Important Oceanic & African Art

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IMPORTANT OCEANIC & AFRICAN ART

TUESDAY 25 SEPTEMBER 2012, 6:00PM

New Zealand’sPremier Auction House

18 Manukau RoadPO Box 99 251

Newmarket, Auckland 1149New Zealand

P +649 524 6804F +649 524 7048

[email protected]

IN Focus 3

PROTECTED OBJECTS ACT 1975 Please note that most Maori artefacts (taonga tuturu) in the catalogue have been registered under the terms and conditions of the Protected Objects Act 1975; this is referred to as Y Registration. Under this Act artefacts with Y registration may not be sold to non-New Zealand Residents, and Y Registered items and other non-Maori items of significance to New Zealand’s cultural heritage may not leave the country without permission from the Ministry for Culture and Heritage.

To purchase Y Registered items the buyer must be a Registered Collector and must present their certificate or card of registration when collecting their goods. To register as a collector of taonga tuturu and to seek permission to export any protected New Zealand object you must apply to the Ministry for Culture and Heritage (www.mch.govt.nz ). Payment is due immediately, however Webb’s will hold goods for buyers whose Registration as Collectors is pending.

NOTEIt is the buyers’ responsibility to satisfy export regulations out of New Zealand and import regulations into their own country. International buyers must seek advice prior to bidding on any items containing sensitive material including, but not limited to animal bones, shells, feathers, ivory, tortoiseshell and human hair.

BUYER’S PREMIUM A buyer’s premium of 15% will be charged on all items in this catalogue. GST (15%) is payable on the buyer’s premium only. Intending buyers should take note of clause 6 in the Condition of Sale for Buyers printed on page 63 of this catalogue. Webb’s is not responsible for any errors of descriptions or for the genuineness or authenticity of any lot. Buyers should proceed upon their own judgement. The condition of items is not generally detailed in this catalogue. Buyers must satisfy themselves as to the condition of lots they bid on. Webb’s is pleased to provide intending buyers with condition reports.

PACKING AND FREIGHT All packing and freight will be handled

by expert third-party suppliers.

Sale enquirieS Jeff Hobbs

Head of Tribal Art Ph: 021 503251

E: [email protected]

Neil Campbell Managing Director Ph: 021 875966


INSIDE FRONT COVER: Lot 87 AUSTRAL ISLAND PADDLEEstimate $5,000 - $7,000

RIGHT: Lot 48 FINE WAKAHUIAEstimate $10,000 - $15,000

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EVENING PREVIEW Tuesday 18th September 5:30pm–7:30pm

Please join us to view the suite of sales and enjoy a glass of wine thanks to Peregrine Wines, Central Otago.

Tuesday 25th September 6:00PM

iMPOrTanT OCeaniC & aFriCan arT

VIEWING

Tuesday 18th September 5:30pm – 7.30pm

Wednesday 19th September 9.00am – 5.30pm

Thursday 20th September 9.00am – 5.30pm

Friday 21st September 9.00am – 5.30pm

Saturday 22nd September 11.00am – 3.00pm

Sunday 23rd September 11.00am – 3.00pm

Monday 24th September 9.00am – 5.30pm

Tuesday 25th September 9.00am – 12.00pm

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inTrODuCTiOn Tribal art has a long and ongoing relationship with contemporary art practice. Paul Guillaume (1891–1934), who was amongst the most prominent figures of the 20th-century art market in Europe, was a strong proponent of tribal art and its relevance to contemporary art practice at the time. Guillaume regularly put together shows with Apollinaire who was also a collector of tribal art. On one occasion, they exhibited pieces from Jos Hessel, Alphonse Kann, Ambroise Vollard, Henri Matisse and the Musee du Trocadero. During this period, Guillaume would alternate between tribal art exhibitions and work by his stable of artists such as Modigliani, Derain, Rousseau, Laurencin, Picasso, Matisse and Soutine.

The symbolic relationship between contemporary practice and tribal art was valuable and, at times, mutually beneficial. Art collectors were forced to reconcile their assumptions of what art was – could art really have a utilitarian function as was the case from a tribal perspective? And did tribal art really have a critical aesthetic that was capable of being subsumed into a larger contemporary setting? I think the answer was “yes”.

Within New Zealand, a similar discourse continues. A recent Graham Fletcher exhibition at the Mangere Arts Centre entitled ‘Lounge Room Tribalism’ addressed issues relating to intercultural spaces, the nature of ‘collecting’ and the common aesthetic between modernist design, tribal art and objects of power. Within his paintings, are ethnographic artefacts and kitsch tourist pieces, matted together with modernist interior design; this suggests an optimism and liberal embrace of tribal aesthetic while, at the same time, presenting each item as a trophy.

Artists such as Tony Fomison, Shane Cotton, Lisa Reihana, Brett Graham, Len Lye and Gordon Walters have often been pulled into the discussion of the intercultural exchange and the political dynamic that can come into play when artists reposition orthodox tribal aesthetic into foreign context. However, I often come to the conclusion that, ultimately, these artists have been drawn to a certain tribal aesthetics intuitively and that, for many artists inspired by heritage art, they simply like it for its unedited and, at times, engaging charisma.

Within the tribal art setting and extending the theme of intercultural exchange, Webb’s is pleased to announce its exclusive right to offer for sale, by private treaty, the exquisitely crafted Burton Cabinet, by Anton Seuffert 1870. A true masterpiece, it exudes privilege and power. Composed solely from New Zealand native timbers, it depicts complex scenes showing a lofty ponga fern, a giant moa and a kiwi standing in a plain before a mountainous landscape. The birds are based on an illustration in Hochstetter’s New Zealand. This scene is bordered by patterns inspired by Maori carvings and kowhaiwhai. The piece also offers a striking central bust of a Maori chief with a single ear pendant and full facial moko.

Another important historic piece, the prestigious kahu kiwi cloak (lot 72), carries a history of custodianship back to the great Kingmaker and leader of the king movement Tupu Atanatiu Taingakawa Te Waharoa (1844 –1919). In beautiful condition, this cloak is also unusual in its construction, with the artist placing signature markings within the external body of the cloak. Known to have travelled with Tupu Atanatiu Taingakawa Te Waharoa on his historic trips to lobby the Monarch and force them to honour the Treaty, this cloak has direct family provenance.

A strong selection of Polynesian material also complements the sale, with a great variety of early fishing technologies and weapons being offered. Of particular interest is the beautifully carved Austral Islands paddle (Lot 87) that underscores the highly achieved and complex aesthetic that has been evolving within the Oceanic region for many centuries.

Once again, it has been a pleasure working with the material presented here and the collectors who are integral to the process of offering such rare and interesting material. We look forward to seeing you during the viewing.

Neil Campbell Managing Director

Jeff Hobbs Head of Tribal Art

VIEWING

Tuesday 18th September 5:30pm – 7.30pm

Wednesday 19th September 9.00am – 5.30pm

Thursday 20th September 9.00am – 5.30pm

Friday 21st September 9.00am – 5.30pm

Saturday 22nd September 11.00am – 3.00pm

Sunday 23rd September 11.00am – 3.00pm

Monday 24th September 9.00am – 5.30pm

Tuesday 25th September 9.00am – 12.00pm

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WeBB’S / WellinGTOniMPOrTanT WOrKS OF arT

COnTaCTWellington Fine Art SpecialistCarey YoungE: [email protected]: 021 368 348

28 November 2012Consign Now

Offering a dedicated art market service to the Wellington region. Led by Carey Young, Webb’s now provides a Wellington focused fine art service. Operating since 1957 Webb’s delivers an unrivalled

level of service and more than four decades of art market experience.

Peter Robinson 100% oil stick and acrylic on timber packing case 1230mm x 1610mm PROVENANCE: Purchased by the present owner from Peter McLeavey Gallery 20.7.95. $16,000 - $20,000

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iMPOrTanT PainTinGS & COnTeMPOrarY arT

Charles Goldie A Sturdy Stubborn Chief Pokai, A Warrior Chieftain Of The Ngati Maru Tribeoil on canvas signed C. F. Goldie and dated 1920 in brushpoint upper left; signed by C. F. Goldie and inscribed A Sturdy Stubborn Chief Pokai, A Warrior Chieftain Of The Ngati Maru Tribe in ink on original artist’s label affixed verso260mm x 210mm $200,000 - $300,000

COnTaCTDirector Art Department

Sophie CouplandE: [email protected]

P: 09 524 6804

28 November 2012 Consign now

IN Focus 9

This sale will include works by Len Castle, Mirek Smisek, Barry Brickell, Yvonne Rust, Wilf Wright, Ann Verdcourt,

John Parker, Cheryl Lucas, Richard Parker, Estelle Martin, Tony Fomison, Paul Rayner, Bronwynne Cornish, Helen Mason,

Andrew van der Putten, Kate Springford, Blue Black, Janet Green, Graeme Storm, Charles Holmes, Sue Collins, Rick Rudd,

Mark Rayner and Katie Gold.

neW ZealanD STuDiO CeraMiCS

COnTaCTBrian WoodE: [email protected] P: 09 529 5609

WEDNESDAY 5 DECEMBER 2012CoNSiGN NoW

Rabdeep Singh-Bains Hair

glazed ceramic10

IN Focus 11

ClaSSiC MOTOrCYCleS OF THe DaY

November 2012 Consign now

1919 HD MODEL J V1000cc POWER PLANT

$3,000 - $6,000

CONTACT

Neil Campbell


P: 021 875 966

A standalone collection of over 50 vintage motorcycles to be offered in conjunction with a new event focused more broadly on industrial design and backyard invention. Already consigned

is a collection of apprentice-made steam engines, a lifetime collection of master craftsman’s vintage tools and a small selection of extremely rare cars including one of the most seductive

designs of its era - the elusive 1937 Citroen Coupe.

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Tribal Art magazine is a quarterly publication entirely dedicated to the Arts ofAfrica, Oceania, Asia and the Americas

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Contact us by email: [email protected]

or subscribe directly on internetand type in “webbs2012”in the comments field to receive your free extra copy

You can also find us on www.facebook.com/ta.tribalart

TRIBALWebbs2012-7_Layout 1 14/08/12 16:24 Page 1

IN Focus 13

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 Zealand’s 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.

www.peregrinewines.co.nzPeregrine Wines, Kawarau Gorge Rd, Gibbston, Queenstown

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PrOVenanCe

Detailed biographies describe the lives of twelve collectors of Tribal Art in Britain. Catalogues, ledgers and reminiscences are used to provide vivid accounts of the competitive acquisition, accumulation and disposal of ethnographic art over two hundred years. None of these people were field collectors. All were acutely aware of the values of the objects they obtained: this aspect of the collecting process is emphasised in the volume. Prices and names of the sources are included.

Special offer to Webb’s clients, purchase the book ($45.00 NZ incl.) email - [email protected]

a book by Hermione Waterfield and J.C.H KingTWelVe COlleCTOrS OF eTHnOGraPHiC arT in enGlanD 1760 - 1990

IN Focus 15

ContactSophie Coupland


P: 09 529 560316

PriVaTe TreaTY Sale THe BurTOn CaBineT by anton Seuffert

1.Peet, Brian, The Seuffert Legacy (Auckland: icarus Publishing, 2008), p. 73. 2.ibid., pp. 82-83. 3.ibid., p. 81. 4.Peet, p.81. 5.Hochstetter, Ferdinand von, New Zealand (Stuttgart: J. G. Cotta, 1867), p. 176 (facing). 6.Peet, p. 82.

A Louis XV revival escritoire or ‘Bonheur du Jour’ cabinet composed of specimen native timbers, with traditional European parquetry and New Zealand marquetry flora, fauna and indigenous Maori themes, made by Anton Seuffert in 1870. The carved cresting, leg mounts and sabots are by contemporary craftsman Anton Teutenberg. Inside the table drawer is a red label lettered in gold thus: “A. Seuffert, / cabinet maker / to His Royal Highness / the Duke of Edinburgh. / Elliot St. / Auckland, / New Zealand”.

The Burton CabinetThe Burton cabinet is the most complete and original of the oldest identified Seuffert escritoires. It is one of only 14 surviving of known major commissions by Australasia’s premier 19th-century colonial cabinetmaker. Almost all of those will never be available for sale as they are held in major national and foreign museums, Government House and Buckingham Palace.

This piece is one of at least nine similar writing cabinets by Seuffert currently recorded, and eight known to be extant. Collectively, they are “the examples of Anton Seuffert’s craftsmanship that set him in a league unlikely ever to be surpassed as New Zealand’s greatest cabinetmaker”. All Seuffert’s major works were commissions for dignitaries, community leaders and wealthy merchants. Louis XV revival escritoires by Seuffert were owned by banker David Limond Murdoch, botanist Sir Joseph Hooker, Governor-General Sir George Grey, businessman James Tannock Mackelvie and Archibald Anderson Watt. Both the Hooker cabinet (1867) and the Watt cabinet (c 1870s) are held by the Museum of New Zealand Te Papa Tongarewa, while the Mackelvie cabinet (1871) is held by Auckland War Memorial Museum Tamaki Paenga Hira. The other known examples are the Murdoch cabinet (1865, identification uncertain), the Olympia Fair cabinet (pre-1869, destroyed by fire in Australia in 2002), the Christie’s cabinet (post-1869), the National Gallery of Australia cabinet (late 1870s, possibly worked on by son William Seuffert who later made the Baden-Powell pedestal desk in 1900), and a recently repatriated cabinet from Scotland. The only other known pedestal desk was a commission for Bishop George Augustus Selwyn in 1869. This desk is in the Auckland War Memorial Museum Tamaki Paenga Hira.

Only the Burton, the Hooker, the Mackelvie and the Watt escritoire cabinets have been identified with certainty from early documentation or colonial press reports. As all three other cabinets with reliable provenances linking the original owners rest in museum collections, the Burton cabinet is the only example with this status available for private acquisition.

A report in an 1870 issue of the New Zealand Weekly News indicates that this cabinet was made to the order of a Captain Burton of England – understood to be Captain Henry Burton of the 40th Regiment of Foot, who was the officer in charge of the party of soldiers that installed the first telegraph line in New Zealand, and who was responsible for the fund-raising movement that led to the erection of the statue of Queen Victoria in Albert Park, Auckland.

While similar in overall design to these other examples, the Burton cabinet is unique in the details of its decoration. It is described in a contemporary newspaper account pasted to the underside of one internal drawer as “striking and beautiful in the extreme”. The Burton Cabinet is the only one with marquetry featuring a coat of arms from the commissioning owner and is recognized as the most interesting of all the bonheur de jour cabinets. Described by a contemporary viewer as “one of the most interesting curiosities, and decidedly the most elegant piece of furniture that we have seen”, the Burton cabinet invites today an even greater sense of awe and appreciation. Its profuse decoration in select native timbers blends high European period fashion with newly discovered New Zealand themes of the day. It is a botanical, anthropological and artistic statement of historical significance and rarity. It is inarguably one of the finest objects ever to have been made in colonial New Zealand.

DescriptionThe Burton Cabinet is veneered in totara knot and profusely inlaid with a great variety of woods including puriri, New Zealand cedar (sic), kahikatea, rewarewa, rimu, rata, and kohutuhutu. The writing desk is raised on four curved legs, each mounted with carved acanthus decoration. The single front serpentine desk drawer features an oval cartouche, which is centred by a heraldic pattern, flanked by two basket-weave panels, and a central keyhole with bone escutcheon. The shaped sides of the desk bear a similar design with cartouches centred by scroll patterns. The desktop super-structure is a trio of lockable adjoined cabinets, each having a single door with a keyhole with bone escutcheon. The central, taller projecting cabinet’s door is decorated with a complex marquetry scene featuring a lofty ponga fern, a giant moa and a kiwi standing in a plain before a mountainous landscape. The birds are based on an illustration in Ferdinand Hochstetter’s New Zealand. This scene is bordered by Maori-inspired motifs and kowhaiwhai. The inside of the door features book-matched burr totara veneer panels, and a crowned owl within a central oval cartouche. The figure is from Captain Burton’s coat of arms, as described in the aforementioned newspaper report, and as confirmed by a descendant of Captain Burton in a letter now lost. This middle cabinet’s interior compartment is lined with Tuscan columns and backed by angled mirrors, creating an illusion of greater depth or a partial trompe-l’oeil effect. Above the compartment are five evenly spaced pigeon-holes that front a secret compartment. Underneath the parquet floor is a writing implement drawer which is faced with a geometric pattern centred by a recessed carved floral knob. Below is a pull-out writing slide with original black leather, gold-tooled border and outer Greek key marquetry border. The outside of the door on each side cabinet is decorated with a panel of Louis or tumbling cubes. The inside of each door is embellished with astonishingly realistic fern depictions, similar to those impressively featured on Seuffert’s huge ‘Larkworthy’ exhibition table now displayed in the Wood Museum at Kew. Each door opens onto a set of four drawers which are faced with different figured compression veneers and pulls of carved native berries and flora. The high-relief carvings that surmount the three cabinets were made by colleague [and fellow German speaker], Anton Teutenberg, a silversmith, engraver and medal-maker who collaborated with Seuffert on many of his major commissions. The spandrels atop the side cabinets include kawakawa leaves and flowers, while the cresting surmounting pinnacle to the central cabinet features kidney and ladder ferns, rococo C-scrolls and a striking central bust of a Maori chief carved in puriri with a single ear pendant and full facial moko. These exquisite carvings remain complete on the Burton cabinet, whereas they are now absent from the other pre-1871 escritoires known to be extant: the Murdoch and Hooker cabinets.

ConditionA survey and some minor restorations were undertaken at David Hordern’s London workshops in 1987 following the Christie’s sale. The internal mirrors have some moderate degradation to the original silvering. There is currently minor abrasion to the desktop, and the puriri cross-grain moulding shows some cleavage. The piece is otherwise remarkably fresh, apparently used and maintained with exceptional care.

IN Focus 17

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OCEANIC & AFRICAN ART 19

aOTearOa

Oceanic & aFrican art 19

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[1] KETE MUKA KIWIFinely made kiwi feather kete. Double pair twining with kiwi feathers attached on every second aho (weft). The muka kaupapa is in good condition. See illustration p12. H.200mm, W.260mm.

PROVENANCEPrivate Collection, New Zealand.Y number pending

Estimate $3,000 - $5,000

[3] PIU PIUA traditional skirt made from mature harakeke (flax) in orthodox form. H.530mm, W.1000mm.

PROVENANCEPrivate Collection, London.Y number pending

Estimate $300 - $500

[4] FEATHER CLOAKA ninetenth century transitional period feather cape with decorative woollen looping and braiding to the edge. Various types of feathers attached. L.800mm, W.660mm.

PROVENANCEPrivate Collection, New Zealand.Y1209

Estimate $2,800 - $3,800

[5] MUTU KAKA - PERCH SNARECarved from a single piece of wood, with strong figural carving to front upper portion and arching back. Terminates with stylized manaia. Early 19th Century. L.360mm, W.215mm.


Estimate $2,000 - $4,000

[7] MUTU KAKA - PERCH SNAREMade from a single piece of wood, with strong figural carving to front upper portion and arching back. Paired notching to top of the arching back. Inlaid shell to eyes. Terminates with stylized manaia (Maori mythological creature). Early 19th Century. Mokai (tamed birds) young kaka were easily captured and tamed. They were held captive by a small leg ring called a poria, which had a small cord attached to prevent the bird flying off. Kaka poria (leg rings) could be quite ornate and were also worn as pendants. Mokai were made to call out to attract wild birds in the vicinity, who would come in great numbers upon hearing the cry of the captured bird. Mutu kaka were then used to capture birds as they alighted on the horizontal perch of the snare. Ref: tepapa.co.nz. L..390mm, W.210mm, D.35mm.

PROVENANCEFormerly in the collections of Finch & Co London, Rosman Collection, New York. Private Collection, New York.Y17029

Estimate $3,800 - $4,800

[6] AUREI - CLOAK PINOf orthodox form, fashioned from marine ivory, suspension hole worn away. Early soft patina. L.100mm, W.6mm.



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[2] HUIA FEATHERThe huia’s feathers were highly valued and exchanged for other valuable goods such as greenstone and shark’s teeth, or given as tokens of friendship and respect. Through this trade, the feathers reached the far north and the far south of New Zealand. They were stored in intricately carved boxes, wakahuia. L.200mm, W.42mm.


Estimate $1,200 - $1,800


[9] FINE WAHAIKAOf classic form with a rounded blade, a masterfully carved manaia form sitting to the incurve, and another finely carved head to the butt of the weapon. Hole to base of handle for attachment. Soft creamy patina. L.340mm, W.110mm.


Estimate $2,000 - $3,000

[10] KOTIATECarved whalebone in a traditional form with a symmetrical blade. Worn patina to shaft indicative of significant age and use. Old label attached reads “Ancient Maori Patu Fighting club used in Maori tribal wars for over 200 years”. H.294mm, W.130mm.


Estimate $1,000 - $2,000

[11] PATU ONEWAFine stone club in traditional form, smooth finish and hourglass suspension hole. Base of handle carved with four ridged lineage lines in ovoid formation. H.320mm, W.80mm.


Estimate $1,500 - $3,500

[11A] KOTIATEOf classic form carved with triple haehae and dog-tooth notching the blade inset with eleven paua circles. The handle with a large highly decorated tiki head to end also with inset paua eyes. Damage to blade edges. Mid brown patina. H.415mm, W.170mm


Estimate $1,500 - $2,500

[8] GREENSTONE MEREA well-proportioned and finely carved weapon, with a good weight and elegant form, from a quality piece of pounamu. The blade of deep green nephrite leads to a butt end with carved grooves and pierced hole. The pounamu variety is verging on kahurangi - a highly sought after green variety noted for its clarity and translucency. If the variety is not kahurangi then it will be kawakawa or possibly a mixture of the two. The butt end of the mere displays a more opaque oxidised part of the pounamu - representing the outer ‘rind’ part of the original boulder, probably sourced from Westland. Possibly carved by European lapidarists Andrew and Thomas Devlin of Dunedin. L.360mm, W.93mm

PROVENANCEPrivate Collection, New Zealand.

Estimate $4,500 - $6,500

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[12] A FINE EARLY WAKA HUIAThis waka huia is of orthodox ovoid form with the lid recessing accurately into

the base. It was carved with a flat-bladed tool and the kinked longitudinal rauponga lends this waka huia a distinctive appearance which suggests it is of East Coast manufacture. Four minimal spiral motifs provide an overall sense of

balance. On each shoulder of the box are intertwined triple haehae. Guarded by two projecting wheku heads, they are finely carved and offer significant yet

subtle differences. The base offers a further eight bands of kinked rauponga which are interrupted by another set of intertwined triple haehae. Deposits of

fine red powder are evident throughout. L.400mm, W.121mm, H.64mm.

PROVENANCEFormerly in the collection of the late Professor G. H. R. von Koenigswald, a

distinguished paleontologist and anthropologist. Kunsthandel Klefisch, Auction 86, Koln, Germany, May 12th 2007, Lot 175. Private Collection, New York.

Y17026

Estimate $25,000 - $35,000


[13] SUPERB TOKI POUNAMUFinished adze with smoothed edges evident on both sides. Pre European, Classic Period. Toki of this size and finish were important ritual objects with lineage, ceremonial and technical significance. Giant toki pounamu were used to undertake large societal projects such as the felling of giant kauri and the building of migratory canoes. H.270mm, W125mm.


Estimate $2,000 -$4,000


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[14] TEWHATEWHAIn orthodox form, long tapering shaft, chevron design to lower part of shaft. Pierced hole for suspension of feathers on striking head. Light brown patina. L.1070mm, W.170mm.


Estimate $800 - $1,200

[16] TAIAHAFinely carved head offering an elaborate forehead with recessed paua eyes (one missing). Strongly carved nose with upper lip offering dog tooth notching. Tongue is beautifully executed, the large strike blade finely tapers out to a rounded end. Rich brown patina. L.1695mm, W.60mm.


Estimate $1,200 - $1,800

[17] TEWHATEWHAOf orthodox form with long tapering shaft. Pierced hole for attachment of feathers on striking head. Dark rich patina. L.11500mm, W.150mm.


Estimate $1,500 - $2,000

[15] TAIAHAA well carved head with ovoid raised eyes. Strongly carved nose and upper lip, tongue beautifully executed and terminates into a sharp tip. Short strike blade is finely balanced and completed with broad round form tip. Losses to paua eyes. Soft red brown patina. L.1450mm, W.55mm.


Estimate $1,200 - $1,800

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[18] PA KAHAWAI -FISHING LUREA fine early trolling lure with wooden body, paua shell ‘flashing’ inlay to incurve, bone barb and muka binding. Collection number inscribed with white ink “WEBSTER COLL. 527”. L.90mm, W.17mm.

PROVENANCEFormerly in the Collection of Kenneth Athol Webster, No. 527. Private Collection, New Zealand.Y14866

Estimate $800 - $1,200

[19] PA KAHAWAI -FISHING LUREA fine early trolling lure with wooden body, paua shell ‘flashing’ inlay to incurve, bone barb and muka binding. L.120mm, W.17mm.


Estimate $800 - $1,200

[20] PA KAHAWAI -FISHING LUREA fine early trolling lure with wooden body, paua shell ‘flashing’ inlay to incurve, bone barb and muka binding. L.92mm, W.15mm.


Estimate $700 - $1,200

[21] EARLY CHATHAM ISLANDS FISH HOOKA Moriori bone hook of large proportions. Flattened cylindrical form tapering to a point at one end, carved grooves for attachment at top. Dry weathered patina indicating significant age and use. Collection number inscribed with black ink “WEBB. COL 1595”. L.94mm, W.72mm.

PROVENANCEFormerly in the Kenneth Athol Webster Collection, no. 1595. Private Collection, New Zealand.Y15579

Estimate $1,000 - $2,000

[22] EARLY CHATHAM ISLANDS FISH

HOOKA Moriori bone hook of flattened cylindrical form tapering to a point at one end. Dry weathered patina indicating significant age and use. Collection number inscribed with black ink “WEBB. COL 1594”. L.80mm, W.53mm.

PROVENANCEFormerly in the Kenneth Athol Webster Collection, no. 1594. Private Collection, New Zealand.Y15581

Estimate $800 - $1,200

[23] LARGE MATAU - FISHING HOOKExceptional size and form, with a curved wooden shank, fashioned from a native hardwood sapling. Fine muka binding attached. Missing barbs. 18th century. L.170mm, W.125mm.


Estimate $1,500 - $3,000

[24] KAUAWHI - STONE LURECylindrical in cross-section, front end tapers to a point with pierced hole for attachment. L.48mm, W.11mm.


Estimate $80 - $120

[25] MAHE - STONE SINKEROrthodox form of oval cross section. Pecked worked groove across length for attaching muka cord. Greywacke. Dia.70mm.


Estimate $80 - $120

[26] FOUR HOOK FRAGMENTSFashioned from bone with a dry weathered patina. L.86mm, W.8mm; L.50mm, W.10mm; L.50mm, W.26mm; L.35mm, W.14mm.

PROVENANCEPrivate Collection, New Zealand.Y17034, Y17035, Y17036, Y17033

Estimate $80 - $160

[27] MAHE - STONE SINKERA stone sinker with a narrow rounded top leading to a bulbous base, pecked weathered finish. H.90mm, W.70mm.



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[28] HEI TIKI POUNAMUIn orthodox stance, with head tilting to the right hands resting on knees. Mouth, eyes and nose well defined. Pierced hour glass suspension hole for muka cord very worn. Nephrite. L.78mm, W.48mm.

PROVENANCEFormerly in the collection of Thomas Johnstone, a great friend of Guide Rangi in the 1920s. Private Collection, New Zealand.Y17031

Estimate $1,500 - $3,500

[29] MINIATURE HEI TIKI POUNAMUHei tiki of small proportions, carved with head tilting to the right and hands resting on knees. L.40mm, W.38mm.



[30] HEI TIKI POUNAMUIn traditional form with head tilting to the right and hands resting on knees, red sealing wax in the eyes. Hourglass suspension hole. Highly translucent pounamu. 19th century. L.66mm, W.40mm.



[31] EARLY HEI TIKI POUNAMUHei tiki pounamu of light-green inunga type nephrite. Head tilting to the left with well-defined eyes and limbs. Hourglass suspension hole worn through. Soft, aged patina. Old collection number written in white ink to back ‘H2’. L.58mm, W.36mm


Estimate $2,000 - $3,000

[32] PAIR OF KURU POUNAMUA fine set in petite ovoid-shaped form with a pierced suspension hole at top and an overall smooth worn patina. L.60mm, W.10mm; L.59mm, W.10mm.

PROVENANCEPrivate Collection, New Zealand.Y6184.A, Y6184.B


[33] LARGE KURU POUNAMU - PENDANTFinely carved orthodox style with hourglass suspension hole. L.140mm, W.13mm.



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35

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[34] KURU POUNAMU - PENDANTModelled from translucent pounamu, in orthodox shape with worn hourglass suspension hole. L.70mm, W.11mm.



[35] KURU POUNAMU - PENDANTOrthodox slender form with pierced suspension hole. L.82mm, W.6mm.



[36] POUNAMU - PENDANTFlattened bulbous form with suspension hole. L.120mm, W.42mm.


Estimate $80 - $120

[37] POUNAMU - PENDANTContemporary worked greenstone adornment. L.140mm, W.70mm.


Estimate $100 -$200

[39] PAUA PENDANTSmall paua adornment with worked notches at end for attachment. L.60mm, W.5mm.



[40] RARE WHALEBONE GOD STICKCarved whalebone cylindrical shaft culminating in carved human head to top. Wheku (carved face) with protruding tongue, large projecting brows, elongated nose and paua shell inset eyes. Pataki notching (dog tooth pattern) on top of brow and pakura detail surrounds mouth. The whakapakoko rakau or god stick was often placed into the ground as a temporary shrine for an atua (deity) by tohunga ahurewa (priestly experts). God sticks were thought to be used by tohunga to channel the power of a particular deity. L.245mm, W.25mm.


Estimate $800 - $1,200

[41] RARE EVANS RIFLEThe Evans Rifle is one of the oddest rifles to ever be produced in the United States, and is very seldom seen in New Zealand. The Evans was invented by Warren R. Evans, a dentist from Thomaston, Maine. L.1215mm, W.120mm.

PROVENANCE/ORAL HISTORYCollected in Rangitane, it was given to the current owner by Weremu King i Te Aweawe, and was possibly owned by Te Aweawe Te Peeti. Te Peeti joined the Native contingent in 1866, where he served with Major General Trevor Shute in the Taranaki campaign and in the 1868-1869 campaign against Tetokawaru. For his efforts he received a sword of honour and a tribal flag, he was also able to retain a number of rifles and used these in challenging the land rights of Ngati Raukawa at

Tuwhakatupua in 1868.Private Collection, New Zealand.

Estimate $3,000 - $5,000

[42] LARGE WATER TROUGHA large hollowed vessel with two handles at one end and a spout at the other. Old weathered patina. L.2380mm, W.260mm, H.200mm


Estimate $2,000 - $4,000

[43] EARLY KUMETE BOWLA large hollowed bowl with finely carved head with protruding tongue of humanistic form to one side. Puriri moth holes to surface. Weathered patina overall. L.595mm, W.350mm, H.210mm.


Estimate $3,000 - $5,000

[44] HOE - PADDLEWell carved example with orthodox leaf shaped blade. Dry weathered patina. L.1640mm, W.135mm (max).


Estimate $800 - $1,200

[38] KURU POUNAMU - PENDANTOrthodox bulbous form with pierced suspension hole. L.67mm, W.11mm.



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[45] CHIEFLY TAIAHAThis piece offers significant size

and presence. The arero (tongue) is elaborately decorated with fine and highly achieved triple haehae and

Pataki carving; abstracted teeth forms accentuate the mouth. Large serrated

paua-shell eyes in oval form are embedded with the high brow offering

further intricate carving which differs slightly on either side. The mid-section of the staff shows a naturally occurring hole. This prestigious taiaha was gifted

to John Daniels by a chief from the Gisborne area in the 19th century whilst

he was working to salvage a ship; after this, the chief joined Daniels in Mt

Victoria, Wellington, for a short period. H.1925mm, W.90mm.


Y16726

Estimate $10,000 - $15,000


[46] EARLY POUTOKOMANAWAA prestigious form of ancestral carving, the poutokomanawa

rests at the base of the central pole of the meeting house (pou-koukou-aro) and signals the delineation between entry

and exit. As an ancestral totem, the poutokomanawa often represents celebrated traits of important leaders and thinkers.

The powerful and complex moko presented in this example underscores this with triple haehae forms and complex rarua

spirals evident on the upper and lower quarters of the nose and cheeks. The four extending forehead rays are also in

triple haehae form. The body form is decorated with a painted white-and-blue strap marking with the letters ‘HA’ also evident

in black. The strong legs are bent in an action stance. The rear base of the figure is decorated with spiralled pataki. The patina

suggests significant age with remnants of early trade paint. H.685mm, W.190mm, D.130mm.

PROVENANCEFormerly in the Collection of T.W.G Hammond, Thornton Bay,

Thames, New Zealand. Private Collection, New Zealand.Y number pending

Estimate $30,000 - $40,000


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[48] SUPERB TOKI - ADZELarge quadrangulated form tapering to fine blade small chip one side. Smooth finish over all. Argillite. L.270mm, W.80mm.


Estimate $1,000 - $2,000

[49] LARGE TOKI - ADZELarge quadrangulated form tapering to fine flaked blade. Early weathered patina. L.308mm, W.100mm.


Estimate $800 - $1,200

[50] LARGE EARLY TOKI - ADZEOf superb size in quadrangulated form tapering to fine blade small chip to one side. Smooth finish to top and sides, a pecked finish to butt. L.328mm, W.85mm.


Estimate $800 - $1,200

[51] SUPERB LARGE TOKI - ADZEExceptionally carved argillite adze, tapering into very fine edge for maximum cutting power. Hammer pecked base, remaining surface finished to a smooth polish. L.290mm, W.50mm, H.55mm.


Estimate $1,800 - $2,800

[52] LARGE TOKI - ADZELarge example in triangular form terminating into fine polished cutting edge. L.236mm, W.80mm.



[53] LARGE WORKED OBSIDIAN FLAKELarge example with sharp cutting edge to one side. Obsidian is a natural glass, formed by the rapid cooling of silica-rich volcanic lava. It was prized for its use in cutting and scraping. The traditional Maori name is mata. H.195mm, W.190mm.



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[54] GROUP OF TWO TOKIElongated flattened form terminating into a fine cutting edge. Various stone types. L.195mm, W.48mm; L.175mm, W.60mm.

PROVENANCEPrivate Collection, New Zealand.Y16963, Y16962.

Estimate $100 -$200

[55] GROUP OF FOUR TOKITriangular form terminating into a fine cutting edge. Various stone types. L.70mm, W.42mm; L.104mm, W.55mm; L.120mm, W.50mm; L.106mm, W.37mm.



[56] GROUP OF THREE TOKITriangular form terminating into a fine cutting edge. Various stone types. L.177mm, W.70mm; L.140mm, W.62mm; L.130mm, W.48mm.

PROVENANCEPrivate Collection, New Zealand.Y16947, Y16948, Y16949

Estimate $100 -$200

[57] GROUP OF FOUR TOKITriangular form terminating into a fine cutting edge. Various stone types. L.110mm, W.48mm; L.108mm, W.44mm; L.105mm, W.52mm; L.100mm, W.42mm.


Estimate $100 -$200

[58] GROUP OF FOUR TOKIThree in triangular form terminating into fine cutting edge, and one in a flattened ovoid form. Various stone types. L.155mm, W.60mm; L.122mm, W.48mm; L.154mm, W.70mm; L.100mm, W.60mm.

PROVENANCEPrivate Collection, New ZealandY16950, Y16951, Y16952, Y16953.

Estimate $100 -$200

[59] GROUP OF TWO TOKITriangular form terminating into a fine cutting edge L.170mm, W.70mm. L.65mm, W.39mm.


Estimate $80 - $120

[60] TOKI - ADZEEarly toki in a flattened rectangular shape with some small chips. Smooth worn patina overall. Made from the rind of a greenstone boulder. Inanga variety. Banks peninsula. L.88mm, W.58mm.


Estimate $80 - $120

[61] GROUP OF THREE TOKITriangular form terminating into a fine cutting edge. Various stone types. L.64mm, W.58mm; L.95mm, W.40mm; L.114mm, W.48mm.


Estimate $80 - $160

[62] GROUP OF SEVEN TOKIGroup of seven adzes of varying stone types. L.150mm, W.45mm; L.105mm, W.50mm; L.100mm, W.38mm; L.120mm, W.60mm; L.165mm, W.58mm; L.58mm, W.35mm.



[63] TOKI - ADZEElongated flattened form with fine cutting edge. L.180mm, W.51mm.



[64] PATU MUKAA stone flax pounder of rare and unusual form with a flattened ovoid cross-section. The body tapering to a rounded butt. Pecked finish to body and handle. L.260mm, W.68mm.



[65] PATU MUKALarge example with round cross section, the whole surface pecked. Greywacke. L.290mm, W.90mm


Estimate $400 -$600

[66] GROUP OF STONE TOOLSGrinding stone and pounder together with a obsidian flaked cutting tool. L.120mm, W.65mm; L.124mm, W.50mm; L.65mm, W.50mm.


Estimate $100 -$200

[67] GROUP OF TWO TOKITriangular form terminating into a fine cutting edge. Various stone types. L.220mm, W.50mm; L.150mm, W.50mm.

PROVENANCEPrivate Collection, New Zealand.Y16964, Y16965


[68] GROUP OF FOUR TOKITriangular form terminating into a fine cutting edge. Various stone types. L.120mm, W.50mm; L.80mm, W.45mm, L.110mm, W.52mm; L.125mm, W.60mm.


Estimate $80 - $120

[69] GROUP OF FOUR TOKITwo in triangular form terminating into fine cutting edge, and two in rectangular form. Various stone types. L.70mm, W.50mm; L.62mm, W.29mm; L.54mm, W.36mm; L.35mm, W.14mm.


Estimate $80 - $120

[70] LARGE PATU MUKAFinely carved wooden flax pounder with ovoid cross-section and bulbous body tapering into a rounded base. Rich smooth patina overall. L.295mm, W.90mm.



[71] PATU MUKAVery large stone flax pounder with circular cross section. Bulbous body extends to top notched handle. Surface is rough and pitted. Andesite. L.315mm, W.90mm.

PROVENANCEFormerly in the Sharp Collection; Private Collection, New ZealandY08147

Estimate $1,000 - $1,500

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[72] PRESTIGIOUS KAHU KIWI – A KING’S CLOAKMuka flax fibre, kiwi feathers, kaka feathers, white feathers, sheep’s wool and pokinikini (flax strips) are included in this cloak; the prestigious combination of materials is woven into every second aho (weft). Black-and-white wool strips are on the heavily plaited top edge, with two long muka cords attached to each side with anchor tassels. The overall combination of materials suggests a prestigious lineage.

This kahu kiwi belonged to Tupu Atanatiu Taingakawa Te Waharoa (c 1844/5–1929), Ngati Haua leader, Kingmaker and leader of the King movement. Recorded oral history from a direct descendant states that the kahu kiwi was in possession of Tupu at the time of his visit to England in 1914, where he presented a petition to the British Crown. In January 1922, it was gifted to his namesake and grandson Joseph Henry Tupu Gray, on the occasion of the funeral of the child’s grandmother Kauki Taingakawa, at Rukumoana Pa. Kauki Taingakawa had been instructed by her elders to marry Tupu Atanatiu Taingakawa Te Waharoa in 1894, following the death of her first husband Tawhaio.

The father of Tupu Atanatiu Taingakawa Te Waharoa, Wiremu Tamihana Tarapipipi Te Waharoa (b 1805–1866) was a leading figure in the cause of Maori nationalism before the Waikato wars. Essentially a peacemaker, Wiremu devised plans for native self-government that, if adopted, would have averted war. Unfortunately, he did not live to see his aspirations transpire into peaceful progress for all tribes during the initial period of Pakeha colonialisation. Wiremu’s motto for his peaceful campaign was “the Queen for Pakeha, the King for Maori and God for all”; however, with an actively hostile government and warring iwi on the other side, he was left disillusioned at the end of his life.

As he laying dying at Waihou in 1866, he called his two sons in. To the eldest boy Hote he posed the question: “What will you do about the Pakeha when I am dead? Is it peace or war with you?”

Young Hote passionately replied, “I shall continue to make war”.

To the younger lad Tupu: “How will your path lie? Will you fight against the Queen?”

“I am for peace,” Tupu replied. “You have made peace and I shall not tread upon it.”

“That is well,” said the Kingmaker. “You shall be head of the tribe, to follow after me.”

Although Hote was the eldest son and continued to be regarded as a chief by his own people, from 1867 Tupu took on a natural leadership role and was considered his father’s heir. He gravitated toward diplomacy and was actively involved with attempting to broker peace between the government and Te Kooti. Throughout this period, he was an important supporter of the King movement which promoted a policy of self-determination and isolation from Pakeha. With this, he greatly aided Tawhiao in his efforts to maintain authority, and to petition the British government with inquiries into land confiscation, Maori self-determination and breaches of the Treaty of Waitangi. With the death of Tawhiao in August 1894, Tupu anointed Tawhiao’s first son Mahuta, the third King. During this period, Tupu organised the affairs of the kingdom through Te Paki o Matariki. He also established Tekau-ma-rua (the Twelve), an executive team intended to free up Tawhiao from the sole

burden of carrying out the King movement programme. In the following years, Tupu established various portfolios, magistrates and other elements of authority for the King movement. He also lifted Tawhiao’s prohibition on Pakeha schools, believing that the next generation had to be educated in Pakeha ways. In 1894, he met with Premier Seddon and requested greater self-governance. When refused, he continued to develop the kingdom unilaterally, assuming powers to charge taxes and impose fines. From 1893, Europeans were warned that they too would have to obey the laws of the King movement. By this stage, the King movement had effectively been split into two groups, with Tupu leading a less-compromising vision of a united yet independent future for Maori. Throughout the first three decades of the 20th century, Tupu relentlessly pursued the full King movement programme learnt in the 1860s from Tawhiao. Appealing to the monarch, Tupu generated a petition on the violation of land rights guaranteed by the Treaty of Waitangi, which was ignored by government and not forwarded to the monarch as demanded by Tupu. However, Tupu and his followers continued to collect signatures and, by the 1910 Runanganui (grand assembly), 29,646 people had signed Tupu’s petition. It was here that Tupu was confirmed as Tumuaki of the Maori Kingdom.

By 1914, Tupu was developing the Rukumoana Pa and proceeding with his plans to take his petition to England. In May of that year, Te Rata, Tupu, Mita Karaka, and Hori T Paroa arrived in London and were received by King George and Queen Mary. No redress for grievances was forthcoming. Upon his return to New Zealand, Tupu was immediately engaged with the issue of Maori military service. He stated that he was reluctant to see their young men go to war, given that the Waikato grievances dating back to 1862 had not been addressed – an opinion that placed him in imminent danger of arrest. Records show that the police and the New Zealand Defence Force blamed Tupu for Waikato’s intransigence. In 1920, Tupu and TW Ratana met and formed an alliance to emphasise Maori rights under the Treaty of Waitangi. In 1924, Tupu and Rewiti Te Whena joined the Ratana group travelling to London to present Tupu’s petition in the hope of persuading the League of Nations to intervene. They were initially refused a forum with the Secretary of State. Being resourceful, they organised an invitation to a garden party which the Prince of Wales (who had met with Tupu in 1920) was attending. Tupu presented the precious kahu kiwi and addressed the Prince. However, offence was laid when the Prince of Wales returned the cloak because it was not forwarded through the proper channels. In later years, Tupu’s petition is credited with having helped bring about the royal commission of 1927 that investigated the confiscation of land, acknowledged government faults and recommended monetary compensation. Tupu passed away on 24 June 1929 at the age of 84; he was survived by his son Tarapipipi who became the third Kingmaker and was crowned Koroki in 1933. Tupu’s work ensured a sense of future survival and his insistence on the ratification of the Treaty of Waitangi and demands for the redress of grievances foreshadowed events of the late 20th century. L.1300mm, H.940mm.

PROVENANCETupu Atanatiu Taingakawa Te Waharoa (b. 1844/5 – 1929)1922 Gifted to Joseph Henry Tupu GrayFamily collection by descent, AustraliaY16695

Estimate $40,000 - $60,000

OCEANIC & AFRICAN ART 33Oceanic & aFrican art 33

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[73] AN IMPORTANT SEUFFERT AND SON MARQUETRY-PATTERN

CARD TABLE WITH FERN AND CLEMATIS DESIGNH.680mm, W.610mm, D.610mm.

PROVENANCEPurchased by the family of the current owner from an estate in Washington D.C., USA, circa 1985. Private Collection, USA.Estimate $20,000 - $40,000 Exquisite fern, clematis and other flora marquetry card table. Executed in native New Zealand timbers including mottled kauri, mapau, whairangapiro, mangiao, toi, manuka, rimu, kahikatea, totara, rewarewa, pohutukawa, orata, kohekohe, wairangi, rata, kohutuhutu, akeake, wheowheo, matai, puriri and black maire.Supported on an unmatched, New Zealand timber ‘Gypsy’-style base with the original top. The rimu has been laminated with different native species then turned to create patterning to the wood surface.Original label ‘A Seuffert’ affixed to underside.This table design displays the Seufferts at their dazzling best and illustrates why their work is in a league of its own. The complex design and subject matter are expressed perfectly by the materials and executed with their customary virtuosity of technique.The central maidenhair (tawatawa) and the surrounding hen and chicken (pikopiko) ferns are particularly well realised in the delicate marquetry and are classic recurring images in the Seufferts’ work. The lifelike effect is further enhanced by the fine engraving on the surface of the veneer. The virtuoso work in the centre is balanced by the clematis vine (puawananga – ‘flower of the skies’) curling lazily through the bold interlocking bandings that surge about the top. The rewarewa parquetry basket-weave pattern behind adds yet another dimension to the overall visual impact while the gently scalloped kohekohe and orata banding subtly separates the central design from the specimen wood edge.Tables showcasing woods in this way were common throughout the British Empire and were used as a way of displaying the local flora and fauna as well as promoting the use of local timbers. It was most likely that New Zealand’s timbers themselves drew a successful craftsman of Anton Seuffert’s calibre to Auckland in the first place. A newspaper account from 1869 quotes him as saying New Zealand has “...a greater variety of useful and ornamental woods than can be grown in any country in Europe”. Moreover, the pale timbers were similar to the types of woods favoured for inlay work in his native Bohemia so would have suited him well.The showcasing of local timbers, ferns and flowers also reflected the Victorian mania for cataloguing the natural world. Consequently, these works were popular as gifts and mementoes amongst visitors, including British army soldiers who comprised half

of the Auckland population of 45,000 in 1859, as commissions by public subscription and were often given as official gifts to important personages. One of Anton Seuffert’s final commissions, an almost identical table to this one, was presented to Countess Aberdeen in 1887, the year of his death. Although his obituary in the Auckland Star credits him with this work, it must be assumed that William completed much of it, especially as a note in his handwriting describing the timbers is pasted on the underside of the top. William had been trained by his father (and recognised with the change of the company name to ‘Seuffert and Son’ in 1882, when he was 24 years old) so it is impossible to separate his work in these mid-period designs from that of his father. It also should be remembered that this was a family business and employed two other sons, Albert and Carl, so there would have been much collaboration and great continuity. Nevertheless, it was clearly William who inherited the drive and ability for exacting and precise veneer work. As with the work of his father, the geometric parquetry and bandings always align perfectly; this is extremely difficult to achieve. Once the background parquetry had been made up, the marquetry was then faultlessly cut directly into it with a fine bladed saw and then the whole pattern assembled like a jigsaw. However, as if to prove that nobody is perfect, the Seufferts often used highly inferior sap-rimu substrate timber for their veneer work. Not only was it prone to slight cupping, but was often prone to attack by wood borer which has fortunately been avoided in this table. The timber has long since settled, as well as proved its resistance to attack by insects, so this will not present any future problems.The wooden strap across the underside of the table was put there to reinforce the top and is not an indication of its having had a different base. There have been at least five identical bases to this one discovered; it seems likely that these were supplied from the Seuffert workshop itself and were offered as simple and elegant alternatives to the costlier fully veneered and carved versions.This table is notable for its excellent unfaded colour and original finish.Jonathan Maze


[74] WILLIAM SEUFFERT WRITING COMPENDIUMH.420mm, W.365mm, D.230mm.PROVENANCEPurchased by the family of the current owner from an estate in Washington D.C., USA, circa 1985. Private Collection, USA.Estimate $20,000 - $40,000

William Seuffert was at the height of his powers when he completed this writing compendium in 1905. The cabinet showcases many of the classic Seuffert images and motifs developed by William’s father Anton, but also features the design innovations and subject matter that William made his own. The compendium continues the Seuffert tradition of superlative design combined with amazing technical skill for which these works are renowned.The ponga-fern image was first used by Anton Seuffert in 1862 on the central panel of the Queen Victoria cabinet which was completed just three years after his arrival in New Zealand from Bohemia via London. This cabinet was gifted by the people of Auckland to the sovereign and remained until recently at Buckingham Palace. Subsequently, the ponga and the lost-looking kiwi featured prominently on most of the large Louis XV revival escritoire cabinets (such as the Burton Cabinet included in the auction). For this composition, William has changed the backdrop and placed the scene

firmly in Auckland with Rangitoto and the Waitemata Harbour depicted under a typically busy Auckland sky. Two more-familiar design elements appear in the upper left with “N.Z.” superimposed onto a limpid kidney fern (raurenga) above a delicate lifelike maidenhair fern (tawatawa). The trademark manuka flowers that distinguish much of William’s work spill down past the classic Seuffert basket-weave parquetry and onto the drawer. The formal European scrolls and garlands that featured in Anton’s early work have completely given way to the exuberant swirling Maori motifs, including the spiral waka prows (tauihu) that frame the scene.The gilded leather writing surface is similar to those found on the larger escritoires and is not known on any other smaller Seuffert pieces to date. Also found only on the escritoires is the distinctive two-tone, cross-banded moulding above the feet. The marquetry timbers are a mix of the relatively familiar: rimu, puriri, rewarewa, burr totara and tawa, as well as the lesser-known and the downright obscure. The Seufferts were known to gather woods from all over New Zealand including from such remote places such as the Three Kings Islands.The cabinet retains its original finish and has had moderate exposure to light so consequently has very good colour differentiation between the timbers. It is not known to whom the initials “FSB” refer.Jonathan Maze

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[75] FINE WAKAHUIAFine carving displayed throughout the entire form of the treasure box.

Complex triple haehae patterns are interlaced with fine graduating pakati (dog tooth notching). The base is guarded by two opposing upward facing

tiki which offer accentuated foreheads and paua inset eyes. The entire tiki forms are finely detailed with each extending the tongue back into

the base. The overall carving style suggests both purposeful balance and organic symmetry. Recently repatriated from the United States, this fine

example was created by a highly skilled master carver. L.600mm, W.95mm, H.95mm.

PROVENANCEPrivate Collection, New York.

Y17027

Estimate $10,000 - $15,000


[76] PAIR OF RARE CASED HUIAIn superb condition with both male and female huia perched on branches encased in an antique elliptical dome on a restored colonial kauri base. The huia is one of New Zealand’s best known extinct birds because of its bill shape, its sheer beauty, and special place in Maori culture and oral tradition. The bird was regarded by Maori as tapu (sacred), and the wearing of its skin or feathers was reserved for people of high status. The huia was a bird of deep metallic, bluish-black plumage with a greenish iridescence on the upper surface, especially around the head. The tail feathers were unique among endemic birds. Huia were hunted to obtain their long, striking tail feathers for locally fashionable hat decorations. The second major cause of extinction was the widespread

deforestation of the lowlands of the North Island by settlers to create pasture for agriculture. Most of these forests were ancient, ecologically complex primary forests, and huia were not able to survive in regenerating secondary forests. The last confirmed sighting of a huia was on 28 December 1907 in the Tararua Ranges. Further credible sightings near Wellington were reported until 1922 and in Te Urewera National Park in the early 1960s. L.560mm, W.250mm, H.450mm (of case)


Estimate $20,000 - $30,000


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[77] VINTAGE TAXIDERMY KEAWallmounted kea. Endemic species. Mid-1960s. Wall mounted. Excellent condition. Professionally mounted by G.D O’Rourke & Sons Ltd, Pleasant Point, South Canterbury. H.480mm, W.410mm.


Estimate $1,500 - $2,500

[78] VINTAGE TAXIDERMY KEAFreestanding kea. Endemic species. Early 1960s. Free standing mature specimen in excellent condition. H.650mm, W.730mm.


Estimate $1,500 - $2,500

[79] VINTAGE TAXIDERMY KIWIAntique taxidermy kiwi or roroa. Of native species, the kiwi is likely to be mature. Overall good condition. L.550mm, H.270mm.


Estimate $3,500 -$5,500

[80] VINTAGE TAXIDERMY BLUE PENGUINAntique taxidermy blue penguin (koraro). Native species H.280mm, W.150mm.



[81] TRANSITIONAL NUTCRACKER SETA hollowed bowl with raised centre column capped with a brass end, together with a small gavel both of which are completely carved with fine decoration. Wood, shell and brass. Bowl: L 62mm, W. 200mm, D. 200mm. Gavel: L.235mm, W.55mm, D.25mm.

PROVENANCEPrivate Collection, NYY16880

Estimate $700 - $1,000

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[82] FINE CIGAR HOLDERA carved Maori cigar holder depicting a diminutive tiki head with inset paua shell eyes [gold bands to the top and base of carving], the bands to the mouth piece in 9ct. Initials to the 18ct. gold bands A.McP. and G.P. likely carved by Tom Heberley. Refererence Auckland Museum.H.90mm. D.30mm


Estimate $1,500 - $3,500

78

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[83] A RARE, PRE-TREATY OF WAITANGI, LAND ‘TRANSFER’, 1839In 1839, William Barnard Rhodes (1807–1878) entered into partnership with the Sydney firm Cooper and Holt. He left for New Zealand on the Eleanor in October 1839 to acquire vast amounts of land from the Maori. The Treaty of Waitangi was being drafted at the same time. Taking supplies of guns and tobacco, he travelled to New Zealand attempting to secure deeds that eventually purported to give title to nearly two million acres in both islands. The document offered what can be considered both shameful and ridiculous. Mr William Barnard Rhodes attempted to secure 256,000 acres, the Waikanae Block, in exchange for 150 pounds sterling, supplied in arms, ammunition, tobacco and various merchandise. Many of Mr Rhodes’ land claims from this period were disallowed by the Lands Claims Commission following the Treaty of Waitangi in 1840. A fascinating reflection of the times is the use of self-illustrated moko by the signatories; the moko was a powerful signifier of personal identity. Chiefs ‘A’ready and Tuanini and marks of Te Ropera alias Robulla, Eko of Eiko and Rangihero are self-evident. The document reads: “To all Chieftains and others of New Zealand and to all Christian People we ‘A’ready & Tuanini, Chiefs of New Zealand send Greeting Know Ye that we the said ‘A’ready & Tuanini for and in consideration of the sum of one Hundred and Fifty pounds sterling supplied to us in Arms, Ammunition, Tobacco and various merchandize to me in hand paid and delivered by Daniel Cooper of London, Merchant, James Holt of Sydney, Merchant, and William Barnard Rhodes of Sydney, master mariner before and at the time of the sealing and delivery of these presents, the receipt whereof we do hereby acknowledge we the said ‘A’ready & Tuanini have granted, bargained, sold aliened, enfeoffed and confirmed by these presents do grant, bargain, sell, alien, enfeoff and confirm unto the said Daniel Cooper, James Holt and William Barnard Rhodes, heirs and assigns for ever. All the tract of land on the North Island of New Zealand bounded on the West by the waters of Cook’s Straits near the Isle of Capiti commencing at the mouth of the or entrance of the Wikinie River Capiti bearing N.W. by W. by S 1/2 S. Magnetic thence in a Northerly direction about twelve miles along the Coast to the entrance to the Otaikie River, and from thence turning to the Eastward along the banks of the Otaikie so far as it runs, bounded on North by the said river to its source or to the termination of an Easterly

line forty miles from the mouth of the said River....”[etc] dated Sixth day of November One Thousand Eight Hundred and Thirty-nine. [Signed] Tuanini his mark X and Tattoo, ‘A’ready his mark X and Tattoo.The above document was signed, sealed and delivered by the said ‘A’ready and Tuanini, Chieftains, having first been read over and explained to them in the presence of Te Ropera alias Robulla his mark X, [signatures of] Jas Cole, W, Burton Interpreter, John Lemon, Wm Shearer, James Bain, Robert Johnson, George Coglan [also] Eko or Eiko his mark X, Rangihero his mark X [followed by three separate, but related, signed agreements, receipts and memoranda, including an agreement that one-tenth of the land should be reserved for the use of the within-mentioned chiefs and their dependents, signed by William Barnard Rhodes]. The legal document measures 48 x 61cm, is drafted in clerical hand in four sections and is originally folded, with the cover title: “Conveyance, dated Fifth day of November 1839, Tuanini and ‘A’ready, Registered in the Supreme Court of New South Wales 20 May 1840, Daniel Cooper, James Holt and William Barnard Rhodes 256 000 Acres, Conveyance of Lands at New Zealand, D Poote, Soliciter, George Street Sydney, New South Wales”. Note and attached receipt signed by Alfred Elyard from the Registrar’s Office Sydney N.S.W. dated 20th May 1840 -12-oclock [numbered] 937 BR. Cover title annotated top right: “Registered in N.S. Wales 937 BR”, and bottom left: “[original] Ented in Court of Claims New Zealand 17 March 1843. R.T.O.Yates”.Later notation: “True Copy A.S. Barker, Clerk Wellington 20/11/72”.Reference: Maori Deeds of old, private land purchases from the year 1815 to 1840 with the pre-emptive and other claims – deeds 424.H.480mm, W.610mm.


Estimate $20,000 - $30,000

40

[84] SUPERB HAWAIIAN BOWLA fine early bowl of bulbous form with multiple inlaid repairs and a rich, honey coloured patina. L.165mm, W.270mm, D.315mm.

PROVENANCEPrivate Collection, New York

Estimate $5,000 - $7,000


POlYneSia, MelaneSia & OTHer SOCieTieS

42

[85] FINE TONGAN HEADRESTOf elegant, abstract, arching form with small wedge-shaped feet supporting the lower edge. Old sennet bound native repair to one side. L.372mm, W.135mm, H.175mm.

PROVENANCEFormerly in the collections of Michael Auliso California, Conway Collection Arizona, Brant Mackley. Private Collection, New York.

Estimate $3,800 - $5,800

[86] MARQUESAN ISLAND TIKIRobustly resting against one another with arms to torso. Face is carved in orthodox form, with wide eyes and mouth. A smaller figure lying across the top of the larger figures. Suspension hole in well balanced position centering the sculpture. Marquesas Islands. H.210mm, W.125mm, D.85mm.

PROVENANCEFormerly in the collections of Christine Valluet, Paris. Private Collection, New York.

Estimate $6,000 - $9,000

85

86


[87] AUSTRAL ISLAND PADDLEPaddle blade of leaf-shaped form with cylindrical shaft. Intricately carved in low relief with an elaborate design of interlocking geometric patterns. This form of Ra’ivavaean paddle is thought to be symbolic rather than utilitarian; these objects were imbued with tribal authority, prestige, and rank of the owner. Carving to the top of the handle reveals abstracted human figures with protruding faces. L.882mm, W.210mm.


Estimate $5,000 - $7,000

44

[96] POLYNESIAN FISH HOOKTurtle shell hook of traditional form. H.40mm, W.39mm.

PROVENANCECollected c.1900-1916 Avarua in Aitutaki by Rev. Percy Hall, employed by The London Missionary Society. Private Collection, New Zealand


[97] POLYNESIAN FISHING LUREShell carved hook bound to shell body with fine string binding and attached line. L.72mm, W.12mm.





Estimate $650 -$850







[91] RARE POLYNESIAN WHALEBONE

HOOKVery rare early hook of good proportions. H.76mm, W.66mm.

PROVENANCECollected c.1900-1916 Avarua, Aitutaki by Rev. Percy Hall, employed by The London Missionary Society. Private Collection, New Zealand

Estimate $750 - $1,000

[92] POLYNESIAN FISH HOOKShell hook of good proportions with fibre binding attached to top. H.66mm, W.48mm. (hook only)





Estimate $650 -$850

[94] GROUP OF FISHING LURESGroup of three fishing lures. Two with shell barbs attached with fibre binding; one without shell barb. Solomon Islands. L.80mm, L.70mm, L.78mm.


est imate $800 - $1,000

[95] POLYNESIAN FISH HOOKShell hook with fibre binding attached to top (small loss to point). H.28mm, W.26mm.



[98] SINKERClassic Tahitian sinker fashioned from volcanic stone. Pecked ridge to centre for line attachment. Label attached ‘Fare Huahine’. L.100mm, H.80mm.


Estimate $150 -$350

101


[99] POLYNESIAN FISH HOOKFine early shell hook with fibre binding attached to top. H.40mm, W.45mm. (hook only)


Estimate $750 - $1,000

[100] EARLY POLYNESIAN MODEL CANOEA single hollowed hull with outrigger bound with sennet fibre, early weathered patina. L.430mm, W.150mm.


Estimate $800 - $1,200

[101] RARE NIUEAN MODEL CANOEA single hollowed hull with outrigger bound with sennet fibre. Top of the hull decorated with cross and lineal motifs and the middle with a band of cowrie shells. Dark brown patina. L.540mm, W.170mm.


Estimate $750 - $1,000

100

93

99 97

88

92

94

95

9494

91

89

90

96

46

[102] TOKELAUAN MODEL CANOERectangular hollowed platform framed by double hulls bound together with fine string, four paddles resting on top. Dry light brown patina. L.320mm, W.160mm.



[103] TOKELAUAN MODEL CANOEA single hollowed hull with outrigger bound with sennet fibre, five paddles resting on top. Dry light brown patina. L.520mm, W.170mm.



[104] TOKELAUAN MODEL CANOEA single hollowed hull with four paddles resting to the interior, outrigger bound on with fine sennet fibre and cowrie shells decorate the top. Dry light brown patina. L.660mm, W.300mm.



[105] SAMOAN ADZEOf classic form. Flaked finished to sides smooth finish to top. Western Samoa. L.115mm, W.45mm.


Estimate $300 -$500

[106] HAWAIIAN ADZEFlaked basalt adze. Smoothed finish to blade. L.170mm, W.42mm.


Estimate $100 -$300

[107] SHELL ADORNMENTSTwo shell head with multi-coloured shells. Tonga. Dia.200mm. Dia.220mm.



[108] SAMOAN FANTraditional pandanus fan in natural coloured strands, with bands of black pandanus binding around handle. L.500mm, W.315mm (max).



[109] SAMOAN TAPA CLOTHS (9)Classic Tongan brown and black tapa cloths with varying designs H.1400mm, W.1200mm; H.1320mm, W.1280mm; H.1300mm, W.1280mm; H.950mm, W.760mm; H.1720mm, W.1350mm; H.1400mm, W.1240mm; H.1220mm, W.1030mm; H.1600mm, W.1470mm; H.480mm, W.460mm.


Estimate $600 -$800

[110] LARGE TONGAN TAPA CLOTHS (4)Classic Tongan brown and black tapa cloths with varying designs L.3500mm, W.2350mm; L.4200mm, W1920mm; H.2330mm, W.3900mm; H.1900mm, W.3760mm.


Estimate $1,200 - $1,800

[111] TAPAA Tongan tapa with traditional printed designs. L.3000mm, W.550mm.


Estimate $300 -$500

[112] MARQUESAN BREADFRUIT TAPA Interesting selection of tapa in round and rectangular shapes with traditional designs. Dia.380mm; Dia.480mm; Dia.480mm; Dia.435mm; L.490mm, H.500mm; L.940mm, W.460mm; L.1200mm, H.400mm.



[113] TAHITIAN STONE POUNDERPenu (pounder) of orthodox form, turret shaped top, flared circular base. Greystone. Pitted weathered surface. L.150mm, W.110mm.


Estimate $700 - $1,000

[114] COOK ISLAND POUNDERCalcite traditional pounder with rounded cross-section, bulbous body tapering to flared top. Mangaia, Cook Islands. H.155mm, W.95mm.



[115] SAMOAN CLUBA rare and good example, beautiful dark reddish hardwood with attached fibre binding. L.425mm, W.50mm



[116] COOK ISLAND POUNDERCalcite traditional pounder with rounded cross-section, bulbous body tapering to flared top. Mangaia, Cook Islands. H.175mm, W.90mm (top).


Estimate $900 - $1,200

114116 113


[118] FINE SAMOAN CLUBA finely carved early club. Surface entirely chip-carved with traditional decoration, divided into bands decorated with zigzag, horizontal and longitudinal patterns. Heavy dark reddish brown patina. L.660mm, W. 125mm


Estimate $2,500 - $4,500

[117] TONGAN CLUBFinely carved “Coconut Stalk” or apa’apai war club. Classic whale tail shape top leading to a cylindrical shaft with flared base end. Carved with delicate patterns to head and shaft. Rich brown patina. L.575mm. W.210mm.


Estimate $2,800 - $4,800

117 118

48

[120] SUPERB FIJIAN WAR CLUB

Sali Heavy yet superbly balanced, made from a single piece of vesi (ironwood). Cylindrical shaft leads into a blade incised with geometric carving to both sides. Raised spur to top. The spur on the outer edge designed to parry attackers clubs away. The angled cutting edge designed to cut through and snap bones. Dark brown patina. L.1070mm, W.290mm.


Estimate $5,000 -$7,000

[121] FIJIAN ULA CLUBI ula tavatava, finely carved close combat or throwing type club. Hardwood. Rich brown patina. L.405mm, Dia.90mm (head).

PROVENANCEPrivate Collection, London.

Estimate $800 - $1,200

[119] RARE INLAID FIJIAN POLE CLUBFine bowai of classic form, inlaid throughout with prestigious ivory inlays. Certainly made for a high ranking warrior or chief. Rich mid-brown patina. L.980mm, Dia.70mm (max).

PROVENANCEFormerly in the Collection of Ken and Rosella Dalke, Santa Cruz, Ca. Private Collection, New York.York.

Estimate $6,000 - $8,000

120119

48


[123] NEW CALEDONIAN KANAK CLUBDomed hooded top, tapering cylindrical shaft. Fine incised decoration to top. Handle bound with original early cloth and fine sennet binding. Good overall condition. L.760mm, Dia.90mm (max).


Estimate $1,800 - $2,800

[122] VANUATU PIG KILLING CLUBAn early example in wishbone formation with totemic figure to top and a tapering handle with a raised end. Rich, dark patina. L.600mm, W.210mm.


Estimate $2,500 - $4,500

135121

[124] NEW CALEDONIAN CLUBA domed hooded top, soft slightly raised handle end. Early rich brown patina. L.760mm, W.100mm.


Estimate $1,000 - $2,000

50

126142 128140 131138 139

133130 127 124 123125


[126] A FINE FIJIAN CLUBTokokia club of good proportions and classic form. The top heavy design made this an effective weapon and may have been influenced by the pandanus fruit. Tokokia were weapons often associated with chiefs or warriors of reputation. Dark rich patina. L.880mm, W.200mm.


Estimate $800 - $1,200

[127] FIJIAN POLE CLUBLarge club of classic form referred to as ‘bowai’. Handle of club finely decorated with bands of zigzag and longitudinal patterns. Domed top. Pierced hole to end. Small loss to top of club. Mid-brown patina. L.1070mm, W.45mm.



[128] FIJIAN CLUBOf well balanced proportions. Orthodox rough incurve at top. Rich patina. With rounded terminating knob. L.790mm, W.195mm.



[129] FIJIAN CLUBKiakavo of classic form with a rich brown patina. Single lineal carving to both sides of head terminating in a flared domed end. L.940mm. W.230mm.



[130] FIJIAN POLE CLUBLarge club of classic form referred to as bowai. Top half of club finely decorated with bands of zigzag and longitudinal patterns. Domed top. Pierced hole to end. Mid-brown patina. L.1235mm, Dia.65mm (max).


Estimate $1,500 - $2,500

[131] FIJIAN CLUBKiakavo of good proportions with a lovely rich patina. Dot patterning to top of head. L..730mm, W.270mm.



[132] FIJIAN WAR CLUBGata of slender well balanced proportion with notched decoration to top of head. Mid-brown dry patina. L.970mm. W.100mm.



[133] FIJIAN CLUBVunikau, a 19th century club of good proportions made of traditional vesi wood (ironwood). Finely incised handle. Excellent patina reflects good age. At some point, this club was reportedly in the possession of William Henry ‘Bully’ Hayes (1827/1829 - 1877) a blackbirder/pirate/buchaneer in the Pacific during the 1860s and 1870s. L.1135mm, W.70mm


Estimate $800 - $1,200

[134] SANTA CRUZ NAPA DANCE STAFFOf rectangular section, slightly curved to pointed end. Covered with fine, painted geometrical designs in black, white and red. L.1020mm, W.100mm



[135] SOLOMON ISLANDS CLUBGood early example, with diamond shaped head, and central raised cross leading down to a hooked crescent shaped butt. Blackened fibre binding on grip. Mid brown patina. Maliata. See Illustration page 43. L.625mm, W.140mm.

PROVENANCEFormerly in a Private Collection, UK. Private Collection, New York.

Estimate $2,000 - $4,000

[136] SOLOMON ISLANDS CLUBElongated leaf like form, the top painted with faded linear designs, a single shell inlay to the mid section. light brown patina. L.1210mm, W.80mm.



[137] SOLOMON ISLANDS CLUBA heavy club with raised decoration to head, light brown patina.Tikopia, Solomon Islands. L.785mm, W.90mm.


Estimate $800 - $1,200

[138] SOLOMON ISLANDS DANCE CLUBA small club with a cylindrical shaft and squared tapered end. The flat crescent shaped blade has incised decorations and a raised design to top of the shaft. Blackened patina. L.790mm. W.250mm.


Estimate $800 - $1,200

[139] SOLOMON ISLANDS DANCE CLUB/

SHIELDA crescent shaped blade with an inlaid raised median ridge ending in a frigate bird design on top of the long cylindrical shaft. The base has a raised crouched figure which sits facing outward. Rich blackened brown patina. L.1285mm. W.400mm.


Estimate $2,000 - $4,000

[140] SOLOMON ISLANDS CLUBAlafolo finely carved at the top with a raised fin or nose, traces of lime infill to face. Tapering shaft. Blackened patina. L.840mm. W.260mm.


Estimate $1,000 - $2,000

[141] SOLOMON ISLANDS CLUB/SHIELDA club/shield with a long cylindrical shaft and flared blade to end with a raised median ridge ending in a frigate bird design on top of the shaft. Rich blackened brown patina. L.830mm. W.165mm.



[142] RARE NEW BRITAIN AXEA long wooden shaft with an elaborately carved cone shaped end and a large steel trade axe to top. Rich brown patina. L.1205mm, W.160mm.

PROVENANCEPrivate Collection, New Zealand

Estimate $700 - $1,000

[125] NEW CALEDONIAN CLUBSmooth domed top, slightly raised handle. Early rich mid-brown patina. L.795mm, Dia.62mm (max).


Estimate $1,200 - $1,500

52

[155] WESTERN HIGHLANDS STEEL WAR

SHIELDA large steel shield crafted from a flattened WWII 44 gallon drum. Decorated on the front with a painted cross form with the name of the chief ‘Waghipis’ and ‘4WD’. Presumably as a show of strength as four wheel drives are tough. Original woven bush string handles to the back still remain. Steel, wire, fibre, white, black and red paint. Mid 20th century. L.1680mm, W.705mm.

PROVENANCEFormerly in the Sharp Collection. Private Collection, New Zealand

Estimate $2,000 - $4,000

[144] VANUATU PIG KILLING CLUBOf good proportions, a dark well-patinated surface with a powerful face at the top of the hammer and a reverse facing figure to the handle. Wood, with traces of red and turquoise pigment. L.630mm, W.250mm.


Estimate $2,800 - $3,800

[143] VANUATU CLUBClassic star shaped head and fine tapering shaft, with a carved dome shaped end (some loss). L.830mm, W.70mm.


Estimate $200 -$400

[145] ASMAT TRUMPETA bamboo trumpet horn with decoration covering entire surface. Traditionally used during the head-hunting raids. Papua New Guinea. H.420mm, W.60mm.



[146] GROUP OF CURRENCYTwo clam shell rings used for bride price or shell money. Solomon Islands. Dia.128mm; Dia.110mm.



[147] ADMIRALTY ISLANDS DAGGERFlaked black obsidian blade attached to fibre and gum handles incised with triangular decoration. Turquoise and red pigment. L.275mm, W.50mm.



[148] ADMIRALTY ISLANDS DAGGERFlaked black obsidian blade attached to fibre and gum handles incised with triangular decoration. Red and white pigment. L.275mm, W.40mm.



[149] PAIR OF SOLOMON ISLANDS

SPEARSWith long tapering shafts, and barbed points lashed to the head with woven fibre. L.2500mm, W.10mm; L.2150mm, W.20mm.



[150] PAIR OF MELANESIAN SPEARSPair of Melanesian spears with long cylindrical tapering shafts. One with removable hardwood point with multiple darts and dot patterning to shaft. Other without barb. L.2460mm, W.18mm; L.2810mm, W.15mm.


Estimate $80 - $120

[151] PAIR OF SOLOMON ISLANDS

SPEARSGood examples, finely carved from palm wood with a long tapering shaft leading to figural designs and carved points. Small traces of lime infill. Blackened brown patina. L.2550mm, W.25mm; L.2520mm, W.25mm.



[152] MELANESIAN BOWA wooden bow of classic form. Remnants of string attached. Light dry patina. L.1805mm, W.300mm.


Estimate $50 - $100

[153] GROUP OF BOW & ARROWSHardwood bows and fine selection of arrows. (18) L.1850mm, W.38mm.



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[157] SIMBAIN SHIELDA carved blackened shield decorated with traditional designs. Remnants of natural fibre to back. Bismarck Schrader Ranges. Papua New Guinea. H.1180mm, W.570mm.


Estimate $800 - $1,200

[158] PAPUAN BARK CLOTH PANELA good example decorated with traditional designs. H.1860mm, W.1120mm.

PROVENANCEThe Collection of David Baker, Sydney

Estimate $700 - $1,000

[159] ROM MASKA superb mask, the face decorated with multi-coloured lineal and dot motifs used for grade ceremonies (societal grading ceremonies). Cane, bark, bamboo, feathers, fibre and pigment. Ambrym, Vanuatu. L.500mm, W.190mm (body only)



[160] P.N.G BAGFinely woven bag with multi-coloured fibre. L.170mm, W.260mm.


Estimate $80 - $120

[161] MELANESIAN STATUEFinely carved elongated figure standing on decorated base. H.290mm, W.40mm.



[162] FIJIAN ADZEOf classic form. Kadavu, Fiji. Label attached ‘Matau Vatu’. Smooth finish. L.140mm, W.63mm.



[163] HAFTED ADZEMelanesian hafted green stone adze. L.530mm, W.195mm.


Estimate $750 - $1,000

[164] GROUP OF ADZES (5)Five adzes each with a smooth finish. Fiji. L.170mm, W.60mm; L.105mm, W60mm; L.105mm, W.40mm; L.73mm, W.48mm; L.80mm, W.50mm;


Estimate $300 -$500

[165] EARLY STONE TOOLA great example of very early stone technology. Flaked and pecked stone to form an axe head. Papua New Guinea. H.150mm, W.140mm.



[166] PAPUAN HEADRESTA round tapering base, hourglass middle and flared top with small amounts of carved decoration overall. Traces of red pigment evident. Musa River Area, Northern, Papua New Guinea. H.155mm, W.145mm.



[156] HIGHLANDS WAR SHIELDA wooden shield covered in natural black and red pigment with a simple, but surprisingly modern design. Original attached bush fibre handle to back. 20th century. L.1540mm, W.370mm.

PROVENANCEFormerly in the Sharp Collection. Private Collection, New Zealand

Estimate $1,000 - $2,000

[167] TWO TUFI HEADRESTSHeavy tapering bases with framed openwork design to middle. Dark, well used patina. Oro province, Papua New Guinea. H.145mm, W.160mm. H.150mm, W.160mm.


Estimate $1,000 - $1,500

[168] FIJIAN TAPA CLOTHClassic Fijian tapa with brown and black printed design. L.1870mm, W.1250mm.



[169] MISINGI SPIRIT FIGURERamu wooden ancestor figure, the head has sharp inward facing projections. Band and triangular decoration to torso, slender arms resting to sides with long tapering legs. Natural red pigment applied to inset face. Blackened dry patina. Misingi Village, Madang Province, Papua New Guinea. H.650mm. W.80mm.



[170] POUNDERSmall pounder, dark coloured stone. Smooth finish, label attached ‘Matau Vatu, Kadavu, Fiji.’ L.150mm, W.70mm.


Estimate $50 -$100

[171] FIJIAN MODEL CANOEA single hollowed hull with outrigger bound with sennet fibre, a large steering paddle resting on top. Dry light brown patina. L.830mm, W.430mm.


Estimate $400 - 600

[172] TWO SOLOMON ISLANDS

ADORNMENTSA large clam shell disc adornment together with a small barava. H.115mm, W.85mm, D.140mm.



[173] TWO SOLOMON ISLANDS BARAVASTwo small well weathered baravas, thought to be used as a form of land deed, marker or currency. Solomon Islands. H.140mm, W.70mm, H.90mm, W.110mm.



[174] SELECTION OF NOSE ADORNMENTSFour clam shell cylindrical shaped pins and one made of conus shell carved in disc form. Solomon Islands. L.150mm, L.116mm, L.110mm, L.112mm, D.60mm.



54

[175] RARE FIJIAN TABUALarge tooth shaped clam shell tabua, with pierced holes to ends for suspension. One with loss. Smooth well worn patina. ‘Tabua lasn lasn, Kdu (Musuni)’ label attached. A tabua is a chiefly adornment. L.150mm, W.70mm.


Estimate $800 - $1,200

[178] TWO LIME SPATULASTwo finely carved spatulas with various delicate designs. Traces of lime infill evident. Papua New Guinea. L.430mm, L.400mm.



[176] FIJIAN TABUAWhale tooth adornments two pierced holes to top. Varied yellow patina. L.140mm, W.60mm.



[177] TWO LIME SPATULASTwo finely carved spatulas with various delicate designs. Traces of lime infill evident. Papua New Guinea. L. 550mm, L.450mm.



[179] MASSIM LIME SPATULAOf traditional form with finely incised grooves to surface. Pierced hole to top. L.40mm, W.30mm.



[180] GROUP OF MASSIM LIME SPATULASThree finely carved spatulas with various delicate designs. Signs of good use evident. Papua New Guinea. L.365mm, L.337mm., L.303mm.



[181] FINE MASSIM LIME SPATULAA finely carved spatula with figural designs to top. Traces of lime infill evident. Papua New Guinea. H.335mm, W.56mm.



[182] MASSIM LIME SPATULAFine figural form Massim lime spatula. Squatting figure in the classic knees to elbows pose. Ovoid head, pierced elongated nose, raised ears and small circular eyes. H.306mm, W.42mm (max).

PROVENANCEFormerly in the Collection of G.B. Lloyd Evans, British Navy 1868-1905. Private Collection, UK. Private Collection, New York.

Estimate $9,000 - $12,000

[183] ABORIGINAL ‘WUNDA’ SHIELDCarved and of typical elliptical form with deeply fluted zigzag three section design, in-filled alternating bands of red and white. The reverse offers incised longitudinal design with detailed loop handle. Red patina to reverse. L.835mm, W.130mm, Dia.48mm (max).

PROVENANCEFormerly in the Collection of Raymond Handley Collection San Francisco. Private Collection, New York.

Estimate $3,800 - $4,800

175

183


[187] BOOMERANGEarly boomerang of classic form with a rich brown patina. L.620mm, W.50mm.



[188] ABORIGINAL WOOMERA - SPEAR

THROWERWith leaf-shaped flat springboard. Front entirely covered with linear grooved carving, using zigzag and parallel motif. Stone tooled finish. Rich brown patina. H.550mm, W.170mm.

PROVENANCEFormerly in the Collection of Merton Simpson, NY. Private Collection, NY

Estimate $700 - $1,000

[189] ABORIGINAL WOOMERA - SPEAR

THROWERNarrow, leaf shaped flat springboard. The front entirely covered with linear grooved motif. Handle with natural resin grip, leading tip with a wooden point affixed with sinew. L.820mm. W.90mm.



[190] ABORIGINAL PAINTED DIDGERIDOOA fully decorated wooden didgeridoo. White, black, red and brown pigments with free style and animal forms painted to mid-section. L.1375mm, W.55.mm, Dia.70mm (max).



[191] BATAK FIGUREA standing figure, with cylindrical legs, shoulders and arms pushed forward across the lower torso. Dark patina. North Sumatra, Indonesia. H.168mm, W.38mm.


Estimate $500 -$700

[192] PAIR OF BATAK BULLET HOLDERSTwo superb ‘bullet holders’ of the Batak, Central Sumatra. These elongated containers with slightly flexible, ‘forked tongues’ were used to store self-cast lead bullets for the early muzzleloader guns of the Batak. Each bearing a face on the wide, upper front. The larger holder has a wooden lid, also carved with typical Batak relief. This ‘bullet holder’ still has one lead bullet inside. With good used patina. Indonesia. L.185mm, W.50mm, L.150mm, W.40mm.


Estimate $4,000 - $6,000

[193] MENTAWI PADDLEFine paddle from western coast of Sumatra, Indonesia. Beautifully carved with linear decoration to the blade and banded decoration to the handle and shaft. L.1345mm, W.145mm.



[194] BORNEO PADDLEFine paddle from Borneo, Indonesia. Beautifully carved with small bands of decoration to handle. Flared tapering end. L.1490mm, W.155mm.



[195] GROUP OF VARIOUS ARTEFACTSComprising of an African powder horn a Sioux catlinite pipe and model canoe. (3)H.310mm, W.140mm, L.460mm; H.50mm, L.380mm; H.140mm.



[196] GROUP OF VARIOUS ARTEFACTSComprising of a Solomon Island club, Aboriginal Boomerang and a breast adornment. (3)H.660mm, W.90mm; L.600mm, H.55mm; L.165mm, H.60mm.



[184] FINE ABORIGINAL LEANGLE CLUBOf classic form with carving to end and shaft. Mid brown patina. L.660mm, W.330mm.



[185] ABORIGINAL CLUBA stone headed hand club; the stone head affixed with a resin paste. Old label attached. L.460mm, W.102mm (max).


Estimate $1,000 - $2000

[186] ABORIGINAL CLUBWaddy or nulla nulla, a hardwood fighting or hunting club with a bulbous head tapering to a carved end. Rich brown patina. L.685mm, W.30mm.



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[197] BAULE MASKETTEIn the form of a brass head with raised facial features, arched eyebrows, large flattened nose and mouth. Ivory coast. H.70mm, W.50mm.



[198] BENIN BELLOf hollowed form with a flared rim, a cast head to front with large flattened nose, raised eyes and three band twisted ring to top. H.170mm, W.95mm.


Estimate $1,000 - $2,000

[199] ASHANTI FIGUREAkuba, a flat circular head with the fine features carved in relief, a cylindrical body with delicate tapering arms. Deep black patina. H.355mm, W.140mm. (head).


Estimate $800 - $1,200

[200] BAULE PULLEYA fine pulley with a preening bird that has arched back neck to top, decorated throughout with cross-hatch and geometric patterns. Rich dark brown patina. H.120mm, W.45mm.


Estimate $800 - $1400

[201] BAMANA PULLEYA hollowed rectangular body below a long, thin neck supporting a flattened dome shaped head. The facial plane has small raised eyes, nose and mouth. Fine varied patina. Mali. H.165mm, W.65mm, D.37mm.


Estimate $800 - $1,200

[202] LUBA DIVINATION TOOLKatatora a divination tool, hollowed squared base below a flared neck with an ovoid shaped head, smoothed raised facial features and extending coiffure to back. Wood. Dark brown patina. H.130mm, W.70mm, D.30mm.


Estimate $2,000 - $3,000

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[203] CHOWKE MASKA fine passport mask of hollowed oval form with delicately carved facial features. Round eye sockets host slit, pierced, almond-shaped eyes with linear scarification to the cheeks and forehead, framing a very fine nose. Lozenge-shaped mouth with lips parted bearing pointed teeth. Deep brown patina. H.125mm, W.75mm.


Estimate $500 -$700

[204] CHOWKE PIPEA fine kneeling figure with a pipe-bowl attached above, the stem wrapped with wire binding. Together with a small pipe bowl. H.50mm, W.48mm; H.290mm (bowl), W.80mm (pipe)


Estimate $3,000 - $5,000

[205] BAMOUN IVORY RIDERA masterfully carved ivory statue of a disproportionate, oversized rider dominating his mount. Elongated arms resting on knees. Ovoid elongated face with inset eyes, raised brow, nose, ears and squared mouth. Arched back with legs bent resting on a hollowed circular base, encrusted and well feed patina. H.142mm, W.325mm, D.325mm.

PROVENANCEFormerly in the Collection of Otto Sporlien, Germany. Private Collection, New Zealand

Estimate $2,000 - $4,000

[207] LEGA MASKOf convex form with pierced chin for attaching a fibre beard; small raised mouth beneath a long triangular nose and pierced ovoid eyes. Fine light brown-coloured patina with white kaolin applied to heart shaped facial plane. H.125mm, W.125mm.



[206] PENDE MASKSuperb mask with distored features, domed forehead, piereced eyes and mouth, mask painted one half white, the other half black, raffia headgear. Good dry patina. H.255mm, W.165mm.


Estimate $1,800 - $2,800

[208] FINE LEGA MASKHollowed wooden mask of significant age. Elongated oval face offers raised pierced eyes framed by arched brows leading to a long nose with pieced nostrils and mouth below. Mid-brown patina encrusted with kaolin. L.265mm, W.144mm, D.95mm.


Estimate $3,000 - $5,000

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[209] LEGA MASKOf convex form with pierced chin for attaching a fibre beard; slit mouth beneath a triangular nose and pierced round eyes; fine light brown-coloured patina with white pigment applied to heart shaped facial plane. H.300mm, W.180mm.


Estimate $1,800 - $2,800

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[210] FINE BAULE FIGUREA female figure standing on a round base with slightly bent legs, hands resting upon the stomach, the braided coiffure is finely worked; the torso, back, neck and face are decorated with scarification marks in high relief. Rich dark patina. H.390mm, W.76mm.


Estimate $6,000 - $8,000

[211] DOGON MINIATURE SHRINE LADDERA wooden shaft in the form of a ladder with graduating steps, terminating in a fork. Dogon, Mali. H.620mm, W.90mm.


Estimate $800 - $1,200

[212] SUPERB SOUTHERN AFRICAN CLUBSpherical head with hollowed face and raised ridge to centre incorporating a finely carved elongated nose and small mouth. Flanked either side by inset metal eyes; the flared shaft also inlaid with metal. Overall dark glossy patina. H.740mm, Dia.110mm (head).


Estimate $3,000 - $5,000

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[222] DIVINATION RATTLEA fine rattle with a single calabash surmounted by a snake figure with lineal designs to body. Democratic Republic of Congo. H.310mm, W.30mm.


Estimate $800 - $1,200

[213] FINE KOTA RELIQUARY FIGUREA hollowed oval shaped face with overlaid cross pattern to inside, a triangular elongated nose and dome shaped eyes. The crest to top with punched circular decoration to top rim. The cylindrical elongated neck leading to the body in diamond form, the back is undecorated. Wood, overlaid metal. Gabon. H.565mm, W.285mm, D56mm.


Estimate $10,000 - $15,000

[214] MOBA FIGUREA superb figure formed from light coloured wood, highly abstracted with no facial features; a domed head and elongated arms and body. H.425mm, W.50mm.


Estimate $2,000 -$3,000

[215] LOBI FIGUREA standing figure cylindrical legs, long thin arms, protruding abdomen, thick neck supporting ovoid shaped head with protruding mouth, triangular nose. Weathered dry patina. H.650mm, W.125mm.


Estimate $1,000 - $2,000

[216] BAMANA FIGUREA standing figure, the arms aside of the body, elongated torso and raised conical breasts, head with smooth features, raised crest to top of head, incised decoration to the neck, the shoulder blades and around the torso. Superb rich patina. H.400mm, W.105mm.


Estimate $3,000 - $5,000

[217] NYEMWEZI FIGURETall standing figure with ovoid head, raised features to face elongated torso, arms and legs slightly bent. Good patina. Tanzania. H.480mm, W.110mm.


Estimate $2,500 -$3,500

[218] TEKE FIGUREStanding on angular bent legs followed by hollowed rectangular torso, arms resting to side. Long cylindrical neck supporting spherical head with a cross hatch coiffure. The face is carved with a large forehead, almond shaped eyes, slightly flared nose, an open mouth and protruding beard. Longitudinal scarifications to cheeks. Dark brown patina. Wood. H.240mm, W.40mm.


Estimate $800 - $1,200

[219] KUSU FIGURECarved wooden male figure with arms resting on stomach. Heart shaped facial plane raised features and scarification to cheeks. Democratic Republic of Congo. H.205mm, W.70mm.


Estimate $2,000 - $3,000

[220] HEMBA KABEJA FIGURESuperb abstract male and female janiform figure of small proportions with an elongated neck, faces finely carved with soft raised features including almond shaped eyes beneath a conjoined coiffure at the top. Exceptionally fine encrusted dark brown patina. H.250mm, W.60mm, D.78mm.


Estimate $1,500 - $3,000

[221] SONGYE FIGUREOf classic form, angular facial plane with protruding rectangular mouth and ovoid eyes leading to a flared base. Good patina. H.205mm, W.58mm.


Estimate $1,500 - $2,500

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[223] SENUFO KPELIE MASKA fine mask combining humanistic and animal features, horns on the mask encircle a seated figure, the face with raised facial features and slit pierced eyes. Rich patina. H.350mm, W.180mm.


Estimate $2,500 - $3,500

[224] HEMBA MONKEY MASKIn ovoid form with a pointed forehead, pierced raised eyes, large triangular nose, grinning wide mouth. Blackened patina. Democratic Republic of the Congo. H.210mm, W.140mm.


Estimate $2,500 - $3,500

[225] DAN MASKOf hollowed form with pointed chin, a pierced rim with attached beard. Mouth pierced with superbly carved lips and circular pierced eyes with overlaid metal rings. A rich, dark patina. H.270mm, W.145mm.


Estimate $2,000 - $4,000

[226] BAULE DOUBLE FACE MASKOf hollowed form with two forward-facing heads, with slender noses, pierced slit eyes, swept-back raised coiffure with figural top knots. Fine, encrusted patina. H.355mm, W.196mm.


Estimate $2,000 - $3,000

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[227] SONGYE GABLE MASKSolid form, angular facial plane with protruding rectangular mouth beneath a medial ridge, flanked by ovoid eyes. Incised with linear pattern to forehead and cheeks; dry patina, black, red, indigo pigments evident. H.215mm, W.100mm.



[228] BAULE MASKOf hollowed form with pierced edges for attachment. Oval face with slightly protruding mouth, long linear nose leading to arched brows above pierced oval eyes. Raised linear scarifications on the sides of the mouth, together with raised geometric scarifications on the forehead, temples and cheeks. Blackened patina with traces of white and red paint. L.410mm, W.98mm, D.90mm.


Estimate $1.200 - $1,800

[229] ZULU KNOBKERRYSpherical head with band decoration to top of faceted tapering shaft. Good overall patina. L.430mm, Dia.60mm (max).



[230] ZULU KNOBKERRYSpherical head on top of long tapering shaft. Good early mid brown patina. L.685mm, Dia.70mm (max).



[231] MASAI SWORD, SHIELD, SPEAREarly Masai Shield with traditional natural pigment designs, traditional sword and spear. Good overall condition. (3) L.920mm, W.720mm (shield); L.600mm, W.67mm.(sword); L.2050mm, W.32mm.(spear)


Estimate $1,000 - $2,000

[232] LUBA/HEMBA STOOLKneeling on a circular decorated base, tubular body with scarifications evident. Large ovoid shaped head and strong facial features, extended coiffure. Disk like stool resting on top of head with hands to rim. Dark redish brown patina. H.405mm, Dia.320mm.



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[233] AFGHAN TURCOMAN An unusual Turcoman from Aqcha in the Shor Teppe area of Northern Afghanistan with two Dali styled gul motifs with four trefoil designs in each of the quadrants; in terra cotta, blue and brown on a tan field. Wool-on-cotton. L.1560mm, W.1190mm.

PROVENANCENew Zealand Collection

Estimate $900 - $2,000

[234] AFGHAN BELUCHI From Western Afghanistan a remarkable tribal Beluchi rug where the weaver has used four rows of highly stylised paired lions and a smaller horned ram; note also the water ewers between the paws of the larger lion. Wool-on-wool. L.2340mm, W.1330mm.


Estimate $1,200 - $2,500

[235] PERSIAN GASHGAI An old Persian tribal Gashgai from Fars province in South West Iran. Both the large red latch-hook medallion and the four blue spandrels are completely filled in naive multicoloured tribal interpretations of the Mahi motif. Wool-on-cotton. L.2910mm, W.2120mm.


Estimate $1,500 - $3,000

[236] AFGHAN TURCOMAN From Northern Afghanistan, an old Ersari Turcoman where the central field is made up of Badaam gul panels and in the centre of each is an octagonal Suleymani Onurga (Vertebrae) gul. Wool-on-wool. L.2550mm, W.2050mm.


Estimate $1,800 - $4,000

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[237] AFGHAN BELUCHI A small Beluchi from Western Afghanistan with Turcoman inspired Chuval guls repeating in three rows the length of the deep blue field. Wool-on-wool. L.1970mm, W.1120mm.



[238] AFGHAN TURCOMAN Often called Maldaris, this old Turcoman has two ivory “Running Dog” guard borders which indicate that the likely provenance is from the Saltuq clan of Labijar, Northern Afghanistan; the field is covered with three rows of Taghan guls. Wool-on-wool. L.3200mm, W.2550mm.


Estimate $2,300 - $4,500

[239] AFGHAN BELUCHI GELIM This magnificent old gelim from the border regions of Iran and Afghanistan is beautifully ornamented with delicately drawn floral designs and geometric motifs. Wool-on-wool. L.3730mm, W.1190mm.


Estimate $1,200 - $3,000

[240] AFGHAN GELIM QADIR From the Herat area, Western Afghanistan, this gelim is woven using a mixed technique of both carpet knotting and soumac weave, with keshti panels being used as the field design. Wool-on-wool. L.2350mm, W.170mm.


Estimate $1,100 - $2,600

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MR MRS MISS MS (PLEASE CIRCLE)

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Bidding Slip - SEE AlSO WEBBS.CO.nZ FOR Bidding OnlinE

Please bid on my behalf at the above sale for the following lots up to prices recorded below. these bids are to be executed as cheaply as is permitted by other bids or reserves if any. * I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid on items in the sale of oceanic & African Art, a buyer’s premium of fifteen percent (15%) will be added to the hammer price and that G.S.t is charged on the premium. on major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge.

* Webb’s will do its upmost to carry out bidding instructions for absentee bidders. It will not be responsible however if circumstances prevent it doing so.

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

FOR ABSEnTEE BiddERS On lOTS in SAlE 977

18 Manukau Rd Newmarket | PO Box 99251 Auckland 1149 New ZealandPh: 09 524 6804 / Fax: 09 524 7048 | [email protected] / www.webbs.co.nz

Lot no. CAtALoGuE dESCRIPtIon bId*


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. buyer’s Premium. the purchaser accepts that in addition to the hammer or selling price Webb’s will apply a buyer’s premium of 15% for sales of oceanic & African Art (unless otherwise stated), together with GSt on such premiums.

5. Payment. Payment for all items purchased is due on the day of sale immediately following completion of the sale.

If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days.

Payment is by cash, bank cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted.

6. Lots sold as Viewed. All lots are sold as viewed and with all erros in description, faults and imperfections whether visible or not. neither Webb’s nor its vendor are responsible for errors in description or for the genuineness or authenticity of any lot or for any fault or defect in it. no warranty whatsoever is made. buyers proceed upon their own judgement.

buyers shall be deemed to have inspected the lots, or to have made enquiries to their complete satisfaction, prior to sale and by the act of bidding shall be deemed to be satisfied with the lots in all respects.

7. Webb’s Act as Agents. they have full discretion to conduct all aspects of the sale and to withdraw any lot from the sale without giving any reason.

8. Collection. Purchases are to be taken away at the buyer’s expense immediately after the sale except where a cheque remains

uncleared. If this is not done Webb’s will not be responsible if the lot is lost, stolen, damaged or destroyed.

Any items not collected within seven days of the auction may be subject to a storage and insurance fee. A receipted invoice must be produced prior to removal of any lot.

9. Licences. buyers who purchase an item which falls within the provisions of the Protected objects Act 1975 or the Arms Act 1958 cannot take possession of that item until they have shown to Webb’s a license under the appropriate Act.

10. failure to make Payment. If a purchaser fails either to pay for or take away any lot, Webb’s shall without further notice to the purchaser, at its absolute discretion and without prejudice to any other rights or remedies it may have, be entitled to exercise one or more of the following rights or remedies:

A. to issue proceeding against the purchaser for damages for breach of contract.

b. to rescind the sale of that or any other lot sold to the purchaser at the same or any other auction.

C. to resell the lot by public or private sale. Any deficiency resulting from such resale, after giving credit to the purchaser for any part payment, together with all costs incurred in connection with the lot shall be paid to Webb’s by the purchaser. Any surplus over the proceeds of sale shall belong to the seller and in this condition the expression ‘proceeds of sale’ shall have the same meaning in relation to a sale by private treaty as it has in relation to a sale by auction.

d. to store the lot whether at Webb’s own premises or elsewhere at the sole expense of the purchaser and to release the lot only after the purchase price has been paid in full plus the accrued cost of removal storage and all other costs connected to the lot.

E. to charge interest on the purchase price at a rate 2% above Webb’s bankers’ then current rate for commercial overdraft facilities, to the extent that the price or any part of it remains unpaid for more than seven days from the date of the sale.

f. to retain possession of that or any other lot purchased by the purchaser at that or any other auction and to release the same only after payment of money due.

G. to apply the proceeds of sale of any lot then or subsequently due to the purchaser towards settlement of money due to Webb’s or its vendor. Webb’s shall be entitled to a possessory lien on any property of the purchaser for any purpose while any monies

remain unpaid under this contract.

h. to apply any payment made by the purchaser to Webb’s towards any money owing to Webb’s in respect of any thing whatsoever irrespective of any directive given in respect of, or restriction placed upon, such payment by the purchaser whether expressed or implied.

I. title and right of disposal of the goods shall not pass to the purchaser until payment has been made in full by cleared funds. Where any lot purchased is held by Webb’s pending i. clearance of funds by the purchaser or ii. completion of payment after receipt of a deposit, the lot will be held by Webb’s as bailee for the vendor, risk and title passing to the purchaser immediately upon notification of clearance of funds or upon completion of purchase. In the event that a lot is lost, stolen, damaged or destroyed before title is transferred to the purchaser, the purchaser shall be entitled to a refund of all monies paid to Webb’s in respect of that lot, but shall not be entitled to any compensation for any consequent losses howsoever arising.

11. bidders deemed Principals. All bidders shall be held personally and solely liable for all obligations arising from any bid, including both ‘telephone’ and ‘absentee’ bids. Any person wishing to bid as agent for a third party must obtain written authority to do so from Webb’s prior to bidding.

12. ‘Subject bids’. Where the highest bid is below the reserve and the auctioneer declares a sale to be ‘subject to vendor’s consent’ or words to that effect, the highest bid remains binding upon the bidder until the vendor accepts or rejects it. If the bid is accepted there is a contractual obligation upon the bidder to pay for the lot.

13. Sales post auction or by private treaty. the above conditions shall apply to all buyers of goods from Webb’s irrespective of the circumstances under which the sale is negotiated.

14. condition of Items. Condition of items is not detailed in this catalogue. buyers must satisfy themselves as to the condition of lots they bid on and should refer to clause six. Webb’s are pleased to provide intending buyers with condition reports on any lots.

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iMPOrTanT OCeaniC & aFriCan arT

COnTaCTJeff Hobbs

E: [email protected]: 021 503 251

MARCH 2013 CoNSiGN NoW

[43] EARLY KUMETE BOWL

Estimate $3,000 - $5,000

Documents

Important Oceanic & African Art