold-bearing quartz set in a frame of yellow gold with an ornately decorated cap. The property of the descendant of a New Zealand gold mining family.
$400 - $600
ACCOUTREMENTS & MINING INTEREST
FINE JEWELLERY & LOOSE STONESIndependent Gemmological Reports and Valuations:Valuations are made available to customers for two primary purposes: Firstly to provide an independent opinion as to the quality of the stones and metals comprising the piece, and Secondly so that buyers can, if they wish, obtain suitable Insurance cover immediately upon purchase and prior to delivery.A valuation for insurance purposes represents a calculated replacement cost allowing for maximum retail margins, such that an Insurer can assess the outer limit of their exposure to risk. It does not represent actual new retail replacement as it makes no provision for competitive trade practice, or for discounts obtained by individual bargaining. As fashion, desirability and current market forces all have variable impact on second hand or Auction value, there is no direct formula for estimation of such value by interpolation from Insurable value.As the currency exchange rate and spot metal prices have a marked effect on jewellery valuations, buyers should note the date and prevailing economic factors at the time that the valuation was produced. Once all of the prevailing parameters have been established, it is possible for an experienced person to interpolate a rough estimate of the current cost of manufacture from past insurable value, but again that exercise will give no indication of actual market forces.Buyers should also note the stated purpose of the valuation (insurance, retail market, cash value, estate division etc). All
138 A LOOSE COGNAC COLOURED DIAMOND OF 2.34CT.
The diamonds round, old mine cut. Gemologists report available.
$3,500 - $4,000 see colour illustration p 117
139 A LOOSE BLUE STAR SAPPHIRE CABOCHON OF 42.86CT.
The oval sapphire cabochon of mid-Ceylonese blue, clear translucent appearance and showing 6 rayed asterism. Gemologists report available.
$6,500 - $8,500 see colour illustration p 117
140 A PARTICULARLY GOOD LATE 19THC. LOCKET/BROOCH SET WITH DIAMONDS, ON CHAIN.
Oval outline satin finish yellow gold Belle poque design. A delicate wirework border enclosing a domed panel decorated with a laurel garland set with senaille cut diamonds about a central line of three old mine-cut diamonds. Verso a vacant glazed compartment. The removal bale is set with further diamonds and a brooch pin is provided for alternate use. Suspended by a reeded hollow cable link chain. Tests as approximately 14/15ct which as been over-gilded. Possibly French/European. Gemologists report available.
$2,000 - $3,000 see colour illustration p 125
141 A 19THC. ETRUSCAN REVIVAL BROOCH.
Girandole design in yellow gold comprising a circular panel set with a 22mm round banded agate cabochon bordered by wire and bead decoration and suspending three articulated drops also set with banded agate cabochons. Verso a vacant glazed compartment.
$550 - $750 see colour illustration p 125
142 AN ART DECO PERIOD BOW BROOCH SET WITH DIAMONDS AND SAPPHIRES.
The elegant ribbon bow of platinum enhanced with ajour set with old cut diamonds and lines of French cut blue sapphires to suit the design.
$5,000 - $6,000 see colour illustration p 108
valuations remain opinions and not matters of fact.Whilst Webbs staff will assist buyers to understand the methodology and technical details of Gemmological reports and valuations, buyers must make their own assessment of an items value before bidding. Webbs its consultants and employees make no representation or warranty regarding any outside opinion, valuation or certificate of any item on offer.Please note: where gemological reports are available these should be read together with the catalogue description. Should there be, through error, omission or introduction of better evidence, any significant difference between the catalogued description and that provided in the gemologists 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.
136 A LOOSE AQUAMARINE OF 66.54CT.
Oval cut. Gemologists report available. $2,000 - $3,000
137 A LOOSE OLD MINE CUT DIAMOND OF 3.08CT.
Slightly irregular cushion outline, assessed as M/N, VS2. An interesting and attractive stone that faces-up well. Gemologists report available.
$16,000 - $18,000 see colour illustration p 127
143 A VICTORIAN KNOT MOTIF KEEPSAKE BROOCH.
Quatrefoil knot inset with plaited hair about a central raised section set with round turquoise cabochons; suspending by chain festoon a heart shaped and a circular drop each set with a turquoise bead recto and a glazed compartment containing plaited hair verso. Tests as approximately 22ct.
$600 - $800 see colour illustration p 117
144 A VICTORIAN BROOCH AND EARRINGS SUITE.
Knot and ribbon scroll design in yellow gold (tests as overgilded 18ct), the ribbon enhanced with engraving about 4 oval garnet cabochons. The earrings studs of circular outline each set with a circular garnet cabochon. 25.8g.
$1,000 - $1,400 see colour illustration p 129
IN FOCUS 117
FINE JEWELLERY AND WATCHES 117
145 A VICTORIAN LOCKET/BROOCH AND EARRINGS SUITE SET WITH BLACK ONYX.
Oval outline in over-gilded yellow gold (approximately 15ct) decorated with rope-work and beading, set with a 35 x 27mm polished cabochon black onyx panel, verso a glazed compartment. The drop earrings of matching design comprising a small onyx panel at the wire suspending a larger drop.
$550 - $750 (set)
146 A STYLISH NECKLACE AND BRACELET SUITE OF GOLD, RED CORAL AND PEARLS.
Rope-twist design of heavy 18ct yellow gold rope-link chain entwined with lines of red Mediterranean coral beads and seed pearls in a triple spiral twist. 114.4g.
$3,800 - $4,800 (2) see colour illustration p 117
147 A HINGED BANGLE SET WITH AMETHYSTS AND HALF-PEARLS.
9ct rose and over-gilded satin yellow gold, enhanced with applied scrollwork and beading. The upper section set with a central oval cut and two shoulder pendeloque cut amethysts together with two lines of 4 pearls. Hallmarks for Chester 1913.
$700 - $800 see colour illustration p 129
148 A MUFF CHAIN OF 9CT YELLOW GOLD.
Faceted oval links with wire over-locks, 1400mm, 19.7g. $450 - $650
149 A LONG, HEAVY NECKLACE OF 18CT YELLOW GOLD.
Double rope-twist links of `French Knit design. 930mm. 103.3g.
$4,000 - $5,000
150 PASQUALE BRUNI, A LARGE OPEN HEART PENDANT SET WITH DIAMONDS.
18ct white finished gold set with some 1.51ct of round modern brilliant cut diamonds. The border pierced as a chain guide, currently set to an asymmetric drop. Hartfield Letter of Authenticity. Signed on chain plate. With box.
$5,750 - $6,750 see colour illustration p 119
151 PETER MINTURN, A BROOCH SET WITH AN AMETHYST.
Freeform kelp motif in 18ct yellow gold, raised to an oval cut 15 x 19mm amethyst. Signed with monogram. With original Peter Minturn box. 23.9g. Gemologists report available.
$950 - $1,250
152 A LATE VICTORIAN/EDWARDIAN NECKLACE SET WITH HALF-PEARLS.
15ct yellow gold rope links to an articulated mid-section of scrolls and fringe drops all set with half-pearls. Fitted with a folding hanger bale. With original fitted box.
$1,850 - $2,450 see colour illustration p 117
153 A HEAVY SIX STRAND BRACELET OF 18CT YELLOW GOLD.
The six strands of solid rectangular links, each terminating in a chain tassel forming a fringe, secured by white gold double hinged clasp set with a row of diamonds. 112.7g.
$4,000 - $5,000
154 A MUFF CHAIN OF 15CT YELLOW GOLD.
Figaro curb links with a single clip. 1440mm, 33g. $1,200 - $1,600
155 A NECKLACE AND BRACELET SUITE OF 18CT YELLOW GOLD.
Plaited three strand mesh with applied beads at even intervals. The matching design would allow the bracelet and necklace to be linked to form a long necklace. 73.8g.
$2,800 - $3,400
156 A BANGLE SET WITH AN OPAL AND PEARLS.
Hinged tubular cross-over design in yellow gold (tests approximately 15ct), the upper section centred by a circular panel set with a round milk opal cabochon surrounded by half-pearls.
$450 - $650
157 A RIVIRE NECKLACE OF DIAMOND CLUSTERS.
The line of articulated flowerhead clusters graduated from the centre, and also having each 7th link a little larger than the links on either side, are each set with 7 round modern brilliant cut diamonds centred by the largest stone. TDW 13.32ct.
$16,000 - $18,000 see colour illustration p 119
IN FOCUS 119
FINE JEWELLERY AND WATCHES 119
158 A NECKLACE OF PINK AND WHITE DIAMONDS WITH A FANCY YELLOW DIAMOND DROP.
Designed as a line of flowerhead clusters in 18ct pink finished gold each set with 7 pink diamonds joined by articulated knife-edge bars, each set with a white diamond in 18ct white finished gold to a central circular pink and white diamond cluster from which is suspended, by a similar square panel and two articulated bars, a pear shaped drop set with a central 1.01ct pendeloque cut fancy yellow diamond set within two concentric rows of pink diamonds and an outer border of white diamonds. The pink and white diamonds all round modern brilliant cut. TDW 9.66ct.
$14,000 - $18,000 see colour illustration p 123
159 A HIGHLY FASHIONABLE THREE ROW BRACELET SET WITH PINK AND WHITE DIAMONDS.
The rows designed as articulated lines of circular 7-diamond flowerhead clusters of matched size, the outer lines of 18ct pink finished gold set with pink diamonds, the inner line of white finished gold with white diamonds. The diamonds, all round modern brilliant cut comprise 7.89ct of pink and 4.35ct of white.
$14,000 - $18,000 see colour illustration p 123
160 A MUFF CHAIN OF FANCY YELLOW GOLD LINKS.
9ct (tested) decorative plate, faceted oval and snake links in a repeating pattern. 1660mm, 44.5g.
$1,000 - $1,400
161 A NECKLACE OF MIKIMOTO CULTURED PEARLS.
The 7mm round white pearls of matched size secured with a clasp of silver set with a small pearl. Signed with Mikimoto monogram. 600mm.
$450 - $650
162 A GOLD BANGLE DECORATED WITH BLACK ENAMEL AND PEARLS.
16mm wide flat hinged design inlaid with black enamel enhanced with half-pearls in a floral and foliate design. Small chips to enamel. Tests approximately 14ct, 35.2g. Sentiment engraved on inner surface.
$800 - $1,000
163 PASPALEY, AN EXCEPTIONALLY LONG NECKLACE OF CULTURED BAROQUE SOUTH SEAS PEARLS.
Semi-round, bee-hive silver/white 16.8-10mm graduated from the centre with good orient and blend to a beaten yellow gold ball of 16mm. 1000mm. With original Box. Gemologists report available.
$10,000 - $12,000
164 A PAIR OF CREOLE CIRCLET EARRINGS OF 18CT WHITE AND YELLOW GOLD.
Hinged rope-twist design, 14.7g. $600 - $800
165 A FRENCH ALBERTINA FOB CHAIN WITH AN AMETHYST SWIVEL SEAL.
Triple strand in pink and yellow gold, the barrel slide enhanced with vari-colour gold decoration, the swivel seal set with a cushion outline faceted vacant amethyst seal. 120mm (150mm overall).
$450 - $650
166 A BANGLE SET WITH RUBIES AND DIAMONDS.
Hinged design in 18ct yellow gold, the upper section channel set with a row of 20 round cut rubies and diamonds in an alternating sequence. 15g.
$1,000 - $1,200 see colour illustration p 129
167 A VICTORIAN GOLD DOUBLE PHOTOGRAPH LOCKET WITH CHAIN.
Oval outline in 15ct yellow gold enhanced with wirework, hinged and containing two compartments (one deficient glass). Suspended by an 800mm fancy link chain of 9ct yellow gold. 47.1g.
$1,750 - $2,000
168 A VICTORIAN/EDWARDIAN NECKLACE SET WITH AMETHYSTS, CITRINES AND HALF-PEARLS.
Over-gilded 9ct gold, set with two rectangular cut amethysts, a rectangular cut citrine and suspending a pendeloque citrine drop. Very minor repair to one chain support.
$1,500 - $1,800 see colour illustration p 125
169 A LINE BRACELET SET WITH CABOCHON BLUE SAPPHIRES, RUBIES AND DIAMONDS.
Designed as a line of 8 oval links, each set with an oval blue sapphire cabochon; joined by articulated bow links, each set with 6 small round ruby cabochons and two small diamonds. 18ct yellow gold.
$1,200 - $1,500
170 A COLLAR STYLE NECKLACE OF 18CT YELLOW GOLD.
Flat polished bar links. 97.7g. $3,500 - $4,500
IN FOCUS 121
171 AN UNUSUAL NECKLACE OF INCA DESIGN.
Yellow gold (tests approximately 18ct) zig-zag bar and chain link design to a tassel fringe drop, set with natural gemstone, hardstone and faience beads together with a mother-of-pearl panel. Signed G. Laffi.
$750 - $1,000
172 AN ART NOUVEAU PERIOD NECKLACE SET WITH AMETHYSTS AND PEARLS.
10ct yellow gold Art Nouveau openwork design set with a round cut deep purple amethyst and three small pearls, suspending a pendeloque amethyst drop and suspended by twin chains to a central amethyst set bale and 9ct trace neck chain. With original fitted box supplied by W. Littlejohn & Son of Wellington. An exquisite example in fine condition.
$1,250 - $1,750 see colour illustration p 125
173 A SET OF TWO 18CT YELLOW GOLD MEDALLIONS STRUCK TO COMMEMORATE THE 200TH ANNIVERSARY OF CAPTAIN COOK.
Australian mint, 1970, numbered 1590. The larger medallion bearing the Australian Coat of Arms, the smaller an image of the Endeavour recto; verso a bust of Captain Cook. 78.9g. In original fitted box.
$3,000 - $3,500
174 A PENDANT SET WITH A CORONET HALF EAGLE GOLD COIN AND DIAMONDS WITH AN 18CT GOLD CHAIN.
The coin dated 1880 claw set in an open loopwork pendant frame of 18ct yellow gold set with 16 round modern brilliant cut diamonds, the bale set with a further diamond: suspended by a long neckchain of 18ct yellow gold, lovers rope knot and plain polished links. 700mm. 55.2g.
$2,400 - $2,800
175 A STYLISH HEAVY GOLD BRACELET SET WITH PRECIOUS STONES.
Designed as three rows of articulated cupped flowerheads in 18ct yellow matt and polished gold, each set with a round cut diamond, ruby, emerald or sapphire. 67.9g.
$2,850 - $3,850
176 A NECKLACE OF 18CT YELLOW GOLD SET WITH DIAMONDS AND BLACK PEARLS.
Collar style in flexible sprung links decorated at mid-section by three X motifs set with round modern brilliant cut diamonds, each suspending an 11mm South Seas pear shaped black pearl drop. 45.8g.
$1,850 - $2,450
177 A PAIR OF VICTORIAN REPOUSS GOLD DROP EARRINGS.
Each fitted with a wire hook, set with a square cut emerald and suspending an articulated single tapered drop.
$375 - $475
178 THE SIGNET SEAL RING OF AN EARL.
15ct yellow gold set with an oval cornelian-onyx carved with an intaglio monogram `K below an Earls coronet. Hallmarks Birmingham 1859.
$300 - $500
179 A DRESS OR ETERNITY RING SET WITH SAPPHIRES AND DIAMONDS.
The band of 18ct yellow gold set with a line of three Princess cut diamonds and two oval cut Ceylonese blue sapphires. The diamonds estimated as D/F, VS (one with very minor chip) with a TDW 0.75ct; the sapphires of approximate total 0.92ct . Gemologists report available.
$1,850 - $2,450 see colour illustration p 125
180 A STRIKING FIVE-ROW DIAMOND RING.
The wide band of 18ct white finished gold set with 5 raised rows of round modern brilliant cut diamonds set within pierced frames outlined with smaller brilliant cut diamonds. Gemologists report available.
$2,000 - $2,500 see colour illustration p 127
181 A DIAMOND CLUSTER RING.
Centred by a round modern brilliant cut diamond of approximately 0.94ct assessed as F/G, SI1 surrounded by 12 further brilliants of similar quality. TDW approximately 1.84ct. Gemologists report available.
$7,000 - $8,000 see colour illustration p 119
182 A RING SET WITH A RED TOURMALINE.
The square cut pink/red tourmaline of approximately 4.32ct is set in a heavy contemporary design ring of 18ct white gold. Makers mark JW for Jewellers Workshop. 20.2g. Gemologists report available.
$1,800 - $2,200 see colour illustration p 127
183 A PENDANT NECKLACE SET WITH AN EMERALD AND DIAMONDS.
The fine quality pendeloque cut emerald of 4.65ct is suspended from an open circlet by an articulated 7 link drop. The circlet and drop set with 19 round modern brilliant cut diamonds, and suspended by a neckchain of snake links. 18ct white finished and yellow gold. Gemologists report available.
$18,500 - $22,500 see colour illustration p 119
184 A LATE VICTORIAN BROOCH SET WITH TURQUOISE AND DIAMONDS.
Quatrefoil heart motif design in 15ct yellow gold/silver doublet set with old mine cut diamonds and circular polished turquoise cabochons. TDW approximately 2.10ct. With box from Campbell Ltd, London. Gemologists report available.
$3,500 - $4,500 see colour illustration p 117
185 A TENNIS STYLE LINE BRACELET SET WITH DIAMONDS.
Designed as a line of 59 articulated links of 18ct white finished gold, each channel set with a Princess cut diamond, with a further diamond at the thumb-piece of the clasp. TDW in excess of 5ct. Gemologists report available.
$6,500 - $8,500 see colour illustration p 119
186 A CHARMING TURTLE MOTIF BROOCH.
Gold/silver doublet set with senaille and rose-cut diamonds about a central oval deep red cabochon `carbuncle garnet.
$600 - $800 see colour illustration p 117
187 A GOOD THREE-STONE DIAMOND RING OF 3.14CT TOTAL.
The 18ct yellow gold and platinum bridge set with the round modern brilliant cut diamonds graded loose as: 0.913ct/1.333ct/0.903ct, all G, SI2, V.G. Gemologists report available.
$16,000 - $22,000 see colour illustration p 129
188 A NECKLACE OF 18CT YELLOW AND WHITE GOLD SET WITH DIAMONDS.
Designed as an articulated line of alternating polished white convex and satin yellow concave gold links, the 29 mid-section white gold links each set with two round brilliant cut diamonds. 49.7g.
$2,000 - $2,500
189 A PENDANT SET WITH JADE AND DIAMONDS.
Centred by an oval mid-green jadeite cabochon of 3.45ct, set in platinum within a border of round modern brilliant and marquise cut diamonds of TDW 0.63ct. Suspended by a fine platinum snake chain. Gemologists report available.
$3,000 - $4,000 see colour illustration p 119
190 A PAIR OF VICTORIAN ETRUSCAN REVIVAL DROP EARRINGS SET WITH MALACHITE.
Each designed as two circular hinged panels, the larger as a finial, in 15ct yellow gold enhanced with wirework and beading, set with circular malachite cabochons, suspended by wire hooks.
$400 - $600
191 KUTCHINSKY, A LADYS SIGNET STYLE RING SET WITH DIAMONDS.
Textured 18ct yellow gold to an oval bezel pav set with 10 round modern brilliant cut diamonds. Signed Kutchinsky. Gemologists report available.
$1,750 - $2,250
192 A CROSS-OVER RING SET WITH SAPPHIRES AND DIAMONDS.
Chunky design in 14ct yellow gold with two lines of close channel set rectangular cut blue sapphires bordered by lines of round modern brilliant cut diamonds in a cross-over. 13.8g.
$750 - $850
IN FOCUS 123
FINE JEWELLERY AND WATCHES 123
193 A STYLISH WIDE BAND OF PLATINUM SET WITH SAPPHIRES AND DIAMONDS.
A row of 5 baguette cut rich blue sapphires is separated by pairs of diamonds and bordered by raised lines of diamonds in a heavy band of platinum. 18.1g.
$1,400 - $1,800 see colour illustration p 127
194 AN ENTWINED LOOP KNOT RING SET WITH DIAMONDS.
Split shank entwined loops in 18ct white and pink finished gold pav set with some 246 round modern brilliant cut diamonds having a TDW 2.16ct. Gemologists report available.
$2,850 - $3,450 see colour illustration p 129
195 A DIAMOND CLUSTER RING.
All Platinum flowerhead cluster set with 13 round modern brilliant cut diamonds centred by the largest stone of approximately 0.60ct. The shoulders enhanced with rows of diamonds. TDW estimated 1.44ct. Gemologists report available.
$5,000 - $6,000
196 A BROOCH SET WITH A LARGE CITRINE.
Cushion outline in 9ct yellow gold, twin rail border design set with a 25 x 19mm cushion cut citrine.
$400 - $500
197 TIFFANY & CO, A TWO ROW DIAMOND RING.
The band of 18ct yellow gold set with 14 round modern brilliant cut diamonds in two rows. The diamonds assessed as H, VS+ with a TDW approximately 1.00ct. Signed Tiffany & Co. With original presentation box. Gemologists report available.
$2,250 - $3,250
198 A RING SET WITH A SOLITAIRE DIAMOND OF 1.00CT.
The round modern brilliant cut diamond described in Gemlab Diamond Report DC1019 as 1.00ct, G, VS1, Medium make is set in a traditional style ring of platinum. Gemologists report available.
$6,250 - $7,250
199 A RING SET WITH A SOLITAIRE DIAMOND OF APPROXIMATELY 1.30CT.
The round modern brilliant cut diamond assessed as H/I, I1 is set in a four claw mount in a ring of 18ct white gold. Gemologists report available.
$4,250 - $5,250 see colour illustration p 129
200 A DAINTY HEART MOTIF PENDANT SET WITH TSAVORITE GARNETS AND HALF-PEARLS.
15ct yellow gold. $350 - $450
201 A GOOD VICTORIAN BAR BROOCH.
Triple bar design enhanced with applied wirework, centred by a circular panel set with six seed pearls to a cabochon amethyst capped by a star set with an old-cut diamond.
$275 - $375
202 A NECKLACE AND EARRING SUITE SET WITH MOONSTONES.
9ct yellow gold wire scroll design set with four oval moonstone cabochons and suspending three articulated drops of unequal length having similar moonstone finials. All suspended by a 9ct cable link neck chain. The drop earrings of matching design, each also set with a moonstone.
$1,000 - $1,500 (set)
203 A BROOCH OF CELTIC DESIGN SET WITH A CAIRNGORM.
Oval outline in over-gilded yellow gold set with a 25 x 19mm oval cut deeply coloured quartz `Cairngorm. The border engraved with a Celtic design.
$450 - $650
204 AN ETERNITY OR WEDDING RING OF PLATINUM SET WITH DIAMONDS.
Close channel set with a central row of 10 Princess cut diamonds, the sides each set with a row of 11 round modern brilliant cut diamonds. TDW approximately 0.83ct. 10g. Gemologists report available.
$1,000 - $1,500
205 A RING SET WITH A SOLITAIRE DIAMOND OF APPROXIMATELY 1.29CT.
The round modern brilliant cut diamond assessed as H/I, SI2/I1 is set in a six claw mount of palladium. Gemologists report available.
$3,500 - $4,500
206 A RING SET WITH A PRINCESS CUT DIAMOND OF 1.07CT.
The elegant handmade band of 18ct white gold set with the Princess cut diamond, assessed as 1.072ct, G, SI1/SI2, V.G make, together with four flush set baguette cut shoulder diamonds. Gemologists report available upon request.
$5,500 - $6,500
IN FOCUS 125
FINE JEWELLERY AND WATCHES 125
207 A PAIR OF SOLITAIRE DIAMOND EARSTUDS OF GOOD QUALITY AND TDW 2.17CT.
The round modern brilliant cut diamonds assessed as 1.08 and 1.09ct, F, SI2, VG+ are set in platinum. Gemologists report available.
$14,500 - $18,500 see colour illustration p 108
208 A GOOD PAIR OF LATE 19TH/EARLY 20TH CENTURY DIAMOND DROP EARRINGS.
Each set with a good quality H/J, VS early European cut diamond of around 1.25ct as an articulated drop suspended by a wire hook with hinged clasp set with a smaller diamond. Continental 14ct yellow gold, TDW approximately 3.15ct. Gemologists report available.
$8,750 - $9,750 see colour illustration p 108
209 A PAIR OF YELLOW SAPPHIRE AND DIAMOND DROP EARRINGS.
Each designed as an articulated line of 5 circular graduated links rub-over set with progressively larger round modern brilliant cut diamonds to a terminal link set with an oval cut yellow sapphire. Hand-made in platinum. TDW 0.66ct of very good quality, the sapphires total 1.22ct. Gemologists report available.
$2,750 - $3,250
210 DAMIANI, A PRINCESS BANGLE SET WITH DIAMONDS.
Hinged Design in 18ct white gold, the upper section pav set with round modern brilliant cut diamonds to top and side surfaces. TDW around 2.70ct. With original box. Hartfields Gemologists report available.
$5,000 - $8,000 see colour illustration p 117
211 A SAPPHIRE AND DIAMOND CLUSTER RING.
The oval cut blue sapphire of 1.92ct and of very good colour is set in a ring of platinum bordered by round modern brilliant cut and baguette cut diamonds. TDW 1.48ct. Gemologists report available.
$3,000 - $4,000
212 AN EMERALD AND DIAMOND CLUSTER DRESS RING.
The emerald cut emerald of very good colour and weight 1.69ct (stamped) is set in an oval ballerina style ring of platinum set with baguette and brilliant cut diamonds of total 0.75ct (stamped). Gemologists report available.
$2,500 - $3,500 see colour illustration p 119
213 AN UNUSUAL PLAQUE PENDANT SET WITH A DIAMOND.
Oval outline in 18ct satin and bright-cut yellow gold, designed as an open-work floral garland enclosing a portrait bust of a young lady, set with a single round modern brilliant cut diamond of around 0.20ct. The pierced work providing two evenly placed anchor points for chain suspension. 27.9g.
$1,500 - $2,000 see colour illustration p 129
214 A PENDANT SET WITH FANCY YELLOW AND WHITE DIAMONDS.
Diamond outline openwork yellow and white 18ct gold, designed as a cascade of circlets and semi-circlets set with round modern brilliant cut white diamonds, each enclosing a pear shaped brilliant fancy yellow diamond. The bale set with further white diamond brilliants. TDW 4.57ct. Gemologists report available.
$5,750 - $6,750 see colour illustration p 123. See also following lot
215 A BRACELET SET WITH FANCY YELLOW AND WHITE DIAMONDS.
Designed as a companion to the previous lot, comprising 52 articulated pear shaped panels of 18ct yellow and white tipped gold, each set with a pendeloque cut fancy yellow diamond bordered by white diamond brilliants. TDW 11.30ct. Gemologists report available.
$12,500 - $15,000 see colour illustration p 123
216 A RING SET WITH A FANCY YELLOW DIAMOND OF 4.07CT.
The oval brilliant cut diamond set in an ornate ring of 18ct yellow and white finished gold within a border of white round modern brilliant cut diamonds, the shoulder tops also set with diamonds. Gemologists report available.
$40,000 - $45,000 see colour illustration p 123
217 A PAV DIAMOND PUFF HEART MOTIF PENDANT, ON A CHAIN SET WITH FURTHER DIAMONDS.
18ct white finished gold, the pendant and bale pav set with some 233 round modern brilliant cut diamonds of TDW 2.95ct. The plain cable link neck chain rub-over set with 10 larger diamonds at even intervals with a total of 0.80ct. Gemologists report available.
$4,200 - $4,800 see colour illustration p 127
IN FOCUS 127
FINE JEWELLERY AND WATCHES 127
218 A PAIR OF EARRINGS SET WITH OLD CUT DIAMONDS.
Gold/silver doublet with wires secured by clips, each set with an old cushion-cut diamond above which is set a smaller old round cut diamond. TDW around 1.2ct. Continental marks. Gemologists report available.
$3,800 - $4,800 see colour illustration p 125
219 A PAIR OF EARSTUDS SET WITH DIAMONDS.
Circular outline in 18ct white finished gold, each centred by a tinted white (K/M) round modern brilliant cut diamond of approximately 0.60ct surrounded by a border of fine white (D/G) small brilliant cut diamonds. TDW approximately 1.55ct. Gemologists report available.
$2,000 - $3,000
220 A PAIR OF FIVE-DIAMOND DROP EARRINGS SET WITH CHAMPAGNE AND WHITE DIAMONDS.
Designed as a fall of five articulated rub-over mounts in 18ct white finished gold, the first and last set with larger champagne diamonds, the middle three of matched size set with white diamonds. The diamonds all round modern brilliant cut having a TDW 1.49ct for the pair. Gemologists report available.
$1,400 - $1,800 see colour illustration p 129
221 A BANGLE SET WITH A LINE OF PRINCESS CUT DIAMONDS.
Hinged design in 18ct white finished gold, the upper section close channel set with a line of 25 Princess cut diamonds having a TDW 2.64ct. Gemologists report available.
$4,500 - $5,000 see colour illustration p 127
222 A RUBY AND DIAMOND CLUSTER DRESS RING.
The oval cut deep red ruby of stated weight 1.40ct is set in a ballerina style ring of platinum within a border of tapered baguette cut diamonds of total stated weight 1.48ct. Gemologists report available.
$3,000 - $4,000 see colour illustration p 127
223 A CROSS-OVER RING SET WITH A SAPPHIRE AND DIAMONDS.
The oval cut Ceylonese blue sapphire of 3.06ct is partially rub-over set in 18ct white finished gold, the split shank set with two lines of round modern brilliant cut diamonds of TDW 0.49ct. Gemologists report available.
$2,750 - $3,250
224 A SPLENDID EMERALD AND TWO DIAMOND RING.
The emerald-cut emerald of rare colour and exceptional clarity, estimated to weigh 4.02ct, is set in platinum with two impressive triangular cut diamonds of approximately 1.7ct each (TDW estimated 3.40ct) assessed as J, SI2. Gemologists report available.
$35,000 - $40,000 see colour illustration p 108
225 AN ESTATE RING SET WITH AN EMERALD-CUT DIAMOND OF 3.27CT.
The diamond assessed as L/M, VS1 (+) is set in a ring of 18ct white and yellow gold with a Princess cut diamond of around 0.18ct at each shoulder. A very attractive ring which faces up well and highlights the excellent clarity of the diamond. Gemologists report available.
$16,000 - $18,000 see colour illustration p 108
226 A RUBY AND DIAMOND OVAL CLUSTER RING.
The oval cut ruby of 3.88ct, with certificate indicating that it has not been heat-treated, is set in a ring of 18ct yellow gold within a border of 12 good quality round modern brilliant cut diamonds of approximate TDW 1.00ct. Gemologists report available.
$15,500 - $17,500 see colour illustration p 123
227 AN ART DECO PERIOD CIRCLET BROOCH SET WITH DIAMONDS.
Open circlet with a geometric scroll enhanced with leaf patterns all in platinum, set with round early modern brilliant cut diamonds of very good quality for the period (G, SI1), and varying in size up to the largest stone of 0.78ct. TDW approximately 4.10ct. Gemologists report available.
$5,800 - $7,800 see colour illustration p 119
228 A SPLENDID BANGLE FULLY PAV SET WITH OVER 22CT OF DIAMONDS.
Wide curved profile hinged design, pav set with some 872 round modern brilliant cut diamonds having a stated TDW 22.4ct. Gemologists report available.
$18,000 - $22,000 see colour illustration p 119
229 AN EXCEPTIONAL BLUE SAPPHIRE AND DIAMOND RING.
The elongated octagonal cut intense blue sapphire of 6.39ct is set in a platinum ring of Art Deco influenced design together with brilliant and tapered baguette cut diamonds. Gemologists report available.
$22,500 - $27,500 see colour illustration p 117
IN FOCUS 129
FINE JEWELLERY AND WATCHES 129
232 A STRIKING AND VIBRANT EMERALD AND DIAMOND CLUSTER RING.
The oval cut emerald of 4.75ct of good colour and clarity, and having a particularly vibrant appearance, is set in a hand-made ring of platinum within a border of round modern brilliant cut diamonds with a trilliant cut diamond above each shoulder, the split shank and under bezel also enhanced with rows of diamonds. TDW 1.85ct of good quality. Gemologists report available.
$22,000 - $28,000 see colour illustration p 108
233 A RING SET WITH AN EMERALD-CUT DIAMOND OF APPROXIMATELY 1.88CT.
The diamond assessed as G, VS2 is set in a ring of platinum with stepped shoulders, each rub-over set with two baguette cut diamonds. TDW approximately 2.16ct. Gemologists report available.
$17,500 - $18,500 see colour illustration
234 A RING SET WITH A DEEP RED RUBY OF 4.06CT.
The oval cut ruby of rich colour, with certificate stating that it appears not to have been heat treated, is set in a ring of 14ct white finished gold, bordered by a line of round brilliant cut diamonds, with further diamonds in three lines at each shoulder. TDW stated 1.23ct. Gemologists report available.
$18,500 - $22,500 see colour illustration p 123
229A INGENUITY AN IMPORTANT JEWELLED NECKLACE BY JEFFREY APPLING.
This remarkable piece was created over a period of some 11 months, and is a triumph of the skills of multi-award winning American artist/jeweller Jeffrey Appling who developed new techniques to overcome a mountain of technical difficulties. In addition the piece showcases gemstones carved by award winning gem-cutters Michael Dyber and Glenn Lehrer. Apart from these commissioned gemstones every other stone used was selected from a cast of thousands to ensure that it met the exacting criteria of the design. Truly a creation that begs the question is it Art as Jewellery or Jewellery as Art? Framed in 14ct white gold and platinum, set with diamonds, carved ametrine, pink and blue sapphires, carved chrome tourmaline, spessarite and tsavorite garnets, amethysts, rubellite tourmaline, citrine and unique free-form black onyx plaques, each inset with a rhodium plated crystalline drusy, that form the backbone of the piece. The necklace is offered with a folder containing full details the materials used and the stories behind them, as well as a the artists personal record of his journey through the process; together with copies of feature articles on Jeffrey Appling that have appeared in various magazines . Gemmologists report available.
$95,000 - $125,000 see colour illustration. See also following lot
229B HANDS TO WATER A JEWELLED RING BY JEFFREY APPLING.
Inspired by water, the piece represents an overflowing bowl of aqua pura being held as an offering in the hands of a carrier. Crafted in 18ct yellow and white gold, set with a large oval aquamarine carved to give the appearance of bubbles in water, together with blue and white diamonds to create the effect of water spilling over the edge of the bowl.36.2g. Gemmologists report available.
$28,500 - $32,000 See colour illustration. See also previous lot
230 AN IMPORTANT NECKLACE SET WITH 30CT OF FINE QUALITY TYCOON CUT DIAMONDS.
The 115 diamonds graduated from the centre of very good make and estimated quality F/G VVS-VS one SI. Gemologists report available.
$75,000 - $95,000 see colour illustration p 127
231 AN IMPORTANT RING SET WITH A SOLITAIRE DIAMOND OF 4.16CT.
The round modern brilliant cut diamond described in HRD report 06030098002 as H, SI1, very good make, with check report by A.G.L., is rub-over set in a heavy ring of 18ct rose and white gold with two round modern brilliant cut shoulder diamonds of estimated total 0.88ct. Gemologists report available.
$75,000 - $85,000 see colour illustration p 108
235 A RECTANGULAR PENDANT SET WITH OVER 7CT OF DIAMONDS.
18ct white finished gold rectangular grid design set with lines of round modern brilliant cut diamonds, each cell centred by a Princess cut diamond, the bale set with baguette cut diamonds bordered by further brilliants. The 282 diamonds having a TDW 7.02ct. Gemologists report available.
$8,000 - $9,000 see colour illustration p 127
IN FOCUS 131
FINE JEWELLERY AND WATCHES 131
243 AN EMERALD AND DIAMOND CLUSTER RING OF OCTAGONAL OUTLINE.
The emerald-cut emerald is set in 18ct white and yellow gold within an octagonal border of round modern brilliant cut diamonds, with a further diamond set at each shoulder. Gemologists report available.
$4,500 - $5,500 see colour illustration p 129
244 A MINIATURE PORTRAIT BROOCH.
The 50 x 40mm oval portrait in oils of a gentleman in mid-Victorian dress is set in a brooch of yellow gold (tests approximately 18ct), verso a glazed compartment containing three locks of hair.
$500 - $700 see colour illustration
245 AN IMPRESSIVE PAIR OF CHANDELIER DROP EARRINGS SET WITH FANCY YELLOW AND WHITE DIAMONDS.
Each designed as an articulated fall of pear shaped drops and geometric bridges set with lines of round modern brilliant cut white diamonds enclosing free swinging pendeloque cut fancy yellow diamonds. 18ct white finished gold. TDW 8.64ct. Gemologists report available.
$9,500 - $10,500 see colour illustration p 123
246 A CLUSTER RING SET WITH AN OVAL CUT FANCY YELLOW DIAMOND OF 2.02CT.
The light fancy yellow diamond assessed as SI1 is set in a ring of 18ct white finished gold within two separated concentric borders of round modern brilliant cut white diamonds, the triple-split shank set with further lines of diamonds. TDW estimated 2.75ct. Gemologists report available..
$10,000 - $12,000 see colour illustration p 123
236 A CROSSOVER BANGLE SET WITH DIAMONDS.
18ct white finished gold hinged design, the upper section of stylised entwined snake heads set with lines of round modern brilliant cut diamonds enclosing close channel set lines of diamond baguettes. TDW 4.46ct. Gemologists report available.
$5,250 - $6,250 see colour illustration p 127
237 AN EXCEPTIONAL BLUE SAPPHIRE AND DIAMOND RING
The cushion cut 10.47ct sapphire of rare colour and vibrant appearance is set in an elegant ring of platinum with six tapered baguette shoulder diamonds. Gemologists report available.
$32,500 - $37,500 see colour illustration p 108
238 A STYLISH PAIR OF CROSSOVER EARRINGS SET WITH BLACK AND WHITE DIAMONDS.
Split row domed design in 18ct white and black finished gold: three rows pav set with round cut black diamonds, two pav set with brilliant cut white diamonds. TDW 5.04ct. Gemologists report available.
$4,750 - $5,750 see colour illustration p 127
239 A PAIR OF SOLITAIRE DIAMOND EARSTUDS OF 1.34CT TOTAL.
The round modern brilliant cut diamonds assessed as H, SI2/I1 are set in 6 claw studs of 18ct white gold.
$4,250 - $5,250 see colour illustration p 129
240 A PAIR OF DIAMOND CLUSTER EARSTUDS.
Flowerhead design in 18ct white finished gold comprising six circlets arranged around a central circlet, all set with round modern brilliant cut diamonds and further enhanced with pierced work. TDW 3.21ct. Gemologists report available.
$3,850 - $4,850 see colour illustration p 125
241 A LEOPARD MOTIF BANGLE SET WITH RUBIES AND DIAMONDS.
Hinged design in 90% (21.6ct) yellow gold, the upper section of opposed leopard heads clutching a ring, pav set with round modern brilliant cut diamonds with round cut rubies as spots. Gemologists report available.
$2,500 - $3,000 see colour illustration p 125
242 AN ATTRACTIVE SAPPHIRE AND DIAMOND CLUSTER RING.
The cushion cut vibrant blue sapphire of very good colour and actual weight 4.09ct is set in a substantial ring of platinum within a border of round modern brilliant cut diamonds, the split shank and under-rail set with further diamonds. TDW approximately 0.92ct of very good quality. Gemologists report available.
$16,000 - $18,000 see colour illustration p 108
IN FOCUS 133
247 A LATTICE PENDANT SET WITH DIAMONDS.
Circular outline in 18ct white finished gold, the open lattice set with a round modern brilliant cut diamond at each intersection and all bordered by a line of diamonds. The diamonds, all round modern brilliant cut of stated quality F, SI and TDW 1.99ct; suspended by an 18ct white gold trace neckchain. Partridge Jewellers Certificate of value.
$1,000 - $2,000 see colour illustration p 119
248 A PAIR OF DROP EARRINGS SET WITH DIAMONDS.
Each designed as a semi-circular hoop with a small flowerhead cluster from which is suspended an articulated leaf pattern ajour drop. 18ct white gold, all set with round modern brilliant cut diamonds. TDW 1.13ct. Gemologists report available.
$1,750 - $2,250 see colour illustration p 125
249 A PAIR OF CREOLE HOOP EARRINGS SET WITH DIAMONDS.
Hinged circlet design in 18ct white finished gold, the inner and outer leading edges set with rows of round modern brilliant cut diamonds. TDW 1.26ct. Gemologists report available.
$2,400 - $2,800 see colour illustration p 125
250 A BRACELET AND EARRINGS SUITE PAV SET WITH DIAMONDS.
The bracelet of 18ct yellow gold hinged design, the upper section pav set with round modern brilliant cut diamonds in white finished gold. The Creole style earrings of matching design. Gemologists report available.
$2,000 - $3,000
251 A RING SET WITH AN EMERALD OF APPROXIMATELY 6.50CT.
The emerald-cut emerald of exceptional brilliance, very desirable colour and unusually clear appearance is set in a ring of 18ct yellow gold, the under bezel and shoulders set with 18 round modern brilliant cut diamonds of fine quality (F/G, VS+) and estimated TDW 1.36ct. Gemologists report available.
$35,000 - $44,500 see colour illustration p 108
252 A PARTICULARLY GOOD SAPPHIRE AND DIAMOND CLUSTER ESTATE RING.
The cushion cut sapphire of exceptionally desirable colour and brilliance, with an estimated weight of 4.95ct is set in a ring of platinum at the centre of an oval cluster of 12 early European cut diamonds of estimated TDW 2.20ct. Gemologists report available.
$14,000 - $16,000 see colour illustration p 108
253 A REVERSIBLE CROSS PENDANT OF GOLD SET WITH TURQUOISE.
The ornate Latin cross set with turquoise half-beads recto and vari-coloured gold floral and foliate motifs verso. Tests as 15ct.
$650 - $850
254 A RING OF PLATINUM SET WITH THREE ROWS OF DIAMONDS.
The 18 round modern brilliant cut diamonds close channel set in three rows in the upper section of the ring. The diamonds assessed as G/H, SI with an approximate TDW 0.50ct. 11g. Gemologists report available.
$1,000 - $1,400
255 A RING SET WITH A GOOD QUALITY MARQUISE CUT DIAMOND OF APPROXIMATELY 1CT.
The marquise cut diamond estimated to be G, VS2 is set in a split-shank ring of 18ct white and yellow gold enhanced with rows of small diamond brilliants. TDW approximately 1.25ct. Gemologists report available.
$6,000 - $7,000
256 A RING SET WITH A SOLITAIRE 1.72CT PRINCESS CUT DIAMOND.
The diamond assessed as I-J, SI1 is set in a simple four-claw hand-made ring of 18ct white gold. Gemologists report available.
$8,000 - $10,000 see colour illustration p 119
257 A PENDANT SET WITH A SOLITAIRE DIAMOND OF APPROXIMATELY 1.27CT.
The round modern brilliant cut diamond assessed as I, VS2, Good make is set in a simple six-claw mount of platinum. Gemologists report available.
$7,000 - $8,000 see colour illustration p 127
267 A CHUNKY CONTEMPORARY STYLE RING SET WITH A BLUE STAR SAPPHIRE AND TWO DIAMONDS.
The heavy domed band of 18ct white gold set with a slightly oval star sapphire cabochon of good colour, showing good asterism. The shoulders each set with a round modern brilliant cut diamond. 30.4g.
$2,250 - $3,250 see colour illustration p 117
268 A MULTISTONE RING OF RETRO DESIGN.
The heavy ring of 18ct rose gold set with a variety of gemstones of various shapes in a semi-geometric arrangement. Milk opal, amethyst, blue sapphire and diamond. 18.4g. Gemologists report available.
$1,500 - $1,800
269 A RING AND KEEPER SET CENTRED BY A SOLITAIRE DIAMOND OF APPROXIMATELY 1.10CT.
The round modern brilliant cut diamond assessed as M, VS2 is set in 14ct white and yellow gold in a ring which fits into a keeper set with lines of round modern brilliant cut diamonds on either side. Gemologists report available.
$3,750 - $4,250
270 A DOUBLE FLOWERHEAD CROSSOVER RING SET WITH DIAMONDS.
The broad tapered band of 18ct white finished gold set with clusters and lines of round modern brilliant cut diamonds together with close channel set baguette cut diamonds to suit the design. TDW stated 3.17ct. Gemologists report available.
$4,500 - $5,500 see colour illustration p 127
271 A RUBY AND DIAMOND CLUSTER RING.
Centred by a pendeloque cut ruby of approximately 1.40ct set in platinum within a shaped border of baguette and brilliant cut diamonds of fine quality ,approximately 1.08ct D-F, mostly VS, on a band of yellow gold. Gemologists report available.
$3,750 - $4,750
272 A PENDANT SET WITH A SOLITAIRE DIAMOND OF APPROXIMATELY 0.64CT.
The round modern brilliant cut diamond assessed as I, VS2 is set as a finial to a free swinging bar within an `Omega shaped frame of 14ct yellow gold; suspended by a rope link chain also of 14ct yellow gold. Gemologists report available.
$2,750 - $3,250
258 A PAIR OF LEOPARD MASK EARRINGS SET WITH DIAMONDS.
18ct white finished gold pav set with diamonds, the markings created by ajour against polished black onyx panel backing. Each leopard having a collar enhanced with four black diamonds. TDW 3.40ct. Gemologists report available.
$7,500 - $8,500 see colour illustration p 119. See also following lot
259 A LEOPARD MASK PENDANT.
Designed as a companion to the previous lot, TDW 1.45ct; the eyes each set with a round cut green tsavorite garnet. Gemologists report available.
$3,750 - $4,250 see colour illustration p 119
260 A STYLISH NECKLACE SET WITH DIAMONDS.
The black rubber cord with 18ct yellow gold fittings suspending an inverted omega shaped sliding pendant of 18ct satin finished yellow gold centred by a domed oval panel pav set with round modern brilliant cut diamonds within a Greek key black enamel border.
$1,500 - $2,000 see colour illustration p 125
261 A BLACKAMOOR BROOCH.
Circular outline in over gilded gold decorated with black, white and blue enamels as a border of turbaned heads in a chain about a central bust wearing a turban and jewel. Some minor bruising and deficiencies.
$650 - $850
262 AN ETERNITY OR DRESS RING SET WITH PRINCESS AND BAGUETTE CUT DIAMONDS.
18ct white and yellow gold, the slightly tapered band set with 12 Princess and 8 baguette cut diamonds of good quality (G/H, VS) and reported TDW 1.57ct. Gemologists report available.
$2,500 - $3,000
263 A RING SET WITH AN EMERALD - CUT DIAMOND OF APPROXIMATELY 1.25CT.
The diamond assessed as H, VVS2, Good make is set in 18ct white and yellow gold with two tapered baguette cut shoulder diamonds. Gemologists report available.
$6,250 - $7,250
264 A DIAMOND CLUSTER RING CENTRED BY A CUSHION - CUT DIAMOND OF APPROXIMATELY 1.15CT
The central diamond assessed as I-K, VS is Set in 18ct white finished gold, the border and shoulders set with round modern brilliant cut diamonds. TDW approximately 1.51ct. Gemologists report available.
$5,000 - $6,000
265 ELSA PERETTI FOR TIFFANY & CO. AN 18CT YELLOW GOLD ETERNAL CIRCLE PENDANT.
Freeform lobed circlet design. Signed by the designer and stamped Tiffany & Co, Spain. 17.3g.
$850 - $1,250
IN FOCUS 135
273 A GOOD PAIR OF AQUAMARINE AND DIAMOND DROP EARRINGS.
Each designed as a small diamond set hoop suspending a large pear shaped articulated drop set with a pendeloque cut aquamarine of 10ct within a pav set border of diamonds. TDW 2.44ct, TAW 20.0ct. Gemologists report available.
$7,800 - $8,800 see colour illustration p 127
274 A LINE BRACELET SET WITH BAGUETTE AND BRILLIANT CUT DIAMONDS.
Designed as a line of alternating square and rectangular hinged links of 18ct white finished gold. The square links each set with 4 round modern brilliant cut diamonds, the rectangular links set with a line of diamond baguettes bordered by small diamond brilliants. TDW 3.29ct. Gemologists report available.
$4,500 - $5,500 see colour illustration p 127
275 A LIZARD MOTIF BROOCH.
Silver/gold doublet set with rose cut diamonds and round cut emeralds and having ruby eyes.
$550 - $750
276 AN AQUAMARINE AND DIAMOND RING.
The 11.7 x 10mm rectangular cut aquamarine is set in a substantial ring of platinum with four close channel set baguette cut shoulder diamonds. Gemologists report available.
$6,000 - $7,000 see colour illustration p 127
277 A MULTI-GEMSTONE NECKLACE.
The articulated line of bow shaped 18ct rose gold links with bead and reeded decoration suspends 5 removable drops, each set with a different rectangular cut semi-precious gemstone (amethyst, aqua, citrine etc.) with spare (garnet) drop. 56.4g.
$2,200 - $2,800 see colour illustration p 129
278 A NECKLACE OF PLATINUM AND 18CT YELLOW GOLD SET WITH TWO DIAMONDS.
Long platinum bar links with 18ct yellow gold joiners, the rub-over box set Princess cut diamond at mid-section suspending a two link drop to a larger similarly set Princess cut diamond finial. The diamonds, assessed as F, SI1 having a TDW 0.99ct. With original box and two spare platinum links. Total weight 21.8g. Gemologists report available.
$2,500 - $3,500
279 A BUTTERFLY MOTIF BROOCH SET WITH DIAMONDS AND RUBIES.
18ct yellow and white gold, the wings pierced to provide the markings, tipped with rows of round modern brilliant cut diamonds and each set with a single pear shaped ruby on the trailing edge, and a small round cut ruby on each of the antennae. 12.2g.
$1,200 - $1,500
280 A CHUNKY RING SET WITH LAPIS LAZULI AND DIAMONDS.
Art Deco influenced stepped geometric design in 18ct yellow gold set with a domed carved panel of lapis lazuli and a row of 4 round modern brilliant cut diamonds at each shoulder. Signed Tambetti. (Tambetti Jewellers, Madison Avenue, New York) 24.4g.
$1,000 - $1,400
281 A DAINTY RING SET WITH DIAMONDS.
Circular domed design in platinum enhanced with ajour, centred by 4 Princess cut diamonds in a square array, the rest of the dome set with 20 small brilliant cut diamonds. 7g.
$1,000 - $1,400
282 A RING OF CONTEMPORARY DESIGN SET WITH OPALS, DIAMONDS AND TOURMALINE.
The wide cross-over style band of 18ct yellow gold set with four flat black opal panels to a central rub-over set green chrome tourmaline, the sides each oppositely half-set with a row of diamonds. Gemologists report available.
$1,200 - $1,800 see colour illustration p 125
283 A RING OF ART DECO DESIGN SET WITH DIAMONDS AND SAPPHIRES.
Marquise outline in 18ct white finished gold with geometric motifs in ajour, set with square and baguette cut blue sapphires together with small brilliant cut round diamonds.
$800 - $900
284 A COCKTAIL RING SET WITH FANCY YELLOW AND WHITE DIAMONDS.
The ring of 18ct white finished gold open scroll-work to an upper section of two raised and arched bands each set with a row of white diamonds, enclosing a panel of randomly set fancy yellow diamonds of mixed cuts, within a scalloped border of further white diamonds. TDW 4.10ct.Gemologists report available.
$4,750 - $5,750 see colour illustration p 129
IN FOCUS 137
PLEASE NOTEALL LOTS ILLUSTRATED ONLINE AT WEBBS.CO.NZAbsentee and phone bids must be registered before 12:00pm on Thursday 8 December.
ANTIQUES & MODERN
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Tue 6 December 9:00am 5:30pm
Wed 7 December 9:00am 5:30pm
Thu 8 December 9:00am 12:00noon
BUYERS PREMIUMA buyers premium of 15% will be charged on all
items in this Antiques and Modern Design sale.
GST (15%) is payable on the buyers premium only.
This sale will be preceded by an uncatalogued Collectables sale at 4:00pm, also fully illustrated online at webbs.co.nz.
LOT 559 Antique Japanese Boy and Girl Figures
LOT 567 A Pair of Vintage Milo Baughman Armchairs
LOT 591 An 18th Century French Aubusson Tapestry
300 A TAXIDERMY WALLABY ON A BASE H830$300 - $500
301 A 19TH CENTURY CASE OF NEW ZEALAND BIRDSincluding fantail, tui and weka, distressed. H780 W870 D320$300 - $500
302 A TAXIDERMY BLACK BEARstanding upright on an simulated grass base. H1450$4,500 - $6,000
303 A TAXIDERMY BEAVERon a natural habitat mount. H334 L930$1,500 - $1,800
304 A LEOPARD SKIN HANDBAG H255 W310$100 - $200
305 A LEOPARD SKIN RUG$300 - $500
306 A TAXIDERMY ELEPHANTS FOOTfaults to nails. H325$500 - $700
307 AN ANTIQUE GEORGIAN HOUSE DIORAMAthe cased and glassed box with a three storey house faade. H620$300 - $500
308 A 19TH CENTURY SAILORS SHELL VALENTINEcontaining two shell picures in an octagonal oak display case. W340$1,000 - $1,800
309 A FRAMED MARQUIS WELLINGTON MEDALLIONthe brass relief medallion in a birds eye maple frame. H235 W210$150 - $200
310 A WEBB & CORBETT WINSTON CHURCHILL CRYSTAL BUSTby Eric Griffith. Edition 2/250 in original presentation box. H280$600 - $900
311 A GOOD 19TH CENTURY FRENCH EIGHT DAY CARRIAGE CLOCKstrike and repeat with original English twelve jewel platform escapement. Brequet hands and original key. White enamel dial, signed A&J Kleiser, Paris. H195$1,000 - $1,500
312 A MINIATURE BRASS ANCHORstamped Lloyd Triestino. L155$150 - $180
313 A LALIQUE SMALL GLASS PLATEdecorated with repeating dimpled circles. Signed. D182$100 - $180
314 A LALIQUE GLASS PIN DISHwith central Ibex figure. H85$100 - $180
315 A LALIQUE GLASS VASEthe thick walled vase with a frosted, tapering and twisted fluted body. Signed. H147 D10$400 - $600
316 AN ANTIQUE GLASS PAPERWEIGHTwith internal white crowned star badge on speckled enamel ground. $120 - $180
317 AN IMPRESSIVE JAMES NOWAK MILLEFIORE GLASS CLAM SHELLthe large shaped glass shell with an array of colourful inclusions incorporating a variety of glass techniques. H355 W670 D340$1,200 - $1,800
318 A DECORATIVE PAINTED EUROPEAN TEA CADDYthe pine sarcophagus box with hand painted decoration featuring a village scene, flowers and griffins. On brass claw feet. Slight wear. H150 W210 D150$450 - $600
319 A PAIR OF EUROPEAN PEASANT BOY BRONZESeating and drinking. Signed La Louette, circa 1900. H270$400 - $600
320 A EUROPEAN BRONZE FIGUREof a Romantic scholar, 19th Century. H220$350 - $500
321 AN ART DECO STYLE BRONZE FIGURINEof a young lady on a rocky outcrop with full moon mirror disc on a variegated marble base. Signed Erte, Paris. H540$600 - $900
322 AN EARLY 19TH CENTURY MAHOGANY GOTHIC BRACKET CLOCKwith inlaid detailing, brass lion mask handles and ball feet. Double fusee eight day movement. H500$5,000 - $7,000
323 A LARGE VICTORIAN COPPER AND IRON POT$150 - $250
324 A POLYCHROME CARVED WOOD JESUS FIGUREex Vietnamese Catholic church. H660$200 - $400
325 A POLYCHROME CARVED WOOD MONK FIGUREex Vietnamese Catholic church. H510$200 - $400
IN FOCUS 139
326 A LARGE POLYCHROME CARVED WOOD SAINT FIGUREgessoed and painted kneeling figure of a robed priest in adoring pose. Some faults. Ex Vietnamese Catholic church. H860$600 - $900
327 A LARGE POLYCHROME CARVED WOOD MARY FIGUREgessoed and painted kneeling figure of Mary with gilt floral sprays decorating her cloak. Some faults. Ex Vietnamese Catholic church. H900$600 - $900
328 A VINTAGE BLACKAMOOR DOLLin tradtional costume on a circular metal stand. Circa 1900. H340$100 - $200
333 A PAIR OF VINTAGE LEATHER SPRINTERS SHOES$80 - $120
334 AN ASSORTMENT OF VINTAGE GOLFING ITEMSfour hickory shaft clubs, goose neck putter and seven other clubs with two trophy mugs and four golf books. $300 - $450
335 A LARGE VINTAGE RAILWAY LOCOMOTIVE HEADLAMPwith photo of train and extra bulbs. W600 D470$700 - $1,000
336 A 19TH CENTURY BRITISH EAST INDIA CO.GUNa flintlock blunderbuss with short stock and barrel. Not striking. L520$200 - $400
337 A 19TH CENTURY BRITISH BAYONETof Yataghan shape with leather grip. Maori War period. L710$150 - $250
338 THREE MILITARY BADGEScrossed cannons and rifles with an anchor badge. $30 - $50
329 A 19TH CENTURY VENETIAN MADIERA DECANTERthe horn shaped glass decanter contained in a gilt bronze frame with spigot and stopper and eight attached glasses. H290$300 - $400
330 A MILLS NOVELTY CO. ONE AM BANDITan oak cased fruit machine with bar fruit gum symbol. Restored with some metal corrosion and old borer holes. Serial no. 235824. Circa 1920s. H640 W405 D415$1,200 - $1,800
331 A MILLS NOVELTY CO. ONE AM BANDITan oak cased fruit machine with bar fruit gum symbol. Restored with some metal corrosion and old borer holes. Serial no. 229463. Circa 1920s. H640 W405 D415$1,200 - $1,800
332 A PAIR OF VINTAGE NORWEGIAN ICESKATES$70 - $90
343 AN ASSORTMENT OF WWII NEW ZEALAND MILITARY EPHEMERAletters, banknotes, Battalion bulletins etc. $300 - $400
339 A SET OF MASONIC REGALIAWindsor Lodge No377, 1953. Members photograph, apron, jewels, bible, history and rule book etc. In original case. $500 - $700
340 A SET OF MASONIC REGALIAAuckland Grand Master sash, apron, certificate and books. $150 - $250
341 ASSORTED AUSTRALIAN NAVY ITEMStwo far east blazer badges, HMAS Sydney powder compact, sweetheart badges, photos etc. 1950 - 1960. Seven items. $250 - $350
342 AN ASSORTMENT OF WWI MILITARY BUTTONSNZ and British brass uniform buttons and a Montgomery badge. $150 - $220
366 A LUKE ADAMS POTTERY WALL BRACKETclassical style with mask and fluted leaf decoration. H160$150 - $200
354 A CROWN LYNN TOBY JUGin green and black colourway. H130$50 - $80
355 A PAIR OF CROWN LYNN DOG FIGURESin brown colourway. Tiki mark to base H190 W260$100 - $200
356 A CROWN LYNN AIR NEW ZEALAND STORE FRONT BOTTLEJ. Binnes. Sealed. H100$80 - $120
357 A CROWN LYNN FACES OF EVE TABLE LAMPin cream satin finish glaze. H490$500 - $800
358 A LARGE STONEWARE BOWLwith black glaze and stone chip decoration. W340$50 - $80
359 A JOVA RANCICH SQUAT VASEwith dribble green glaze. W120$120 - $180
360 A T.N. LOVATT BROWN GLAZE BOWL W200$80 - $120
361 A JOVA RANCICH GREEN MILK JUG W155$200 - $300
362 A JOVA RANCICH MOTTLED POTTERY BOWLwith green, blue and ochre glaze. Faults. W180$200 - $300
363 A LUKE ADAMS SANCAI GLAZED POT H105$60 - $80
364 A LUKE ADAMS MOTTLED GLAZE MONEY BOX H92$120 - $180
365 A LUKE ADAMS ARCHAIC STYLE GREEN GOBLET VASEwith relief eagle support. Crack. H145$120 - $180
348 FOUR HISTORICAL AUCKLAND ITEMSa harbour bridge tote bag, harbour board centenary mug, 1942 directory and a 1912 university calendar. $150 - $200
349 AN EARLY NEW ZEALAND BUTTER STAMP L330$150 - $250
350 A CARVED FOLK ART MAORI BELLOWS L540$150 - $200
351 A CARVED FOLK ART MAORI WALL PLAQUE D340$120 - $180
352 A FINE MERE POUNAMUA fine and petite example with a beautifully balanced blade, incised grooves to butt with pierced drilled hole. Small chip to blade. Y15924 H280 W80$4,500 - $6,000
353 A CARVED PORTAIT OF TE HIRA TE KAWAUBy BS Mc Currach, 1965. A wonderfully carved modern piece in deep relief on wood panel. Detailed carving of the sitters moko, costume, weaponary and of native flora. H1180 W640$1,200 - $1,800
345 FIVE NEW ZEALAND ENAMELLED BADGESHome and Country and WDNZFU with a silver tiki pendant. $150 - $200
346 AN ASSORTMENT OF WWI & II MILITARY ITEMSsleeping bag, hammock, poncho, kit bags, trench spade, leather belts and linen union jack etc in a grey tin truck. $500 - $700
347 A LOT OF NEW ZEALAND WWI & II ITEMSshoulder titles, buttons, cap badges, holster, Egyptian souvenir etc. Approx 20 items. $500 - $700
344 A WWI LIFEGUARD COLLAPSABLE PERISCOPEby F. Duerr & Sons, Manchester. $150 - $220
IN FOCUS 141
367 A BRIAR GARDINER COLOURFUL DRIBBLE GLAZE BOWL W150$200 - $300
368 A LARGE MIREK SMISEK GLAZED POTwith dark brown manganese glaze over a fluted ovoid body. Exhibition piece. Signed to base. H325$1,000 - $1,500
369 A LARGE LEN CASTLE STONEWARE BOWLwith grey, green glaze and iron fleck decoration. W410$300 - $500
370 A DORIS DUTCH WALL VASE SCULPTUREtriple layered. Small chips. W160$40 - $60
371 A TITIAN STUDIOWARE AUCKLAND HARBOUR PLATEwith sailboat off Rangitoto in low relief. W250$300 - $400
372 A TITAN STUDIOWARE NEW ZEALAND SOUVENIR PLATEwith underglaze blue transfer New Zealand scene. Marked Souvenir of New Zealand 1963. W250$200 - $300
373 A PLYNINE & CO. AMMONIA BOTTLE W155$80 - $120
374 A CRUMM STONEWARE SALT GLAZE OVAL MOULD W220$50 - $70
375 A TEMUKA MAORI WARE LIDDED JARwith trickle glaze and raised Maori motif decoration. Cracks H280$100 - $200
376 A TEMUKA MOTTLED ORANGE TEAPOT H170$100 - $150
377 A PAIR OF PAINTED POTTERY HALF LADIESfor pin cushion or tea cosy. H60$150 - $200
378 A SPARTAN PAINTED SLIP CAST KOALA BEAR H105$150 - $200
379 THREE SPARTAN PAINTED SANTA CLAUS FIGURES H80$120 - $180
380 THREE SPARTAN PAINTED ANIMAL FIGURESpig, cat and rabbit. H100$120 - $180
381 A SPARTAN PAINTED COCKATOO H120$150 - $200
382 A PAIR OF SPARTAN PAINTED DUTCH BOY AND GIRL FIGURES H125$150 - $200
383 A PAIR OF SPARTAN PAINTED DUTCH BOY AND GIRL FIGURES H125$150 - $200
384 A PAIR OF SPARTAN PAINTED DUTCH BOY AND GIRL FIGURES H160$200 - $300
385 THREE SPARTAN PAINTED SLIP CAST GNOME FIGURES H75$100 - $150
386 A PAIR OF SPARTAN PAINTED BOY AND GIRL FIGURES H75$120 - $180
387 A PAIR OF NEW ZEALAND POTTERY COLLIE DOG FIGURESin ochre glaze, minor chips. H130$100 - $150
388 A TEMUKA GREEN GLAZE CHAMBER POT W270$80 - $120
389 A PAIR OF SPARTAN BISCUIT GEORGIAN STYLE FIGURES H195$200 - $300
390 A SPARTAN PAINTED 1930S WOMAN FIGURE H200$200 - $300
391 A SPARTAN PAINTED 1930S WOMAN FIGURE H200$200 - $300
392 A BOSSONS WALL PLAQUEdepicting the Royal Liner Gothic below Mitre Peak. Top edges flaking glaze. D360$400 - $500
393 A BENHAR BLACK DOG FIGURE H140$100 - $150
394 A GRIMWADES MAORILAND BOWL W160$80 - $120
395 A POOLE CHARGER BY NICOLA MASARELLAwith a polychrome cubist figure on a blue ground. D410$800 - $1,000
396 A POOLE ROUND FLORAL VASEsatin glaze. Impressed mark, shape 203. H210$200 - $300
397 A POOLE AEGEAN PLATEwith abstract brown and yellow pattern. Signed 3A. D205$50 - $70
398 A HAND DECORATED POOLE VASEsigned to base, shape 687. H170 D160$250 - $350
399 A CLARICE CLIFF BIZARRE INSPIRATION BOWLwith dribbled floral glaze on a turquiose ground. D180$2,000 - $2,500
400 A CLARICE CLIFF BIZARRE PLATEwith sunburst geometric pattern in blue, yellow, orange and mauve. D275$1,500 - $1,800
401 A WEDGWOOD KEITH MURRAY YELLOW VASEthe tapered and turned shoulder vase with yellow matt satin glaze. Minor underglaze manufacturing flaw to rim. H190$700 - $900
402 A LARGE WEDGWOOD KEITH MURRAY GREEN VASEthe tapered and turned shoulder vase with green matt satin glaze. H290$1,500 - $2,000
403 A LARGE WEDGWOOD KEITH MURRAYCREAM VASEthe tapered and turned shoulder vase with green matt cream glaze. H285$1,000 - $1,500
404 A WEDGWOOD KEITH MURRAY SQUAT GREEN VASEthe tapered and turned squat vase with matt green glaze H170 W275$1,200 - $1,800
405 A LARGE 18TH CENTURY WORCESTER MUGthe first period mug with underglaze blue Chinese landscape painting. Filled crescent mark, circa 1770. Crack to handle. H150$800 - $1,000
406 A ROYAL WORCESTER BLUE SABRINA VASEthe small baluster shaped vase with carp decoration, 1926. Slight wear to rim. H78$100 - $200
407 A ROYAL WORCESTER FOX HUNTER FIGUREthe porcelain horse and rider, Lt. Col. H.M. Llewellyn. 134/500. Fitted wood base. H300$400 - $600
408 A ROYAL WORCESTER MOUNTAIN GOAT VASEsigned Harry Davis. Green mark, 405. H120$2,000 - $2,500
409 A ROYAL WORCESTER HANDLED PHEASANT VASEsigned James Stinton, 1902. Green mark, 914. H180 W150$1,200 - $1,800
410 A ROYAL WORCESTER HIGHLAND CATTLE CUP AND SAUCERsigned J. Stinton. Hairline crack. W95$800 - $1,000
411 A ROYAL WORCESTER SMALL HANDLED HIGHLAND CATTLE VASEsigned Harry Stinton, 1903. Puce mark, 2026. Base restored. H120 W80$800 - $1,000
412 A ROYAL WORCESTER MINIATURE PHEASANT JUGsigned J. Stinton. H55$400 - $600
413 A ROYAL WORCESTER HANDLED HIGHLAND CATTLE VASEsigned E. Townsend. Pierced lid. Black mark, 314H. H280 W225$3,000 - $4,000
414 A LOCKE & CO WORCESTER MITRE PEAK VASEsigned W. Stinton. H70$250 - $350
415 A ROYAL WORCESTER HIGHLAND CATTLE POT POURRI VASEsigned E.Townsend. Pierced lid. Black mark, 169A. H160 D90$1,500 - $1,800
416 A ROYAL WORCESTER HANDLED HIGHLAND CATTLE VASEunsigned 1959. Black mark 2563. Slight restoration to body. H160 W130$1,200 - $1,600
417 A ROYAL WORCESTER HIGHLAND CATTLE LIDDED VASEsigned John Stinton. Restored neck. H200$1,600 - $2,200
IN FOCUS 143
419 A ROYAL WORCESTER GLOBULAR BIRD VASEunsigned. W80$200 - $300
420 A ROYAL WORCESTER BOTTLE FRUIT VASEsigned W. Roberts, 1940s. Black mark, 2491. H140$400 - $500
421 A ROYAL WORCESTER CONICAL PHEASANT VASEsigned L. Maybury, 1951. Black mark, G957. H80$400 - $500
422 A ROYAL WORCESTER URN FRUIT VASEsigned R. Seabright 1912. Puce mark 1868. Base restored. H125$1,200 - $1,500
423 A PAIR OF ROYAL WORCESTER BALUSTER PEACOCK VASESsigned A. Watkins. Both with minor cracks. H105$350 - $450
424 A ROYAL WORCESTER FRUIT PLATEsigned W. Roberts, 1933. Puce mark. D270$2,000 - $2,500
425 A LOCKE & CO WORCESTER PHEASANT VASEsigned E. Blake. H70$150 - $220
426 A ROYAL WORCESTER HANDLED PHEASANT VASEsigned James Stinton, 1903. Green mark, 998. H160 W90$1,200 - $1,800
418 A ROYAL WORCESTER CYLINDER FRUIT VASEsigned H. Ayrton, 1954. Black mark, G42. Hairline crack to shoulder. H140$400 - $500
415 416 417
427 A ROYAL WORCESTER LIDDED FLORAL JARunsigned, circa 1915. Puce mark, 2589. Cracked lid. H65$60 - $80
428 A ROYAL WORCESTER CONICAL FRUIT VASEsigned W. Roberts,1960s. Black mark, G957. H80$400 - $600
429 A ROYAL WORCESTER POT POURRI VASEwith foliate pieced body, 1878. Green mark, inscribed 743. H200 D115$800 - $1,000
430 A LOCKE & CO TAPERED PHEASANT VASEsigned E. Blake. H65$150 - $250
447 A ROYAL WORCESTER ROTHWELL CASTLE PLATEsigned R. Rushton. W270$200 - $300
448 A ROYAL WORCESTER HIGHLAND CATTLE PLAQUEsigned Francis Clark in a gilt frame, circa 1975. H130 W180$500 - $700
449 A GRAINGER & CO. SQUAT BIRD VASEwith bird and gilt decoration, 1893. Brown mark 545. H75 D100$200 - $300
450 A ROYAL DOULTON KINGFISHER LUSTRE VASEthe cylindrical vase with bird and butterfly decoration. H250$500 - $700
451 A ROYAL DOULTON WOODLAND BALUSTER VASEsigned T. Pyrit. H150$300 - $400
452 A MINTON POTTERY TILEin wooden frame with blue transfer Bear attack pattern. W190$200 - $250
453 A HARLEY JONES CHINOISERIE FLARED VASEcylindrical with speckled green glaze. H210$200 - $300
454 A LARGE GEORGE JONES SERVING DISHfan shaped with underglaze blue pattern and gilt edging. Circa 1880. W440$200 - $300
455 A VICTORIAN DOULTON LAMBETH SANITARY FOUNTAINtravellers sample, in two tone brown and cream glaze. H170$100 - $180
432 A ROYAL WORCESTER ROUND FRUIT VASEsigned W.Roberts, 1940s. Black mark, G161. H70 W80$400 - $500
433 A ROYAL WORCESTER SMALL LOBED FLORAL VASEsigned H. 1907. Green mark, 261. H80$200 - $300
434 A ROYAL WORCESTER ROSES VASEsigned R. Austin, 1910. Green mark, F104. H250 D135$700 - $900
435 A ROYAL WORCESTER LOBED ROSE VASEunsigned. Green mark, 1910. H135$200 - $300
436 A ROYAL WORCESTER PHEASANT PLATEsigned Jason Stinton. W240$500 - $700
437 A ROYAL WORCESTER TALL ROSES VASEsigned C. V. White, 1908. Green mark, 248. H355 W150$3,000 - $4,000
438 A ROYAL WORCESTER SMALL HANDLED ROSES VASEunsigned, 1909. Puce mark, 2021. H140 W95$700 - $900
439 A ROYAL WORCESTER FARMLAND CATTLE PLATEsigned Jason Stinton. Hairline cracks. W240$400 - $550
440 A ROYAL WORCESTER BIRD VASEurn shape with printed exotic birds on white ground.1897. Green mark, 964 H185 $300 - $500
441 A ROYAL WORCESTER BOTTLE FLOWER VASEsigned Freeman, 1940s. Black mark, 2491. H140$400 - $500
442 A ROYAL WORCESTER FLARED CHINOISERIE VASEmountain landscape pattern. H150$300 - $400
443 A ROYAL WORCESTER WINDSOR CASTLE PLATEsigned W. Nicholls. W270$300 - $400
444 A ROYAL WORCESTER CHEPSTOW CASTLE PLATEsigned H. Stinton. W220$700 - $900
445 A ROYAL WORCESTER LARGE ROSES JARDINIEREsigned Walter Sedgley, 1919. Puce mark, H295. H210 D280$2,000 - $2,500
446 A ROYAL WORCESTER STRATFORD CHURCH PLATEsigned R. Ruston. W200$400 - $500
431 A ROYAL WORCESTER TRUMPET FLOWER VASEunsigned, 1914. Puce mark G923. H150$400 - $500
IN FOCUS 145
456 AN EDWARDIAN MACINTYRE TEA SERVICEwith slip trailed cobalt blue swags on a pale blue ground , gilt edges. Minor chips. $400 - $500
457 A DEVON SYLVAN FIELDINGS LUSTRE ROSE BOWLon stand with gilt borders and painted butterfly decoration. H210$150 - $250
458 A TALL RUSKIN ORANGE LUSTRE VASEof ovoid form, impressed marks to base, circa 1905. H275$300 - $400
459 A SQUAT PILKINGTON BLUE GLAZE VASEwith light blue and green dribble glaze. Marks to base, circa 1905. H140$200 - $300
460 AN IMPRESSIVE MID 19TH CENTURY FRENCH GARNITUREcomprising two richly gilt ormolu mounted jardineres with a matching central urn vase. All with Sevres style porcelain bowlsdecorated with hand painted scenes of cherubs at play. Jewelled borders on a turquoise ground. Elaborate mounts with folded draps, acanthus leaves, cherub masks, beads and pineapple finials with impressed marks Deniere. H370$5,000 - $7,000
461 THREE EARLY 18TH CENTURY ITALIAN MAJOLICA DRUG JARSone for wet drugs with spout and handle the other two cylindrical. Tin glazed with painted blue floral decoration and manganese purple latin labels. H210$1,500 - $2,200
467 A VICTORIAN TODDY LADLEwith twisted horn handle. Eady, London 1859. L200$150 - $220
468 A VICTORIAN SILVER MOUNT CARVING SETknife, fork and steel with stag antler handles. John McClory & Son, Sheffield. $250 - $350
469 AN EDWARDIAN SILVER MOUNT CARVING SETtwo knives, two forks and a steel with stag antler handles. Weir & Sons, Dublin. Silver marks Sheffiled 1905. $350 - $450
462A VICTORIAN STERLING SILVER COFFEE POTof fat bodied form with domed lid, relief scroll and floral decoration on four scroll feet. William Hunter, London 1859. Weight 890g. H260$1,200 - $1,800
466AN EARLY VICTORIAN STERLING SILVER TEA SERVICEthe elaborate four piece set of compressed melon shape with raised leaf and flute decoration. Coffee, tea, sugar and cream with gilt bowls. J. & A. Savory, London 1839. Weight 2.4kgs. $2,500 - $3,500
463 A GEORGE IV STERLING SILVER TEA SETteapot, sugar and creamer of squat round shape with deeply embossed floral decoration. J. H. C. Lias, London 1823. Together with sterling tongs. Dent to pot body. $2,000 - $3,000
464A GOOD VICTORIAN STERLING SILVER FRUIT BASKETwith pierced and engraved scroll decoration. The swing handle and ornate edge decorated with relief wheat sheaves and flowers. Walter Knowles, Sheffield circa 1850. Wieght 829g. D320$1,600 - $2,200
465A VICTORIAN IRISH STERLING SILVER COFFEE POTthe large baluster shaped pot with scroll handle, birds neck spout and raised floral decoration. Domed lid and circular foot. Richard Sawyer, Dublin 1896. Weight 901g. H290$3,000 - $4,000
479 AN EARLY EUROPEAN SILVER SPOONwith a fat oval bowl, twisted and pierced stem surmounted with a man in period costume with a bottle and glass. Possibly early 18th century. Unknown mark, remarked Edinburgh 1935. L172$400 - $600
476 A VICTORIAN SILVER PLATE WRITING SETwith two inkwells, candle holder set into a tray. H160 W385$120 - $180
477 AN EDWARDIAN STERLING SILVER SAUCE BOATwith two handles and double ended pourer, matching saucer. Chester 1909. H85 W185$200 - $280
478 A PAIR OF GEORGIAN TABLESPOONSEley & Fearn, London 1802. L225$80 - $100
481 A PAIR OF GEORGIAN FIDDLE PATTERN TABLE SPOONSinitialed AB to handle. Lias Bros, London 1825. L220$200 - $300
480 AN IMPRESSIVE VICTORIAN STERLING SILVER TRAYthe shaped oval tray with scroll and scallop shell border and foliate engraved surface. Central boar crest with Deo Fidens Proficio inscribed. William Mammatt & Son, Sheffield 1899. Weight 4.1kgs. W745 D480$6,000 - $7,000
482 A GOOD SET OF VICTORIAN STERLING SILVER CUTLERYQueens pattern comprising twelve each of table forks, spoons, desert forks and spoons, teaspoons. Plus twelve matching table and desert knives 1922. Maker George Angell, London 1845-1867. Eighty four pieces, total weight with cloth bags 6.7kg. $4,000 - $5,000
483 AN ART NOUVEAU WMF SILVER PLATED DISHwith semi-clad young girl and cherubs. Impressed marks. L325$200 - $300
484 A GEORGIAN STERLING SILVER COFFEE POTthe lidded pot, baluster shaped, plain body with raised gadrooned edgings and wrythen finial. Engraved crest. Whipham & Wright, London 1762. Weight 830g. Later handle. H270$3,500 - $4,500
470 A 19TH CENTURY SHEFFIELD PLATE INKSTANDwith two cut crystal bottles and candle holder. The tray with floral scroll border on four scroll feet. L225$200 - $300
471 A GOOD STERLING SILVER LINK BELTcomprising eleven cartouche links joined by twelve pair of mask motif links to an ornate figured scroll buckle. Maker R.W, London 1899. L740$600 - $800
472A SET OF SIX STERLING SILVER APOSTLE STYLE SPOONSeach surmounted by a cast mythical beast with enamelled coat of arms. Maker T.K. & S. Birmingham 1970. Total weight 288g. $700 - $800
473 A GEORGIAN STYLE STERLING SILVER BACHELORS CREAM JUG AND SUGARsilver gilt, Birmingham, 1919. $120 - $180
474 A LARGE STERLING SILVER QUAICHwith side handles, leaf border on a circular foot. Walker & Hall, Sheffield 1923. W155$150 - $250
475 A GEORGIAN SHEFFIELD PLATE DECANTER COASTER W150$120 - $180
IN FOCUS 147
490 A GEORGIAN STERLING SILVER LIDDED TANKARDthe large tankard with all over heavily embossed floral decoration. Thomas Bond St. London inscribed to base. John Deacon, London 1777. Weight 1kg. H225$3,000 - $4,000
494 A JAPANESE MEIJI STERLING SILVER TEAPOTwith raised bamboo decoration on body and bamboo moitf handle and finial. Stamped KH, Kobe Sterling. L270$1,500 - $2,000
495 A CHINESE SILVER BELTcomprising seventeen pearl shell medallions linked together each with a cut out Chinese character applied. Oval character buckle. L950$400 - $600
496 AN ORIENTAL SILVER BELTthe mesh belt with pierced oval dragon motif buckle. L840$150 - $300
497 A PAIR OF CHINESE SILVER CUP HOLDERSwith tray, dish and cover. Incised floral, scroll and character decoration. L110$120 - $180
498 A CHINESE SILVER HAND WARMERthe double lobed body with relief courtesan interior scenes, pierced lid and double swing handles. Marks to base. L130$1,000 - $1,400
499 A CHINESE BRONZE INCENSE BURNERthe plain round body on tripod feet. Marks to the base. H75 W150$900 - $1,200
500 A 19TH CENTURY CHINESE SHORT SWORDwith double fullered steel blade. The shagreen scabbard covered with ornate scroll engraved brass mounts. Some losses. L700$150 - $250
492 AN IMPERIAL PERIOD RUSSIAN SILVER GILT AND ENAMEL COSSACK BELTthirty three twin domed links with cartouche shape central buckle secured by a scimitar. Each link marked in cryllic AD 84 Zolotnik. Circa 1900. L715$6,000 - $7,000
485 A VICTORIAN STERLING SILVER AND CRYSTAL INKWELLof grenade form with crystal nodules and silver mounts. London 1872. H75$80 - $120
486 FOUR SILVER PLATE CANDLESTICKSwith cartouche shaped candlesticks, reeded edges and tapered fluted columns. H305$200 - $400
487 A VICTORIAN STERLING SILVER FRUIT BOWLwith pierced and engraved floral scroll body and raised borders on four feet. London 1898. Weight 552g. W230$900 - $1,200
488 A GEORGE II STERLING SILVER COFFEE POTof tapering form, deeply embossed rococo decoarations, ebonised wood handle and bird finial. William Shaw & Priest, London 1754. Restoration to upper handle and a small dent to body. H265$3,000 - $4,000
489 A STERLING SILVER THREE PIECE TEASETwith plain wide lobed body ebony handle, sugar and creamer. Sheffield 1945. $500 - $800
491 A PAIR OF ANTIQUE SILVER PLATE WINE COASTERS D145$200 - $300
493 AN CHINESE OR JAPANESE SILVER TEAPOTwith scroll handle and raised floral decorated panels on a circular foot. Unmarked. L200$600 - $800
501 A CHINESE RED GLAZED BOTTLE VASEin Kang His style. H180$600 - $800
502 A CHINESE BLUE AND WHITE DOU VASEThe lidded vessel of globe form on a long footed base. Decorated with dragons amidst clouds and chrysanthemums. H320 D210$1,600 - $2,000
503 A CHINESE ARCHAIC STYLE BALUSTER VASEfour sided with underglaze Kylin and pearl decoration H150$300 - $500
504 A JAPANESE MEIJI KUTANI BALUSTER VASEpainted with a procession of boy musicians. Gilt floral and cloud borders. Signed. H350$600 - $800
506 A GOOD QUALITY CHINESE DOUBLE GOURD VASEwith underglaze blue figures in a landscape decoration. H330$2000 - $3,000
507 A PAIR OF CHINESE BLUE BOTTLE VASES H240$150 - $250
508 A CHINESE PALE CELADON VASEwith pale bubble glaze over incised floral . Blue Wan Li mark to base. H125$450 - $600
509 A CHINESE POLYCHROME BALUSTER VASEfinely painted phesant amongst blossoms on a white ground. Mark to base. H210$600 - $800
510 AN ANTIQUE TIBETAN BRONZE BUDDHA FIGUREwith four arms, raised scroll and dragon decoration seated on a lotus plinth. H220$600 - $900
511 A CHINESE SQUARE FORM VASEwith a celadon glaze. H115$300 - $500
512 A CHINESE FAMILLE NOIRE BALUSTER VASEdepicting birds and blossoms on a black ground. Six character Kang Hsi mark H415$1,200 - $1,600
513 A CHINESE GILT BRONZE SEATED BUDDHA FIGUREseated with gesturing benign expression. H310$3,000 - $4,000
514 A CHINESE WHITE JADE GUAN YIN FIGUREthe carved figure standing with hand out and holding beads. H270$1,000 - $1,500
515 A CHINESE STAINED HORN HOTEI BUDDHAseated with benign expression. H80$700 - $900
516 A CHINESE BRONZE OCTAGONAL CENSERdecorated with Kylin in low relief and supported on three lion mask legs. H220$400 - $600
505 A CHINESE POLYCHROME FEMALE FIGUREof a reclining courtesan with floral enamel decoration. L130$300 - $500
IN FOCUS 149
517 A CHINESE MOTTLED BALUSTER VASEthe shouldered vase with long neck and red and green spotted glaze. Blue marks to base. H235$1,200 - $1,800
518 A PAIR OF CHINESE BALUSTER VASESdecorated with polychrome floral still life and Chinese characters. One vase damaged. H430$550 - $650
519 A LARGE MEIPING CHINESE VASEwith yellow glaze, pine tree, crane and chrysanthemum decoration. Signed to base. H550 D350$1,000 - $1,500
520 A LARGE CHINESE CRACKLE GLAZE VASEdecorated with four panels of playing Kylin in underglaze blue on a grey crackle glaze body. Low relief black key and leaf borders. Four character mark. H450$500 - $800
521 A CHINESE POLYCHROME ENAMEL BOWLwith painted figures on a pale celadon ground. W165$450 - $550
522 A CHINESE DARK HORN LIBATION CUPwith entwined dragon and pearl motif. H90$600 - $800
523 A GOOD QUALITY POLYCHROME INCENSE BURNERpossibly Ming period. The cylindrical thick walled body with underglaze polychrome dragon and cloud decoration on three paw feet. Six character mark to base. H165 W185$5,000 - $10,000
524 A CHINESE MYTHICAL BEAST HARDSTONE CARVINGthe brown and grey variegated stone foo dog style figure lying in a curled position. Features an internal water bubble. H50 L90 D75$1,000 - $1,500
525 A LARGE CHINESE POLYCHROME BALUSTER VASEheavily decorated with famille rose flowers and dragon. Foo dogs and dragons to the neck. H445 D200$400 - $600
526 A CHINESE BRONZE INCENSE BURNERthe round burner with bamboo edging and feet withrelief tree decoration. Marks to base. H80 W133$700 - $900
527 SIX CHINESE TEK SING BOWLS W75$120 - $180
528 A CHINESE EXPORT PIERCED FLORAL PLATE W220$160 - $220
530A CHINESE BROWN TERRACOTTA TEAPOTof round form with bamboo decoration and rat finial. W185$80 - $120
531A CHINESE BROWN TERRACOTTA TEAPOTof square form and dragon decoration. Mark to base. W150$120 - $180
532 A CHINESE GREEN HARDSTONE KWAN YIN HEADfluorite quartz head of a goddess. H210$400 - $600
533 A CHINESE GREEN HARDSTONE LOTUS BUDthe fluorite quartz lotus bud censor with entwined leaves, small buds and blossom. Carved wood stand. H200$200 - $400
534 A PAIR OF CHINESE TEK SING BOWLSwith underglaze blue, grey pattern and barnacle traces. W280$300 - $400
535 A PAIR OF CHINESE LIDDED BALUSTER JARSwith painted enamel dragons chasing flaming pearls. Lid finial repaired. H310$400 - $500
536 A CHINESE BAMBOO SCRIBES POT AND BRUSH STAND L155$180 - $220
537 A CHINESE GREY JADE TABLE WEIGHTof slim oval form with pine tree motif. L95$650 - $850
538 A CHINESE JADE TRIPLE BAMBOO CARVINGof bamboo sections with pink and orange tones on a wood stand. L180$1,200 - $1,500
529 NO LOT
540 A PAIR OF CHINESE IVORY BUDDHIST MONK FIGURESwith ink hairwork details, standing on silver inlaid champleve cloisonne stands. H160$450 - $600
541 A CHINESE LUNA HARE BROWN HARDSTONE CARVING L58$200 - $400
542 A SMALL JAPANESE LATE MEIJI SATSUMA VASEdecorated with lohan and dragons. Signed to base. H100$300 - $400
543 A MEIJI JAPANESE CLOISONNE TAPERED VASEof cylindrical form with patterns of birds, trees and flowers on a black ground. Repaired. H180$100 - $180
544 A JAPANESE MEIJI IVORY ANIMAL GROUP CARVINGdepicting a troupe of monkeys on a log bridge over a carved wood river and rock stand. Repairs L440$400 - $600
545 A JAPANESE MEIJI IVORY ANIMAL GROUP CARVINGdepicting linked lions, tigers, monkeys and elephant on a black wood stand. Repairs L290$500 - $700
546 A CHINESE BROWN AGATE SNUFF BOTTLEwith high relief ochre sage with bat and pine tree. Coral and Brass stopper. H65$100 - $200
547 A CHINESE MEI PING SNUFF BOTTLEwith celadon glaze over a raised floral decoration. H75$100 - $200
548 A CHINESE REVOLVING SNUFF BOTTLEthe under glaze blue bottle with a revolving cylinder and jade bead stopper. H80$100 - $200
549 A CHINESE BALUSTER SNUFF BOTTLEwith underglaze blue warrior figure decoration. H67$100 - $200
550 A CHINESE FLASK SNUFF BOTTLEwith underglaze blue and pink floral decoration. H63$100 - $200
551 NO LOT
552 A GOOD CHINESE HARDSTONE FO DOGthe mottled grey and brown dog with snarling expression. L60$300 - $400
553 AN ANTIQUE LACQUER THAI BUDDHAmaroon lacquer finish, seated position with contemporary stand. H790$3,500 - $4,500
554 AN ANTIQUE CHINESE ROSEWOOD BARREL SEATwith inlaid mother of pearl floral pattern. Faults. H450$150 - $250
555 AN ORNATE TRADITIONAL CHINESE JACKET AND SKIRTembroidered in silver thread with low relief coloured dragons and phoenix over red silk. Tin carry case. $700 - $900
556 A 19TH CENTURY CHINESE MANDARIN COSTUMEcomprising two richly embroidered and woven robes with dragons, clouds, bats, pearls, fungus and symbols etc. Black silk pants and shoes. $500 - $700
539 A CHINESE SCRIBES INKSTONEin a dark Rosewood oval box. Stone inscribed with poem and archaic characters. W210$750 - $950
IN FOCUS 151
566 A VINTAGE DANISH TEAK DINING SUITEcomprising an extendable table and six woven cord chairs. Two chairs similar but not an exact match. L1630 D850$1,500 - $2,000
567 A PAIR OF VINTAGE MILO BAUGHMAN ARMCHAIRSfor Directional. Square section body with solid steel exposed frame and chartreuse upholstery. H700 W770 D820$2,500 - $3,500
557 FOURTEEN EMBROIDERED ORIENTAL TEXTILE PATCHESantique patches cut out from Kimonos. $150 - $250
558 A JAPANESE EMBROIDERED SILK BED COVERwith fighting cockerals in a centre field of wisteria leaves, entwined vines and butterflies. W1700 D1700$1,500 - $2,000
559 ANTIQUE JAPANESE BOY AND GIRL MODEL FIGURESin standing pose, the arms, legs and heads in lacquer and glass eye inserts. The bodies in wood and wicker. Circa 1900. H1090$1,000 - $1,500
560 A KOSTA BODA ART GLASS VASEorange flame and lava vase. Signed. H270$100 - $200
561 A LARGE ART GLASS VASEwith five sections of blended colours. H320$100 - $150
562 A MURANO ART GLASS ANGEL FISHby Oscar Zanetti. The slender glass fish with colourful inclusions and mounted on a black glass base. H414 W300 D95$800 - $1,200
563 A VINTAGE WEST GERMAN SUNBURST WALL CLOCK D300$100 - $200
564 A WELTRON YELLOW GLOBE STEREO$200 - $300
565 A PAIR OF VINTAGE H. W. KLEIN BROWN LEATHER ARMCHAIRSwith curved shell body and buttoned cushion seats on a five star base. Some wear to the base. H1010$1,800 - $2,200
569 A VINTAGE TEAK CHEST OF DRAWERSthe three drawer chest with recessed handles and inlaid detailing. Fault to front leg. H710 W930 D390$300 - $400
570 A VINTAGE NEW ZEALAND WOODS COFFEE TABLEthe rectangular table with inlaid woods. H380 W1150 D400$200 - $300
572 A VINTAGE BOOMERANG TABLEwith a teak top and three black legs. Small chip to base. H405 W800$100 - $200
573 A VINTAGE WHITE OAK FREE FORM COFFEE TABLEwith glass top and shelf. H380 W1110$200 - $300
571 A VINTAGE TEAK CHEST OF DRAWERSwith six drawers and recessed handles on a four point base. Front legs need re-attaching. H730 W1830 D420$800 - $1,000
574 A FRENCH MID 20TH CENTURY METAL TABLEwith metal legs, green composite top and single frieze drawer. Establishment Hermant Burxelles. H760 W1530 D870$350 - $500
575 AN 18TH CENTURY LONGCASE CLOCKsigned Josh Kember Shaw. The brass dial, chapter ring and spandrels with rococo engraved and cast decoration. The plain Georgian style case in oak. Works require servicing. H1950 W450 D240$1,200 - $1,800
INTERIOR DECOR568 A PAIR OF GEORGE NELSON COCONUT CHAIRSby Vitra 2003. H830 W1020 D830
$3,000 - $4,000
590 AN 18TH CENTURY FRENCH AUBUSSON TAPESTRYdepicting birds in a landscape of trees, pavillions and shrines with floral borders. H820 W1540$5,000 - $7,000
591 AN 18TH CENTURY FRENCH AUBUSSON TAPESTRYdepicting a classical romantic scene of youthful courting bourgeois figures within a garden setting. Framed by a fine floral border. Derived from Jean-Baptiste Huets Genteel Amusement Series. The quality of the tapestry is shown in the characters definite features, the splendid depth of the background and the meticulously detailed shading. Circa 1770. H2550 W2150
(see Illustration page 88)$30,-000 - $40,000
592 A GEORGIAN MAHOGANY BREAKFRONT SIDEBOARDwith satinwood shell inlays to the front and upstand back. Lion ring handles to the drawers. H1010 W1600 D610$1,800 - $2,200
593 A REGENCY D-END PEDESTAL DINING TABLEwith brass inlays and extension leaf. L2150 W1010$600 - $1,000
576 A WILLIAM IV MAHOGANY TWIN PEDESTAL SIDEBOARDinverse breakfront, panelled doors with reeded columns. The upstand back with foliate carved decoration and three frieze drawers. H1260 W1830 D620$1,200 - $1,800
577 A RUSSET LEATHER WINGBACK SOFAbeech legs with stretcher, scroll carved detailing. English circa 1900. Worn seats. H950 W1810 D850$1,800 - $2,200
579 A PAIR OF VERSACE TABLE LAMPSin Neo-classical form in brass and black finish, some faults. H800$200 - $400
580 A 19TH CENTURY OAK SIDEBOARDwith carved details to the upstand back, frieze and cabriole legs. H1100 W1400 D570$1,000 - $1,200
581 AN ANTIQUE MAHOGANY LONGCASE CLOCKa plain case, painted dial with floral spandrels. Signed J. Noaks, early 19th century. H1985 W500 D250$1,000 - $1,500
582 AN EARLY 19TH CENTURY MAHOGANY DISPLAY CABINETraised on late Victorian cabriole ball and claw feet. H1860 W1230 D400$1,500 - $2,000
583 A 19TH CENTURY MAHOGANY DUMB WAITERthe two tiers with turned supports. H980 W1300 D600$600 - $900
584 A PAIR OF 19TH CENTURY FRENCH SALON CHAIRSin ebonised finish and distressed green velvet upholstery. $800 - $1,000
585 A LATE VICTORIAN MAHOGANY SECRETAIRE BOOKCASEthe pediment, drawer front and cupboard doors with carved detailing. Adjustable shelves to the glazed upper section. H2490 W1230 D500$800 - $1,200
586 A 19TH CENTURY MAHOGANY CHEVAL MIRRORof large form, three frieze drawers and turned uprights. Old repairs and faults. H940 W820$300 - $500
587 A PAIR OF REGENCY MAHOGANY ARMCHAIRSwith brass inlay, leather drop seats and sabre legs. Old repairs. $800 - $1,200
588 A LATE VICTORIAN MAHOGANY CAMPAIGN DESKthe cross stretcher legs opening with the top to reveal a leather fitted interior compendium. H800 W620 D620$500 - $700
589 A LATE 19TH CENTURY OAK METAMORPHIC DUMBWAITERin Jacobean style. The two open oak shelves with barley twist supports, below two drawers. The top opening t.o form a shelved upstand back with a marble top H1000 W1140 D420$800 - $1,200
568 402 404
578 NO LOT
IN FOCUS 153
594 A HARLEQUIN SET OF TEN GEORGE III DINING CHAIRSin mahogany with Sheraton inlaid ovalpanels to the blade backs. Some losses. $1000 - $2,000
595 A REGENCY FOUR TIER WHAT NOTwith a single drawer to the base, on brass castors. H1450 W530 D450$800 - $1,200
596 A GEORGIAN MAHOGANY SPLATBACK SIDE CHAIRwith pierced back and drop in seat. $150 - $250
597 A GEORGIAN MAHOGANY SPLATBACK SIDE CHAIRwith over stuffed seat. $250 - $350
598 A VICTORIAN BRASS WARMING PANwith a turned wood handle. $80 - $120
599 A 19TH CENTURY COPPER AND BRASS COAL BUCKET $150 - $250
600 A PAIR OF BRASS AND IRON FIREDOGSwith seahorse decoration. $150 - $300
601 A PAIR OF JACOBEAN STYLE BELLOWS L400$100 - $200
602 A SMALL ANTIQUE OAK COFFERthe front panel with carved decoration and exposed iron lock. H500 W890 D370$400 - $600
603 A WATERFORD FIVE BRANCH CUT CRYSTAL CHANDELIERthe swag branches deocrated with drops. H500$1,200 - $1,600
604 A GEORGE III MAHOGANY CHEST ON CHESTwith dentil cornice, cockbeaded drawers and bracket feet. Later brass swan neck handles, some wear and deterioration. H1790 W1110 D540$1,500 - $2,000
605 A LATE GEORGIAN OAK FALL FRONT BUREAUwith filled interior and well. Two short and two long drawers above bracket feet. Replaced hardware. H1030 W910 D510$1,500 - $2,000
606 AN INDONESIAN STORAGE TRUNKon a decorative wheeled base. H770 W1180 D490$300 - $450
607 A EUROPEAN PINE DOMED TOPPED TRUNKwith painted decoration. H600 W1110 D640$300 - $450
608 A 19TH CENTURY FRENCH PINE STUDENTS DESKwith lift top lid and single drawer. H820 W630 D460$300 - $500
609 AN ENGLISH BEECH CHILDS CHAIRwith bobbin turned decoration and caned seat. H930$150 - $200
610 A RUSTIC DINING TABLEwith brown paint finish on square section legs. H750 W1660 D640$650 - $800
611 A 19TH CENTURY MAHOGANY DESKwith turned and carved legs, upstand back and brass castors. H730 W1070 D620$600 - $900
614 A 19TH CENTURY CAST IRON OUTDOOR TABLEwith a round weathered terrazzo top. H720 D550$500 - $800
615 AN UNUSUAL IRON AND STEEL STANDwith a cast top by TJ. Griffiths, Liverpool. H800 D360$300 - $400
616 A VICTORIAN OIL ON BOARD OLD MAN PORTRAITof an old bearded man in ornate gold frame. Unsigned. H830 W650$200 - $400
617 A 19TH CENTURY PRINT OF A SOLDIER AND HORSEafter E, Detaille, 1876. In period frame. H800 W630$80 - $150
618 A VICTORIAN PASTEL YOUNG GIRL PORTRAITthe girl with toy whip and toy horse. Unsigned. H330 W220$100 - $200
619 A VICTORIAN OIL ON CANVAS HARBOUR SCENEin period gilt frame, some faults. H760 W1090$300 - $500
620 A TERRIER OIL ON CANVAS PORTRAIT - GEORGE ARMFIELDin ornate gilt frame. H400 W430$800 - $1,200
621 A TERRIER OIL ON CANVAS PORTRAIT - GEORGE ARMFIELDwith two terriers and a cornered fox in a barn. Ornate gilt frame. H530 W640$800 - $1,200
622 A VICTORIAN OIL ON BOARD OLD LANDSCAPEwith ruins, in a gilt wood frame. Signed S. Hunt?. H410 W620$100 - $200
623 A PAIR OF ANTIQUE CLASSICAL WOMAN ENGRAVINGSsepia stipple finish in an oval gilt frame. H370$100 - $200
624 A VICTORIAN OIL ON CANVAS WOMAN PORTRAITthe young woman in an ornate gilt frame. H930 W770$800 - $1,000
625 A WATERCOLOUR COASTAL SCENE - DOUGLAS PINCHER H200 W370$100 - $150
626 A PAIR OF EUROPEAN CASTLE SCENES - A.F. AFFLECK H510 W430$100 - $200
612 AN ENGLISH STEEL AND WOOD CABINETwith two drawers above two doors, the internal shelving swivelling outwards. Circa 1930. H1060 W730 D470$2,000 - $2,500
613 AN ART DECO SHOP DISPLAY COUNTERwith decorative curved and veneered sides, glazed front and top with mirrored drawers to rear. Ex Smith & Caughey. H1000 W1380 D760$800 - $1,200
IN FOCUS 155
640 A TURKISH WOOL KELIM RUGwith red and blue diamond guls. L2600 W1800$200 - $400
641 A FINE ISFAHAN WOOL AND SILK CARPETKurk wool on silk warps from Serekians workshop. Central panel foliate design on a cream ground with rich red and blue borders. L3300 W2060$9,000 - $11,000
642 A HAND KNOTTED WOOL RUGof three medallions in browns and navy blue. L2000 W1100$150 - $250
643 A HAND KNOTTED WOOL KASHAN SMALL CARPETof stylised foliate design on a red ground. L3480 W2430$1,000 - $1,500
644 A HAND KNOTTED WOOL RUGof traditional design, three medallions in reds and indigo. L2000 W1350$200 - $400
645 AN ANTIQUE WOOL KILIMin subtle muted colours. L3020 W1910$200 - $300
646 A HAND KNOTTED WOOL RUNNERwith multi coloured diagonal stripe decoration. L3760 W1040$250 - $400
627 A 19TH CENTURY EUROPEAN WATERCOLOUR SCENE H340 W260$150 - $200
628 AN OIL ON CANVAS YOUNG WOMAN PORTRAIT H450 W350$100 - $200
629 A SHOWER OF BODY PARTS: KIWI BACON ENGRAVING - MARY MCINTYRE H300 W400$300 - $350
630 HAMLET ACRYLIC ON BOARD - ALAN TAYLOR H400 W290$350 - $500
631 A WOMAN READING INK DRAWING - TOSS WOOLLASTON H370 W260$1,000 - $1,500
632 MARKARITA AKAPITA OF OHINEMUTU OIL ON BAORD PORTRAIT - C.T. LAUGESEN H335 W245$150 - $200
633 MANGROVES AT MATAPOURI INK DRAWING - ERIC LEE JOHNSONpurchased at Webbs Galleries sale of his collection, 1982. H270 W360$350 - $500
634 AN OIL ON BOARD FLORAL STILL LIFE - T. BERGERin gilt frame. H840 W700$400 - $600
635 AN OIL ON CANVAS YOUNG WOMAN PORTRAIT H950 W660$200 - $400
636 AN OIL ON BOARD FLORAL STILL LIFEin period oak fframe H690 W530$200 - $400
637 AN OIL ON BOARD LANDSCAPE - J.A. RASMUSSEN H480 W600$200 - $400
638 KUNICHIKA SAMURAI PORTRAIT combined aratame and date seal 1865. An actor playing a samurai H550 W430$180 - $250
639 A HAND KNOTTED SAROOK WOOL RUNNERof repeating pattern on a cream ground. L5500 W1200$650 - $800
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 her/his agent to impose a reserve.3. REGISTRATION. Purchasers shall complete a bidding card before the sale giving their own correct name, address and telephone number. It is accepted by bidders that the supply of false information on a bidding card shall be interpreted as deliberate fraud.4. BUYERS PREMIUM. The purchaser accepts that in addition to the hammer or selling price Webbs will apply a buyers premium of 12.5% for the Important Paintings and Contemporary Art sale and Fine Jewellery and Watches sale, and a buyers premium of 15% for the Antiques and Modern Design, (unless otherwise stated), together with GST on such premiums.5. PAYMENT. Payment for all items purchased is due on the day of sale immediately following completion of the sale.If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days.Payment is by cash, bank cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted.6. LOTS SOLD AS VIEWED. All lots are sold as viewed and with all erros in description, faults and imperfections whether visible or not. Neither Webbs nor its vendor are responsible for errors in description or for the genuineness or authenticity of any lot or for any fault or defect in it. No warranty whatsoever is made. Buyers proceed upon their own judgement.Buyers shall be deemed to have inspected the lots, or to have made enquiries to their complete satisfaction, prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects.7. WEBBS 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 buyers expense immediately after the sale except where a cheque remains uncleared. If this is not done Webbs will not be responsible if the lot is lost, stolen, damaged or destroyed. Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to removal of any lot.9. LICENCES. Buyers who purchase an item which falls within the provisions of the Protected Objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webbs a license under the appropriate Act.10. FAILURE TO MAKE PAYMENT. If a purchaser fails either to pay for or take away any lot, Webbs 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 deficiency resulting from such resale, after giving credit to the purchaser for any part payment, together with all costs incurred in connection with the lot shall be paid to Webbs 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 Webbs 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 Webbs 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 Webbs or its vendor. Webbs shall be entitled to a possessory lien on any property of the purchaser for any purpose while any monies remain unpaid under this contract.H. To apply any payment made by the purchaser to Webbs towards any money owing to Webbs in respect of any thing whatsoever irrespective of any directive given in respect of, or restriction placed upon, such payment by the purchaser whether expressed or implied.I. Title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased is held by Webbs pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webbs as bailee for the vendor, risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webbs 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 Webbs prior to bidding.12. SUBJECT BIDS. Where the highest bid is below the reserve and the auctioneer declares a sale to be subject to vendors consent or words to that effect, the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot.13. SALES POST AUCTION OR BY PRIVATE TREATY. The above conditions shall apply to all buyers of goods from Webbs irrespective of the circumstances under which the sale is negotiated.14. CONDITION OF ITEMS. Condition of items is not detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause six. Webbs are pleased to provide intending buyers with condition reports on any lots.
IN FOCUS 157
MR MRS MISS MS (PLEASE CIRCLE)
FIRST NAME SURNAME/COMPANY
HOME PHONE BUSINESS PHONE
Please bid on my behalf at the above sale for the following lots up to the prices recorded. 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 Paintings and Contemporary Art and Fine Jewellery and Watches sales a buyers premium of 12.5% will be added to the hammer price and that GST is charged on the premium, and that in the case of a successful bid on items in the Antiques and Modern Design sales, a buyers premium of 15% will be added to the hammer price and that GST is charged on the premium. On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webbs carry out at no charge.
* Webbs will do its utmost to carry out bidding instructions for absentee bidders. It will not be responsible however if circumstances prevent it from doing so.
ARRANGEMENTS FOR PAYMENT: I agree to pay immediately on receipt of notice from Webbs 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 Webbs 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.
FOR ABSENTEE BIDDERS ON LOTS IN SALE 330
18 Manukau Rd Newmarket | PO Box 99251 Auckland 1149 New ZealandPh: 09 524 6804 / Fax: 09 524 7048 | firstname.lastname@example.org / www.webbs.co.nz
LOT NO. CATALOGUE DESCRIPTION BID*
A2 ART, FINE JEWELLERY AND WATCHES, ANTIQUES AND MODERN DESIGN
PRICES REALISED SALE 328 (4 - 6 OCTOBER 2011)
LOT $ LOT $ LOT $ LOT $ LOT $
1,000 5,500 6,000 1,200 300 1,800 4,000 2,500 1,000 1,500 4,250 1,500 5,500 2,000 600 600 5,750 5,500 4,250 1,650 3,000 6,500 2,000 3,000 1,750 400 3,000 600 1,6001,300 500 5,000 4,750 4,000 3,500 3,000 18,500 750 800 2,000 850 1,500 450 1,500
1,500 1,500 750400 1,000500 800 700 1,500 2,250 2,000 2,500 1,250 2,750 1,5002,000 1,800 5,3001,000 700 400 2,0002,500 3,250 1,800 875 17,000 3,500 2,000 4,5001,250 1,250 600 600 1,000 11,000 5,0004,500 6,0004,0001,0001,000 1,750 2,000
1,250 3,000 1,500 5,000 3,000 3,000 7503,7507501,5004,5002,2501,900 450450 2,400 1,500 700 650 15,000 1,350 2,850 400 700 550 1,400 800 1,700 550 220 300 200 300 600 350 350 500 600 350 1,750 1,750 1,750 1,750 1,750
1,750850 3,800 2,800 22,000 8,500 800 1,750 550 600 4,000 26,000 2,400 5,000 6,000 1,900 2,500 3,300 850 8,250 450 3,250 450 6,000 1,450 1,600 6,500 16,500 13,000 34,500 8,500 37,500 4,8003,500 2,300 3,500 22,000 725 1,800 1,400 800 4,000 9,000 2,800
350 1,550 2,800 700 2,000 2,700 2,250 700 2,000 600 600 600 800 2,200 8,700 5,000 1,400 1,050 700 800 400 200 400 300 120 90600 200 70 70 370 100 200 80425 400 90 610 500 150 140 150 350 300
IN FOCUS 159
LOT $ LOT $ LOT $ LOT $LOT $
PRICES REALISED SALE 328 (4 - 6 OCTOBER 2011)A2 ART, FINE JEWELLERY AND WATCHES, ANTIQUES AND MODERN DESIGN
100 150 450 350 300 900 860 175 200 100 100 50 50 240 520 100 380 400 150 50 160 450 625 450 100 240 240 225 200 400 150 150 2,750 300 450 75 40 1,150 250 275 420 180 200 360
550 300 270 450 425 250 200 160 200 100 140 100 600 600 70 900 5,000 425 200 460 140 100 125 280 100 90270 290 50 2,200 1,900 300 450 250 700 600 1,400 150 230 900 1,500 200 350 1,900
11,000 1,200 1,000 800 400 220 260 220 125 200 250 60 200 100 80 100 175 275 50 70 30 30 200 160 60 50 50 150 130 160 160 180 260200 150 30090 50 160 100 100 425 150 250
150 10020 150 150 3,100 550400 275 40 120 100 325 150 200 80 90 20 60 160 260 200 240 300 200 200 260 230 280 300 200 100 100 100 120 50 50 60 105 300 400 3,500 50040
450 140 50 50 50 140 1,050 325 1,600 400 1,800 3,000 425 5,200 2,5001,250 475 800 2,500 550 475 200 350 275 1,000 2,800910 2,400 900 350 300 750 270 100 100 425 320 1,000 150 1,000 180400650
INDEX OF ARTISTS
Albrecht, Gretchen 49
Alexander, Keith 32, 33
Binney, Don 24, 59
Blomfield, Charles 48
Brake, Brian 11, 12, 13
Ching, Raymond 43
Dali, Salvador 79
Dashper, Julian 3
De Latour, Tony 8
Dibble, Paul 10
Ellis, Robert 35
Fomison, Tony 28
Fraye, Andre 84
Frizzell, Dick 14, 15, 31, 70
Gimblett, Max 73
Goldie, Charles Frederick 19, 37
Gully, John 46
Hammond, Bill 63
Hanly, Pat 22, 29, 36, 72, 76
Harris, Jeffrey 7, 30
Hockney, David 16
Hodgkins, Frances 26, 42, 83
Hotere, Ralph 41, 45, 50, 61
Jansen, Monique 78
Karaka, Emily 71
Killeen, Richard 60
King, Virginia 62
Lee, Jae Hoon 4
Maddox, Allen 2, 21
McCahon, Colin 18, 20, 23, 27, 34, 38, 40, 51, 53
Moffatt, Tracey 81
Moore Jones, Horace 56
Mrkusich, Milan 52, 57, 58
Nolan, Rose 64
Pankhurst, Alvin 68, 69
Pick, Seraphine 9
Robinson, Ann 17
Sharpe, Alfred 44
Siddell, Peter 25, 77
Smither, Michael 39
Stichbury, Peter 5, 6
Stringer, Terry 80
Temin, Kathy 66, 67
Thomson, Jeff 82
Wealleans, Rohan 1
Wheeler, Colin 74
Wolfe, Emily 65
Woollaston, Toss 54, 55, 75, 85
Wright, Walter 47
IN FOCUS 161