webb's catalogue 319 important works of art

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New Zealand’sPremier Auction House18 Manukau RoadPO Box 99 251Newmarket, Auckland 1149New ZealandP +649 524 6804F +649 524 7048 [email protected]


IMPORTANT WORKS OF ARTFINE JEWELLERY & WATCHES

ANTIQUES & MODERN DESIGN 30 NOV - 2 dec 2010

ABOVE: [19] Peter Stichbury Spotless $30,000 - $40,000LEFT: [36] cOliN MccahON Seaweed on the Beach $250,000 - $300,000FRONT COVER: [33] ricky SwallOw Apple 2000 (coloured) $15,000 - $20,000[34] ricky SwallOw Apple 2000 (b/w) $15,000 - $20,000BACK COVER: [214] Exquisite jewelled dragonfly brooch with original fitted box $7,500 - $8,500INSIDE BACK COVER: [13] JuliaN daShPer Untitled 1996 $12,000 - $16,000


IMPORTANT WORKS OF ART 20Tue 30 Nov 2010 – 6:30pm | VIEWING FROM WED 24 NOV 5:30 PM

FINE JEWELLERY & WATCHES 100Wed 1 Dec 2010 – 2:00pm & 6:00pm | VIEWING FROM WED 24 NOV 5:30 PM

ANTIQUES & MODERN DESIGN 128 Thu 2 Dec 2010 – 6:00pm | VIEWING FROM WED 24 NOV 5:30 PM

ADVENTURE & DISCOVERY 132 Thu 9 Dec 2010 – 6:00pm | VIEWING FROM SAT 4 DEC 11AM

EVENING PREVIEWWednesday 24 November 5:30pm – 7:30pm

Please join us to view the suite of sales and enjoy

a glass of Moët on arrival.

PLEASE NOTEA buyer’s premium of 12.5% will be charged

on all items in the Important Works of Art

and Fine Jewellery & Watches sales; a buyer’s

premium of 15% will be charged on all items

in the Antiques & Modern Design sale; a

buyers premium of 17.5% will be charged on

the Adventure & Discovery sale. GST (15%) is

payable on the buyer’s premium.

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LEFT: [35] StePheN baMbury Necessary Correction (XIX) The Golden Echo (for Wystan) $75,000 - $95,000

INTRODUCTIONAgainst conservative forecasts predicting steady results at best, the markets for art, jewellery and collectables have performed remarkably well over 2010. Webb’s has set several new auction market records including the highest prices for works by both Don Binney and Shane Cotton, each exceeding the $200,000 threshold. Equally successful sales were achieved for nearly all of the truly significant works offered by Webb’s this year. With this in mind, collectors can be assured that quality artworks, correctly presented, continue to achieve excellent prices at auction.

To date, Webb’s has achieved six of New Zealand’s ten highest prices at auction for the year. In August, three artworks sold for over $200,000 and, in March, two works sold over this level with a further three achieving over $100,000. Results for jewellery also reflect a recovering market with a 5.14ct yellow diamond selling for $131,200 in March and a 7.25ct diamond making $74,200 in September together with numerous other sales at high value over the year. Fine quality wristwatches from iconic makers also continue to be very well received by collectors. Webb’s participation in the Oceanic and African art market saw over 800 lots offered in two significant stand-alone catalogues with sales totalling $1,300,000. The November sale included items from the collection of one of the most venerated and knowledgeable New York tribal art dealers, Merton D. Simpson. Simpson’s decision to work with Webb’s and send 75 items from his collection to New Zealand recognises Webb’s commitment to this specialist field.

This year, Webb’s also continued to break new ground in the field of vintage motorcycles and fine wine at auction. Fuelled by the international demand for vintage French wines, fine wine sales at Webb’s have exceeded expectations by two hundred percent. At the same time, the markets across the collecting genres of antiques and books have remained firm and stable.

Concluding Webb’s offering for the year, this catalogue brings an amazing array of items to the market, including some exceptional artworks with wonderful provenance and the finest selection of antique jewellery to come to market in recent memory. Notable in the art section of the sale is a work by Colin McCahon, Landscape Theme and Variation D (1963), (lot 29)from the collection of Ron O’Reilly. O’Reilly was patron and lifetime friend to McCahon and this work comes to the market for the first time from the collection of a family member. This large canvas reduces the language of landscape to simple geomorphic forms: curved semicircular hills which become both a symbol of the landscape and a spiritual metaphor. Seaweed on the Beach (1972), (lot 36) also by Colin McCahon, depicts the rolling breakers of low tide at Muriwai Beach under a gestural, turbulent sky. Text is employed as a compositional element: Taitimu. Tangi. Muriwai. ‘Taitimu’ in Māori means low tide, while ‘Tangi’, of course, alludes to grieving for the dead and to the spirit’s journey to Cape Reinga, a pathway that included Muriwai Beach as one of the stations along the way. Also in the sale is a superb portrait of Maori chief Wharekauri Tahuna of the Ngai Tuhoe tribe by Charles Frederick Goldie (1917) (lot 32). This exquisitely

handled work presents a Māori chief adorned with thrummed korowai cloak, tiki and kuru, and with full moko; this is one of the finest examples of Goldie’s meticulous technique to become available. We are fortunate to have one of the most important works by Stephen Bambury ever to be presented at auction, the majestic Necessary Correction XIX (1999) (lot 35). This work, along with the graphite and acrylic ladder “Even though it appears abstract” (1992) (lot 47) illustrate the remarkable depth of this senior artist’s oeuvre. Ricky Swallow has been described as a cultural archaeologist and his two Apple sculptures (2000) (lots 33 and 34) evoke both the now obsolete, but still recognisable, Apple Mac logo and the biblical fall of Adam and Eve. These small-scale works grace the cover of this catalogue. The auction also includes a small section of quality contemporary photography with works by Gavin Hipkins, Peter Peryer, Robin Morrison and Ronnie van Hout, and a good section of Aboriginal paintings.

It is a pleasure to be offering in this catalogue one of the best collections of Georgian, Victorian and Edwardian jewellery to have been presented to the market in many years, together with a breathtaking array of magnificent modern pieces. An exquisite jewelled dragonfly brooch (lot 214) (illustrated on the back cover of the catalogue), a centrepiece spray set with over 15ct of diamonds (lot 140) and an exceptional sapphire and diamond clasp to a double strand of pearls (lot 142) are antique opulence at its finest. A delicate belle époque brooch set with diamonds, (lot 210) handed down from Rudyard Kipling’s wife, introduces

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a fascinating historical perspective to this sale. Significant solitaire diamonds ranging up to 5ct and a splendid necklace set with 30ct of fine quality Tycoon Cut diamonds (lot 216) are features of the splendid modern jewellery on offer.

The sale of Decorative Arts and Modern Design will include over 400 lots which are fully catalogued. The full list for this section will be available at the viewing and online. Included in this catalogue is an overview of the highlights, providing just a taste of the broader offering. The sale also presents a section of New Zealand studio ceramics from the private collection of Ron Sang, publisher and collector, including one of the largest and most complex architectural forms by Roy Cowan (lot 406). Pieces by Mirek Smisek, Barry Brickell, Peter Stichbury and John Parker are also part of this sale.

For all those fishing fanatics gearing up for summer, we have a specialist sale of vintage fishing material to be held on Thursday 9 December. Aptly titled ‘Adventure and Discovery’, the sale has more than 300 examples of pre-1940 vintage game-fishing equipment including fishing reels, rods and lures with pieces which have documented histories back to the legendary adventurer Zane Grey.

Please join us in previewing this catalogue on Wednesday 24 November from 5.30pm to 7.30pm. All our specialists will be available on the night and during the following week to discuss the pieces included in this publication.

SOPHIE COUPLAND DIRECTOR

[32] charleS Frederick GOldieThoughts of a Tohunga. Portrait of Wharekauri Tahuna$260,000 - $320,000

IN FOCUS 5

6

leN lye Self Portrait (with Night Tree)$10,000

bill haMMONdA Lullaby of Birdland$220,000

2010 IN REVIEWWEBB’S ACHIEVED SUBSTANTIAL SALES AT THE UPPER END OF THE FINE ART

MARKET OVER 2010. THE RESULTS PUBLISHED HERE REPRESENT A SAMPLE ACROSS

A RANGE OF GOOD RESULTS FOR PREDOMINANTLY MUSEUM QUALITY MODERN

AND CONTEMPORARY WORKS. A FULLER SUMMARY OF FINE ART SALES OVER 2010 IS

PUBLISHED IN THE FORWARD TO THE CATALOGUE ON PAGE 4.

ShaNe cOttONLying in the Black Land$225,000

charleS Frederick GOldieMihipeka Wairama, Tuhourangi Tribe$150,000

bill haMMONdAll Along the Heaphy Highway$220,000

dON biNNey Man’s Head from Te Henga III $225,000

JuliaN daShPerUntitled (Drumskin)$13,500

ShaNe cOttON Blackout Movement (2001) $200,000

Michael ParekOwhai Kapa Haka series (Puhina) $41,000

tONy FOMiSONHill Top Watcher$120,000

[NOTE: ALL PRICES LISTED REPRESENT HAMMER PRICES AND EXCLUDE BUYERS PREMIUM AND GST ON THE PREMIUM.]

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13. 2000 Chateau Petrus$3,8009. GeorGe II sterlInG sIlver tea urn

$5,100

2010 IN REVIEW

4. WedGWood hand throWn squat vase$2,000

6 & 7. 2 Good louIs vuItton suItCases$3,000 each

8. loose PrInCess Cut dIamond of 3.01Ct.$47,500

5. dIamond of 5Ct WIth faInt PInk tInt,

set In a rInG WIth yelloW and WhIte

dIamonds$43,000

2. exCePtIonal emerald of over 7Ct

set In a rInG WIth dIamonds. $30,000

11. sIr Walter Buller

a PhotoGraPh alBum of ‘neW Zealand

tree-ferns’$6,000

10. ole WansCher ChaIr and footstool$6,100

12. a rInG set WIth a 7.25Ct dIamond$65,000

3. mInG dynasty GIlt BronZe Buddha$7,000

1. 1949 aJs 7r 350$42,000

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18. 1995 Chateau lafIte rothsChIld, 12

Bottles $13,200 21. a taxIdermy monItor lIZard

$1,100

22. BraCket CloCk WIth 18th Century Works$2,300

17. Good 19th Century CamPaIGn Chest$5,200

19. yelloW dIamond of 5.14Ct, set In a

rInG WIth tWo WhIte dIamonds$131,000

15. a sIeBe Gorman & Co dIvInG helmet$7,000

14. a set of sIx GeorGIan dInInG ChaIrs

$2,600

16. GeorGe frenCh anGas

the neW Zealanders Illustrated, In 2 vols.$17,500

20. a sPeCtaCular mId 20th Century

royal WorCester fat BodIed urn vase

WIth lId$5,200

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[NOTE: ALL PRICES LISTED REPRESENT HAMMER PRICES AND EXCLUDE BUYERS PREMIUM AND GST ON THE PREMIUM.]

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OceaNic & aFricaN artS

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The Oceanic and African Arts sale held on 11 November was the second successful stand-alone auction in this genre to be held at Webb’s this year. The 75 pieces comprising the Merton D. Simpson Collection drew attention from both local and international audiences. New York-based Simpson is one of the most venerated dealers and collectors in the Tribal Arts field, and the superior quality of his collection was recognised by the market. A superb Ashanti royal lion footstool (B) achieved $19,000, the Dan mask (G) that graced the cover of the catalogue sold for $7,750, and $20,000 was paid for a fine Dogon statue (D), amongst a range of other outstanding results.

The sale also included some of the finest Maori and Pacific artefacts ever to be offered at auction in this country. An early mere pounamu (greenstone hand club), Te Kaoreore (H), was recognised by serious collectors and institutional curators alike as the finest pre-contact mere ever to have become available publicly. This was confirmed when it

sold for $125,000, a world record price for a mere. A superb Astral Island paddle (K), also the finest the New Zealand market has seen, generated fierce competition from astute collectors, and sold for $15,500.

The results of the previous auction held in June, in which the collection of a US museum was offered, saw total sales of over $830,000. As this catalogue goes to press, sales in November sit at around $550,000, representing over 1.3 million dollars in Oceanic and Tribal Art sales at Webb’s in 2010.

The quality of the material in both sales of Oceanic and African Arts attracted considerable international interest from collectors venturing beyond their local markets to participate in Webb’s sales. In doing so they supported our endeavours to present world-class collections at auction in this country and to recalibrate the New Zealand market in line with the international stage.

Entries are now invited for the next auction to be held in March 2011.NEIL CAMPBELL

a Pre ContaCt maorI fInely Carved Waka huIa. aChIeved $40,000

B ashantI royal lIon, a royal footstool. aChIeved $19,000.

C HUIA FEATHER. aChIeved $7,300

d fIne doGon statue. aChIeved $20,000

e venerated BonIto totem. aChIeved $25,000

f fIne makonde mask. aChIeved $9,250

G dan mask. aChIeved $7,750

h te kaoreore, an hIstorIC mere Pounamau. aChIeved $125,000

I RARE TONGAN WHALEBONE CHEST ORNAMENT. aChIeved $20,000

J RARE AND SUPERB FIJIAN WAR CLUB. aChIeved $28,000

K SUPERB AUSTRAL ISLAND PADDLE. aChIeved $15,500

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[NOTE: ALL PRICES LISTED REPRESENT HAMMER

PRICES AND EXCLUDE BUYERS PREMIUM AND

GST ON THE PREMIUM.]


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IN FOCUS 11

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OCEANIC & TRIBAL ART IMPORTANT NEW ZEALAND FURNITURE

williaM SeuFFert

AN ExQUISITE MARQUETRY CARD TABLE

March 2010ENTRIES NOWINVITED

CONTACT: Neil Campbell | [email protected] | +64 9 529 5607 or +64 21 875 966

Composed of New Zealand woods in

minute subdivision depicting fantails

(piwakawaka) and bellbirds (korimako)

amongst karaka, titoki and manuka

flowers and foliage. A central panel

depicts a horse drawn carriage beside

the Buller River. One of the most

important tables known to exist by the

Seuffert workshop, this piece closely

relates to a table which is housed at

the residence of the New Zealand

ambassador in Paris. Acquired by

Ernest Benjamin c. 1890, grandson of

David Nathan, original founder of L. D.

Nathan, and passed by descent to

the present owner.

$50,000 - $70,000

A select sale of high quality Māori, Pacific and broader Oceanic Arts will be offered alongside Tribal Arts and Important New Zealand Furniture in March 2011. Contact our specialists now to discuss the inclusion of pieces into this catalogue.


OCEANIC & TRIBAL ART IMPORTANT NEW ZEALAND FURNITURE A2 ART

tue 22 Feb 2011 entries now

invited

richard killeeNReap What You SowScreenprint 38/50$3,000 - $5,000

CONTACT: Sophie Coupland | [email protected] | +64 9 529 5603 or +64 021 510 876

WEBB’S A2, OR AUCTION TIER TWO, SALES PRESENT QUALITY AFFORDABLE ARTWORKS VALUED AT UP TO $10,000.

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GRAPHICA - POP SURREALISM

2011 entries now invited


Pop surrealism with origins in comic, tattoo, punk and street culture – including drawings, paintings, digital art and

sculpture. An exploration of international and local lowbrow art. Artist Robert Williams took credit for originating the term

‘lowbrow art’ when no authorised art institution would recognise his type of art. ‘Lowbrow’ was thus used by Williams in

opposition to ‘highbrow’. The name then stuck, even though he has subsequently referred to the movement as ‘cartoon-

tainted abstract surrealism’ and ‘conceptual realism’.

MartiN eMONd Untitled (detail) acrylic on board

iMPOrtaNt ViNtaGe & cOllectOrS’ MOtOrcycleS February 2011 entries now invited

ILLUSTRATED: Brian Thomas hand built Manx Norton Desmo 350 from the Brian Thomas collection. Realised $110,000


A crowd of over 500 was testament to collectors’ interest in the sale of vintage motorcycles held on 5 October. Fifty-two of the sixty machines sold and this represents the highest sale rate by volume since Webb’s initiated auctions in this specialist field in 2009.Entries are now invited for the next auction to be held in February 2011. The February sale is sure to be the vintage and classic motorcycle collectors’ event of the year.

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VALUATION SERVICESSPECIALIST VALUERS OF FINE ART AND ANTIQUES, WEBB’S PROVIDE VALUATIONS TO PUBLIC INSTITUTIONS, CORPORATE AND PRIVATE COLLECTIONS INCLUDING:

CONTACT: Brian Wood | [email protected] | +64 9 524 6804 | +64 21 486 948

TE PAPA TONGAREWA, MUSEUM OF NEW ZEALAND · AUCKLAND ART GALLERY · AUCKLAND CITY LIBRARY · TE AWAMUTU MUSEUM · THE POMPALLIER DIOCESAN CENTRE · NORTH SHORE CITY COUNCIL · HOCKEN LIBRARY COLLECTIONS · KELLY TARLTON MUSEUM · ROTORUA MUSEUM OF ART AND HISTORY · ROTORUA DISTRICT COUNCIL · ROTORUA CHARITABLE ENERGY TRUST · DUNEDIN PUBLIC ART GALLERY · THE UNIVERSITY OF AUCKLAND · WELLINGTON CITY COUNCIL · AUCKLAND WAR MEMORIAL MUSEUM · LAKE TAUPO MUSEUM AND ART GALLERY · ELMS MISSION STATION · GOVETT-BREWSTER ART GALLERY · LEN LYE FOUNDATION · UNIVERSITY OF OTAGO · HUKA LODGE · MANUKAU INSTITUTE OF TECHNOLOGY · SOUTH WAIKATO DISTRICT COUNCIL · NORTHLAND REGIONAL COUNCIL · BURIED VILLAGE ROTORUA · THE AUCKLAND CLUB · HISTORIC PLACES TRUST · MUSEUM OF TRANSPORT AND TECHNOLOGY · WEST COAST DISTRICT MUSEUM · RUSSELL MUSEUM · WHANGAREI ART MUSEUM · DILWORTH TRUST · NEW ZEALAND PORTRAIT GALLERY


Brick Bay Sculpture Trail

www.brickbaysculpture.co.nz [email protected] Phone 09 425 4690 Arabella Lane, Snells Beach, Warkworth, New Zealand

Artist: Virginia King, Step Lightly

Brick Bay Sculpture Trail near Matakana showcases contemporary sculpture by established and emerging artists. This is a remarkable outdoor gallery experience, where an ever-changing display of 50 sculptures is sensitively sited along the 2km track overlooking the celebrated Brick Bay Vineyard. Experience art and wine entwined at Brick Bay. Open 10am until 5pm daily.

P045 bb webb ad v3.indd 1 4/11/10 10:05:54 PM

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This limited edition jeroboam of Moët & Chandon Impérial has been hand-gilt by Arthus-Bertrand, one of France’s most prestigious engravers and jewellers.

Celebrities including Rose McIver, Taika Waititi, Dan Carter and Richie McCaw, have put their names to the fabulous 3000ml Moët & Chandon bottle, in proud support of Oxfam New Zealand.

Moët & Chandon’s muse Scarlett Johansson was the first to sign a golden jeroboam for charity and a stellar line of stars have followed suit around the world. This is the first golden jeroboam to be auctioned in New Zealand.

Webb’s is proud to be joining Moët Hennessy in supporting Oxfam New Zealand, which will benefit from all the proceeds of the Moët & Chandon gold-leaf jeroboam auction.

to be auctioned at webb’s, tues 30 Nov, 6:30pm, immediately prior to the commencement of the important works of art auction.

MOËt & chaNdON LIMITED EDITION JEROBOAM$3,000 - $5,000


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IMPORTANT WORKS OF ART


IMPORTANT WORKS OF ARTTue 30 Nov 2010 – 6:30pm | EVENING PREVIEW WED 24 NOV

VIEWING

Wed 24 Nov Evening Preview 5:30pm - 7:30pm

Thu 25 Nov 9:00am – 5:30pm

Fri 26 Nov 9:00am – 5:30pm

Sat 27 Nov 11:00am – 3:00pm

Sun 28 Nov 11:00am – 3:00pm

Mon 29 Nov 9:00am – 5:30pm

Tue 30 Nov 9:00am – 12:00pm

BUYER’S PREMIUM

A buyer’s premium of 12.5% will be charged on all

items in this Important Works of Art sale.

GST (15%) is payable on the buyer’s premium only.

LEFT: [29] cOliN MccahONLandscape Theme and Variations

Series D 1963$200,000 - $300,000

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[1] cOliN MccahONNight Fishing, French Baycardboard relief print title inscribed and signed190mm x 150mm $6,000 - $8,000

[2] elizabeth thOMPSON268.4polychrome bronze on gesso paneltitle inscribed, signed and dated 2004180mm x 180mm$2,500 - $3,500

[3] elizabeth thOMPSON265.04polychrome bronze on gesso panel title inscribed, signed and dated 2004 verso180mm x 180mm$2,500 - $3,500


[6] Pat haNlyFigure in Light 2screenprint with enamel, 1/10title inscribed signed and dated ‘64410mm x 515mm$5,000 - $7,000

[5] SaM MitchellWhite Weddingacrylic on perspex title inscribed, signed and dated Auckland, New Zealand 2008 verso390mm x 380mm$1,500 - $2,500

[4] JeFF thOMSONMap of New Zealandfound corrugated ironsigned and dated 20091370mm x 380mm$5,000 - $7,000

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[7] rONNie VaN hOutDesert Sunrise (after McCahon)toned gelatin silver print title inscribed, signed and dated 1992 verso330mm x 496mm$2,000 - $3,000

[8] rONNie VaN hOutRock On 2001lambda print515mm x 775mmNote: an edition of this photograph is held in the collection of the Auckland Art Gallery, Toi O Tamaki$3,500 - $4,500

[9] Michael ShePherdStill Life with ANZAC Poppyoil on board, dated ‘80300mm x 400mmProvenance: Purchased from the Denis Cohn Gallery, 1980Exhibited: Denis Cohn Gallery, Auckland, 1980 $3,000 - $5,000


[10] Peter PeryerMillenium Falcongelatin silver print 500mm x 330mm$3,000 - $4,000

[11] GiOVaNNi iNtraX Cross Dresserphotograph480mm x 380mm$1,500 - $2,500

[12] ralPh hOtereUntitledscreenprint, 2/10title inscribed, signed and dated ‘651100mm x 710mm$8,000 - $10,000

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[13] JuliaN daShPerUntitled 1996vinyl on drumhead 580mm diameterExhibited: 15 Minutes in Australia, 29 September - 12 November, 2005 Kaliman Gallery, Sydney, Australia$12,000 - $16,000


[14] aNN rObiNSONPod Vaselead crystal glass, # 18signed and dated 1999 and 2010200mm x 365mm x 255mm$20,000 - $30,000

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[15] Michael SMitherStill Life with Grapefruitoil on boardsigned with artist’s intials MDS and dated ‘67; signed with artist’s intials MDS and dated ‘67 verso455mm x 555mm$30,000 - $40,000

[16] cOliN MccahONNorthlandbrush and ink on paper title inscribed, signed and dated April ‘59610mm x 480mmReference: Colin McCahon database (www.mccahon.co.nz) Record Number: cm001032 $50,000 - $70,000

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[17] JOhN hOlMwOOdPuketutu Islandoil on board signed and dated ‘57555mm x 740mm$18,000 - $25,000

[18] a. lOiS whiteFishermanvarnished watercolourtitle inscribed and signed verso420mm x 345mm$20,000 - $30,000


[19] Peter StichburySpotlessacrylic on linentitle inscribed, signed and dated 1999/00 verso910mm x 910mmExhibited: Trust Waikato National Contemporary Art Award, Waikato Society of the Arts, Hamilton 2001$30,000 - $40,000

[20] ShaNe cOttONKawakawa Patternacrylic on canvas title inscribed, signed and dated 2003 verso710mm x 1064mm$30,000 - $40,000

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[21] dick FrizzellDark Gorgeoil on board title inscribed, signed and dated 20/2/871200mm x 1200mmIllustrated: Dick Frizzell: The Painter, Random House 2009, p.141 $35,000 - $55,000


[22] alleN MaddOxSelf Portraitoil on canvastitle inscribed, signed with artist’s initials AM and dated ‘95 verso1205mm x 1205mm$25,000 - $35,000

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[23] Jude raeStill Life No. 16oil on linen title inscribed and signed verso710mm x 760mm$15,000 - $20,000

[24] Jude raeStill Lifeoil on linentitle inscribed and signed verso650mm x 710mm$15,000 - $20,000


[25] bill culbertCold Water Creekcorrugated iron and acrylic with fluorescent light title inscribed, signed and dated 1978 verso690mm x 930mmProvenance; Formerly in the Collection of Air New Zealand$8,000 - $10,000

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[26] dick FrizzellWho Will Save Her? (Phantom Triptych)oil on three canvas panelstitle inscribed, signed and dated 20/2/2001500mm x 500mm each panel$35,000 - $40,000


[27] Peter rObiNSONWe Pay for Your Interest Sometimes Boy Eh!acrylic and oilstick on canvasboardtitle inscribed, signed and dated c. 1996; inscribed Purchased Brooke Clifford Gallery Christchurch, 1998 verso 345mm x 440mm$7,000 - $9,000


[28] richard killeeNStructures and Referencesalkyd on fifteen aluminium pieces title and hanging instructions inscribed, signed and dated May 1983 inside lid of original case; title inscribed and dated May 1983 on each piece verso2500mm x 2500mm approximatelyOriginally in the collection of Denis Cohn$30,000 - $40,000

“No ideas but in things”, said the famous American modernist poet William Carlos Williams. This is an aspiration that comes as second nature to Rick Killeen. There are plenty of ideas in Killeen’s art but they are constructed by bits and pieces, by dispersed particles, by visual and physical incidents. His art has always been about congeries of parts, concatenations of bright things, particular shapes and coloured configurations which one feels prompted to pick up and rearrange. In fact, since 1978 (the year of his first cut-outs), Killeen has literally acted out and fostered this stimulus to pick up a pictorial fragment, and to seize and reposition the optical universe bit by bit. Killeen’s busy visual arrays involve simplifications for sure, reductions of the world’s profusion into graphic signs, diagrammatic units and snappy motifs. It is as if the artist has set himself the lifelong task of codifying, item by item, as much of the planet as possible in order to fill a huge graphic Noah’s Ark: a manic compendium of the visible, a visual primer of everything translated into memorable icons for storage against some cataclysmic future forgetting. Even Killeen’s apparently dispassionate title, Structures and References, implies the careful work of matching and categorisation employed by encyclopaedists and fastidious cataloguers submitting small details to the demands of their overarching systems.

When Killeen made his first cut-outs, every shape was painted in one flat colour so that each piece of lacquered aluminium read as a declarative silhouette. The artist’s attraction to things cleanly delineated and to the dialectic of figure and ground, was apparent in his earliest figure compositions and then intricately mapped in the tessellated geometric abstractions that followed. The shapes, of animals, birds, fish, insects, tools and less recognisable abstract things, appeared as flat designs on plain

grounds in several 1977 paintings. In the actual cut-outs, the pieces of aluminium became the ‘figure’ to the white gallery wall’s ‘ground’; in this way the paintings extended themselves into the literal space of the art gallery – they started to ingest their surrounding environments.

This work represents a significant point in the ongoing history of Killeen’s career of cut-outs. The year 1983 was the year when the evenly sprayed lacquer surface was replaced by variegated paint finishes – sometimes painterly and brushy, sometimes smoothly brushed or screeded on. At this time alkyd also became the artist’s medium of choice and all the cut-outs are painted with it up until Killeen changed again to acrylic paint, primarily, in 1986. Alkyds, originally used in the automotive industry and for interior house painting, became available to artists in New Zealand in the late 1970s and were regarded as something of a novelty; they dried more quickly than oils dried but more slowly than did acrylics, while retaining some of oil paint’s viscous workable characteristics. The contrast of gestural paint application to uniform application is an important element in this work. This technical play-off becomes much more exaggerated in later works; Killeen is testing out a new methodology here.

The assortment of ‘image things’ or visual objects in this painting is typical of many of Killeen’s in its mixing up of the natural and artificial worlds: birds, teeth, seed pods and plants with chair legs, cutting tools, chevrons and combs. As Killeen’s methods of graphic simplification and associational shape-shifting proceed, he becomes as much a collector of modes of depiction and invented things as of things that actually exist; the boundaries between natural and artificial become strangely elusive. The artist’s unstoppable documentation of the world turns into the part-by-part fabrication of a totally surrogate reality.ALLAN SMITH

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[29] cOliN MccahONLandscape Theme and Variations Series D 1963oil on unstretched canvasinscribed D versoProvenance: From the Collection of Ron O’Reilly and passed by descent to the present ownerExhibited: Ikon Gallery, Auckland 1963Reference: Colin McCahon database (www.mccahon.co.nz) Record Number: cm000568 $200,000 - $300,000

Colin McCahon’s exhibition A Landscape Theme with Variations, in which this fine work was first shown, was held at Ikon Gallery, Auckland, in May 1963. According to McCahon’s own statements, there were two main ideas behind the show. It was held simultaneously with the large Woollaston/McCahon Retrospective Exhibition at Auckland City Art Gallery during the 1963 Auckland Festival. McCahon wrote to John Caselberg: “This exhibition really puts both Toss and myself into the ‘has been’ class. Nonetheless, I am naturally pleased and hope to correct many ideas by the new work at Don [Wood’s Ikon] gallery” (Simpson, Answering Hark, 2001, p. 95). As well as countering the ‘has been’ notion, the show was a reaction to the disappointing response to the geometric abstraction of his previous two exhibitions, at Ikon (then called The Gallery) in 1961 and at Christchurch in 1962. The latter show was dominated by the huge 16-panel Second Gate Series (now in Te Papa), which the critics disliked. The Press wrote, “The Gate series fails because the panels are mostly slight and boring as paintings”. McCahon reacted (as reported) in a 1963 talk: “The paintings misfired, and this worried him: came to the conclusion that it was essential to find a way of communicating to people. He must go back again and start from scratch – to the [1940s] Otago Peninsula paintings in fact” (Answering Hark, p. 94).

McCahon told Caselberg that Landscape Theme and Variations was “a return to ‘realist’ painting but a realism impossible without the previous work” (p. 95). Two large series, ‘A’ (now in Auckland Art Gallery) and ‘B’ (currently on loan to Te Papa), each consisted of eight panels on unstretched canvas hung with their edges touching. There was also a number of separate paintings, which McCahon referred to as ‘spares’, identical in medium and size and numbered ‘C’ to ‘I’,

including the present work, ‘D’. He wrote: “… none of these paintings is of any actual landscape. Certainly the landscape is New Zealand but in an amalgam of both North and South. Nor is this the tourist’s landscape we so often see painted. I am dealing with the essential monotony of this land, with variations on a formal theme, and again, as in the Northland panels of some years ago, a ‘landscape with two few lovers’” (A Question of Faith, 2002, p. 200). In his commentary on his 1972 Survey exhibition, McCahon explained further: “They were painted to be hung about eight inches from floor level. I hoped to throw people into an involvement with the raw land, also with raw painting. No mounts, no frames, a bit curly at the edges, but with, I hoped, more than the usual New Zealand landscape meaning…” (A Survey, 1972, p. 30).

Series ‘D’, from the collection of Ron O’Reilly – one of McCahon’s oldest friends and most important collectors (it was one of the works he took with him to Nigeria when he spent two years there in the 1960s) – has close affinities with series ‘A’, in which all but one of the eight panels feature arcing headlands – some single, some double (as here) and some triple – traversed by mysterious diagonal declivities. Tawny ochre in colouring, its headlands formed by opposing arcs (one from the right edge, one from the left edge) with a dark plain between, ‘D’ is similar to panels six and seven of series ‘A’. This particular arrangement of landforms had special significance for McCahon, being closely related to his well-known childhood memory of Otago’s Taieri Plains where, “Big hills stood in front of the little hills, which rose distantly across the plain from the flat land: there was a landscape of splendour, and order, and peace” (‘Beginnings’, Landfall 80, 1966, p. 364) – a description which readily applies to this majestic painting. PETER SIMPSON

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[30] tONy FOMiSONIn this Crowded Ward the Beds Were Close Together and Someone Died Every Nightoil on canvasboard on card title inscribed, signed and dated 1987 and inscribed ‘19 Lincoln Street, Grey Lynn, Auckland’ verso420mm x 570mm$35,000 - $45,000

[31] dON biNNeyGannets above Muriwaiacrylic on canvas signed and dated 2003545mm x 365mm$35,000 - $45,000


[32] charleS Frederick GOldieThoughts of a Tohunga. Portrait of Wharekauri Tahunaoil on canvas laid onto board signed and dated 1917; title inscribed on original plaque affixed to frame verso 330mm x 270mm$260,000 - $320,000

Te Wharekauri Tahuna, Ngāti Manawa (Tuhoe), who appears in several portraits by Goldie, was a priest or tohunga from the Galatea district near Murupara. During a visit to see him, Goldie took several photos from which he later made a series of important works. They include several versions of portraits he entitled A Noble Relic of a Noble Race and Thoughts of a Tohunga of which excellent examples are in the Auckland Art Gallery and Te Papa Tongarewa, respectively. In some portraits, Wharekauri Tahuna is shown in profile while in others, as in the present example, we see his full face. Some paintings such as Thoughts of a Tohunga (1933), Te Papa, and this version show him with a white wispy beard whereas others omit the beard but retain the features common to all the portraits – the greenstone ear pendants, the cloak and the fine tiki suspended from his neck on a cord. Obviously the later works dated in the 1930s were painted posthumously. Because Goldie based all his portraits of Te Wharekauri Tahuna on the same photos, the subject appears to be the same age in all versions. A late version of A Noble Relic of a Noble Race, auctioned in 2008, was said to be Goldie’s last work painted in 1941. Clearly Te Wharekauri Tahuna had a long-term significance for the artist.

Interestingly, one portrait of Te Wharekauri Tahuna won Goldie an Honorable Mention at the Paris Salon in 1935. The painting, also called Thoughts of a Tohunga, was referred to in the New Zealand Magazine of 1941 as follows: “Another, whose portrait by Goldie was a revelation to the art world in Paris and London, was the ancient warrior and tohunga Wharekauri, whom Goldie found in Whirinaki, on the border of the Urewera Country. He was at least a hundred years old – not the only centenarian in the artist’s sitters – he had been a cannibal like many of his contemporaries.”

One of the earliest Goldie portraits of Te Wharekauri Tahuna is the Auckland Art Gallery’s A Noble Relic of a Noble Race that was first exhibited in Wellington in 1910. The sculptor Nelson Illingworth had already modelled him in 1908 and a reference to this in a newspaper clipping kept by Goldie inspired the artist to visit him soon after and take the photographs that Roger Blackley says “were the basis for the various subsequent portraits of Te Wharekauri”. As in all the portraits, A Noble Relic of a Noble Race is lit from the viewer’s left and shows the tohunga’s features in shadowy profile with the light illuminating and dramatising his fine facial moko. The moko is also strongly lit in the current example and painted with great care and accuracy. The indentations made by the chisel can almost be felt because the grooves of the moko appear tactile – an illusion brilliantly conveyed by the artist’s brush. As a French authority on tattooing said in a letter to Goldie in 1935, “You have proved that art and documentation are not incompatible”.

In all versions, Te Wharekauri Tahuna looks down, his eyes half closed as if in meditation or communication with the spirit world. The pooling of shadow under his eyebrows intensifies the mood of introspection and inner thought, seemingly disengaging him from everyday reality. In the present painting, Goldie enhances the illusion of our proximity to the sitter by cropping the image down to head and shoulders and projecting the head in three dimensions by strong chiaroscuro that gives volume to it. As is usual with Goldie, the differing textures of the hair and beard, the tattoo and skin, the polished surfaces of the pendants and tiki and the varied textures of the cloak contribute to a rich visual interest. It is a work of consummate skill which encapsulates everything one expects in a classic Goldie of his finest period. MICHAEL DUNN

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[33] ricky SwallOwApple 2000 (coloured)pigmented resin, 8/12signed with artist’s initials RS and dated 2000 95mm x 75mm x 75mm$15,000 - $20,000

[34] ricky SwallOwApple 2000 (b/w)pigmented resin, 8/12signed with artist’s initials95mm x 75mm x 75mm$15,000 - $20,000

Illustrated: Marita Bullock, Crafting Time, Ricky Swallow’s Recent Models, Philament an online journal of arts and culture. Issue

Ricky Swallow’s sculptures are explorations of commodity obsolescence.

Apple (B/W) and (Colour) depicts an outmoded icon from a fast-moving age. Once signifying cutting-edge technology, the Apple logo, like other Swallow works, the game boy or the first Apple Power book, is created in three dimensions, meticulously rendered in 1:1, and painstakingly handcrafted to a slick finish. His sculptures can be seen as an exploration of time, a setting down of history from the benefit of the present. Sometimes his pieces are timeless, sometimes contemporaneous, but they do not remain still. Objects from everyday life, often overlooked, are raised to prominence, subtly changed in the

8 June 2006. Illustrated: Marita BullockWalter Benjamin and the Virtual: Politics, Art, and Mediation in the Age of Global Culture.Fossilising the Commodity: Tactical Engagements with Time, Art and the Virtual in Models by Ricky SwallowTransformations Issue No. 15 November 2007 Exhibited: Ricky Swallow / MATRIX 191For Those Who Came in Late, University of California Berkely Art Museum and Pacific Film Archive, April 22, 2001 - May 27, 2001Exhibited: What to Look for in Winter, Hamish McKay Gallery, Wellington July 2010


nature of their construction, and carry more psychological weight than their original form ever intended. Skeletons, skulls, shoes, the detritus of a life: Swallow attempts to create meaning, through the humblest of objects, and a sense of portent using the banality of these obsolete commodities.

Once signifiers of the ‘must have’, they have become hoky museum pieces. They make no sound, have no power, literally or figuratively, and instead are relegated to display only in the museum case. Who has not been disturbed by the sight of their first cellphone on display at MOTAT, alongside Bell’s first telephone exchange, with the wind-up handle, and cup and earpiece? How quickly the ‘new’

has taken its place amongst the ‘old’! Apple, once the biggest and the best, is now but one competitor for the attentions of a society caught up in the now, the new, the latest, the fastest, the smallest, the most powerful: always seeking the next best thing, hurtling headlong into the technological uptake our society encourages. Like magpies, we seek out the bright and the shiny status symbols of technological cool. The iPhone and the iPad are so sleek and so strangely intuitive, that they each come with no manual. How clever are we to master them, with no real help but our own exploratory dabbling?

Ironically, there is also a slew of downloadable ever-more-ridiculous but must-have applications of a ‘retro’ nature:

the rotary dialler and the ‘Kodak’ camera complete with shutter click, alongside old-fashioned ring tones, further blurring the lines of the now and the then.

As a symbol, the apple is subject to layers of allegorical meaning: for instance, the forbidden fruit is the symbol of man’s fall from grace in the Garden of Eden. The bitten apple signifies Eve’s temptation and all the mess of life that came after it. Newton’s discovery of the meaning of gravity came about via the simplistic act of observing and then thinking about the falling apple. A is for apple: the first letter, the alpha symbol, and the first letter and word combination taught to young children.EMMA FOX

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[35] StePheN baMburyNecessary Correction (XIX) The Golden Echo (for Wystan)acrylic on two aluminium panels title inscribed, signed and dated 1999 verso2336mm x 1704mm x 8mmExhibited: Bambury Works 1975 - 1999, City Gallery, Wellngton, 16 October 1999 - 16 January 2000, Auckland Art Gallery, 2001Illustrated: Wystan Curnow, Bambury Works 1975 - 1999, City Gallery, Wellngton 1999 p. 28, 29 $75,000 - $95,000

The series of paintings titled Necessary Correction began in the early 1990s and was featured in an artist-driven project The McCahon Room: Necessary Correction: Colin McCahon, Stephen Bambury, Helmut Federle at the Auckland Art Gallery at 1997. The works continue what has become a long strategy for Bambury of placing his practice between two distant compass points. Fundamentally, Bambury takes the Necessary Protection format of Colin McCahon and submits it to his own material culture. The Auckland Art Gallery project added the work of Swiss painter Helmut Federle whose own works unknowingly share a similar ‘geometry’ to that of Bambury’s works and indeed those of McCahon.

The bow that Bambury draws suggests, at least superficially, that there is a universality to the language that these painters share with him. Further, it suggests that the language of Colin McCahon, rather than being formed in New Zealand in splendid isolation was in fact more literate and informed by the knowledge of early 20th-century abstraction, most particularly the work of Kasimer Malevich. It is thus possible that Bambury and McCahon and Federle are, by implication, participants in a conversation framed more by early

European Modernism than by the ‘sleight of hand’ of post-modern appropriation. Strategy aside, it is the materiality of Bambury’s own Necessary Correction that ultimately determines its character. His choice of materials, the scale of the works and the support he chooses provide him with the opportunity to individuate his work from those with whom he sees familial connection. The tangy yellow of the resin floats above a viscous and topographically variable surface. The lyricism of such a material culture is something neither Federle nor McCahon would have allowed themselves – the former preferred a gentler, northern European light to prevail, the latter shared a sense of fading, if not degraded, light as a metaphor for the local condition – either geographically or conceptually. In the catalogue for Bambury’s Wellington City Art Gallery survey exhibition in 1999, Robert Leonard described this painting as “almost sexual; there’s a vulgar, foody, super-sweet but abject quality to it, like sticky icing”. The excess of Leonard’s description is confronting and, though the painting shows Bambury at his most ‘baroque’, it is nevertheless a remarkably emphatic painting.EMMA FOX

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[36] cOliN MccahONSeaweed on the Beachsynthetic polymer paint on paper mounted onto board title inscribed, signed and dated Feb - Aug ‘72, and inscribed Taitimu Tangi Muriwai730mm x 1112mmReference: Colin McCahon database (www.mccahon.co.nz) Record Number: cm000438 $250,000 - $300,000

In 1969, Colin and Anne McCahon acquired some land at Muriwai Beach, north-west of Auckland, on which they built a dwelling and a large studio for Colin; soon afterwards, he retired from teaching at Elam. Suddenly, for the first time in his life, he was a full-time painter. These changes led to a huge increase in McCahon’s output in the early 1970s, much of it stimulated by the new landscape opened up to him at Muriwai. At first it was the towering cliffs at Maori Bay and the rock stack of Moturoa with their associated bird colonies that attracted his attention, especially in the large series of abstracted landscapes he called Necessary Protection (1971) and in later series such as Jump (1974). However, increasingly from 1972, it was Muriwai Beach itself which became the focus of many paintings, especially in such grand series as Beach Walk (1973), Blind and The Shining Cuckoo (both 1974). Before these more ambitious works were conceived, McCahon made a number of individual paintings with the beach as his subject of which Seaweed on the Beach is one. A second painting with the same title, but on canvas rather than paper, is also dated 1972, as are two closely related paintings (one on paper, one on canvas) with the title Low Tide, Muriwai. While they are primarily descriptive of the conditions referred to in their titles, there is another layer of meaning introduced by the words inscribed along the bottom of all four paintings: Taitimu. Tangi. Muriwai. ‘Taitimu’ in Maori means low tide, while ‘tangi’, of course, alludes to grieving for the dead. Some years earlier, McCahon had acquired a book called The Tail of the Fish: Maori Memories of the Far North by Matire Kereama on which he drew

for many paintings, the best known of which is The Lark’s Song (1969). By 1972, the part which most pre-occupied him was Chapter 24, ‘Going Out with the Tide’, which begins: “When I was a child, no person died without first asking about the state of the tide, whether it was full or low. People always liked to die at low tide because the tide had to be completely out to enable them to reach Te Reinga Wairua, ‘The Leaping Place of Spirits’, in the Far North. This is a large hole at the bottom of the sea which is exposed at low tide, permitting the spirits to go inside. When the tide is full, the hole is under water and covered with masses of seaweed” (p. 74). These words are the clue to the wider meaning of the works under discussion. They are paintings about death and the spirit’s journey to Cape Reinga: a pathway that included Muriwai Beach as one of the stations along the way. In later paintings, McCahon would associate this spirit journey with dead friends such as the poets James K. Baxter, R.A.K. Mason and Charles Brasch. The white lines on black suggest waves at night, while the seaweed of the title is signified by the words Taitimu. Tangi. Muriwai. The identification of seaweed on the beach with writing is explicit in a September 1972 letter McCahon wrote to the painter Pat France while working on these paintings. Unique to this particular painting is the remarkable sky, with its curdled grey clouds and its curiously ominous dark rain cloud, like a portent of death, perhaps, much like the similarly threatening “cloud above an ocean” in Allen Curnow’s exactly contemporary poem, Lone Kauri Road.PETER SIMPSON

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[37] Pat haNlyStill Life Figureacrylic on canvassigned and dated ‘66745mm x 690mm$50,000 - $70,000


[38] et alModern Arrangementsprinted paper, epoxy resin and acrylic on three stools and two speakers with wire coated magazine rack and found book signed underneath one stoolsize variable$8,000 - $10,000

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[40] breNt wONGField, Peninsula, Cloudsacrylic on board signed and dated 1997; title inscribed, signed and dated 1997 verso490mmx 352mm$28,000 - $35,000

[39] Michael SMitherOkahu Bay Boatsoil on boardsigned with artist’s initials MDS1200mm x 1200mmIllustrated: Trish Gribben, Michael Smither: Painter, Ron Sang Publications 2004 p.242 $35,000 - $45,000

[41] breNt wONGCloud, Headland, Fieldacrylic on boardsigned and dated 2004; title inscribed, signed and dated 2004, and inscribed, painted at Muriwai Beach, Auckland, verso630mm x 465mm$25,000 - $35,000


[42] ralPh hOtereMidnight Oillacquer on four steel panelstitle inscribed, signed and dated 2000 verso2500mm x 3600mmProvenance: Formerly in the Collection of Air New Zealand$100,000 - $150,000

We spend our midday sweat, or midnight oil;We tire the night in thought; the day in toil.

Francis Quarles, Emblemes, (1635)

Midnight Oil comes from a series of works that includes Round Midnight (1999) in the collection of the Dunedin Public Art Gallery, Black Cerulean, (1999) in the Chartwell Collection and Black Water, a large-scale installation by Hotere and Bill Culbert, which featured in Toi Toi Toi: Three Generations of Artists from New Zealand at the Museum Friedericianum Kassel, Germany, in 1999.

All translate the ubiquitous Kiwi building material of corrugated metal into pieces of fine art. Of all the above examples, Midnight Oil is the most significantly pared-back and elegant work, using little more than four spray-lacquered sheets of corrugated aluminium and the cut-away spaces that roll or peel back from the centre edge. The work embodies two of the concepts that have dominated Hotere’s work: the practice of repetition and the persistence of black.

A piece from this period seemingly stems from the minimalist movement, and these works have been compared at times with those of Ad Reinhardt and his reductive tendencies. Hotere has instead created what is fundamentally a colour work: shiny black and reflective. The centred split, sharp edged, allows the wall behind to create the integral Roman cross motif, often repeated throughout his oeuvre. It is this negative

space that creates the most powerful and recognisable symbol of Christianity. Hotere was brought up in Mitimiti in what Gregory O’Brien has called a hybridised Maori-Catholic tradition, so it is no wonder that the rich resources of Catholicism and its iconography have held such a sway over Hotere.

When faced with a work that steadfastly refuses to bestow an answer, we can be comforted by Ian Wedde who has simply described Hotere’s work as ‘beautiful’. It is beautiful intellectually, materially, in a sublime sense and in a humanist sense, and also in a formal sense, in its structure and its balance. The high -gloss reflective-ness of the spray-lacquered sheets refuses to be read as merely darkness or a void, but instead reflects and intrudes on the world. In certain lights, beams of radiance cross the work horizontally in contrast to the slick undulations of the vertically corrugated metal. His art refuses to be still.

Part of the title of the work comes from the work of jazz musicians, Thelonious Monk and Miles Davis; it is also the name of the Aussie rock band, which, like Hotere, is renowned for its political and social statements involving land issues and indigenous peoples. The connection can be stretched further from Reinhardt to Davis. Reinhardt said “what is not there is more important than what is”, and Davis said “don’t play what’s there, play what’s not there”. Hotere strives to do both. EMMA FOX

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[43] JOhN PuleNofo La Koeoil on unstretched canvastitle inscribed, signed and dated 1999 verso1825mm x 2405mm$30,000 - $40,000


[44] dick FrizzellGoofy Tikienamel on wooden relieftitle inscribed, signed and dated 14/5/92640mm x 520mm Illustrated: Dick Frizzell: The Painter, Random House, 2009, p.167$25,000 - $35,000

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[45] bill haMMONdAncestral Paper 7acrylic on papertitle inscribed, signed and dated 2005740mm x 580mm$35,000 - $45,000


[46] bill haMMONdUntitledacrylic and watercolour on papersigned and dated 2004770mm x 565mm$35,000 - $45,000

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The Chakra or “ladder” paintings of Stephen Bambury are amongst his most original forms. The stacking of seven panels in a vertical disposition to form a ladder of seven cross forms first appeared in his practice when he exhibited in Reutlingen in Germany after his Möet & Chandon residency. The seven panels are in Bambury’s mind metaphors for the seven Chakra points in Hindu Tantric philosopy.

Chakra V combines graphite and acrylic in a lively disposition along the length of the form. The colours advance and recede dynamically making the painting appear to twist gently in and out of the two dimensional picture plane. The graphite itself is laid down upon a variable surface built up of thick acrylic polymers so that the variation

in the surface of the painting responds to the play of light across its ridges and fallows.

For Bambury Kazimir Malevich and Piet Mondrian sit as two pillars of early 20th century practice and whilst Bambury has gone on to hinge many of his own forms and investigations on a re-tilling of the ground that was laid down by Malevich and Suprematism, it is to Mondrian and his more essentialist language that infroms Bambury in Chakra V. Mondrian’s dark grid and set against primary colours were used by Bambury across various series, though as is often the case with Bambury, he introduces a material lyricism that was considerably less evident in the Dutch master’s paintings. EMMA FOX

[47] StePheN baMbury“Even though it appears abstract” (Chakra #5)graphite and acrylic on seven aluminium panelstitle inscribed, signed and dated 1992 verso2765mm x 500mm x 7mmIllustrated: Wystan Curnow and William McAloon, Stephen Bambury, Craig Potton Publishing 2000, p. 154$35,000 - $45,000


[48] aNN rObiNSONPuka Vase45% lead crystal, 1/1signed and dated 2002635mm x 170mm diameter$30,000 - $40,000

[49] Michael SMitherOrganic, Synthetic, Ceramicoil and acrylic on boardsigned with artist’s initials MDS and dated 20021100mm x 1200mm$55,000 - $75,000


[50] Pat haNlyFigures in Light 2oil on canvas title inscribed, signed and dated 1964400mm x 450mm$75,000 - $95,000

Of all of Pat Hanly’s works, the Figures in Light series of 1964 has attracted the most attention and been consistently regarded as one of his greatest achievements. Colin McCahon was one of many who admired the series when it was first shown at the Ikon Gallery in May 1964 and he bought Figures in Light No.17 for the Auckland Art Gallery. There were some 20 works altogether in the series, most showing more than one figure. The current example is distinctive because it is smaller than many of the other paintings and shows just one figure, a seated nude. The nude figure is comparatively rare in New Zealand painting and had not previously been depicted in such a flat, abstract fashion. In the daring freedom of his drawing, with the emphasis on the curving silhouette of the nude’s back against the bright red ground, Hanly shows his firsthand knowledge of contemporary British painting, especially the works of Francis Bacon. Hanly had seen an important solo show of Bacon’s work at the Tate Gallery in 1962 and been impressed.

With this series, Hanly introduced much of the vitality and topicality of the then new British painting of Bacon and young artists like David Hockney and Peter Blake to Auckland. This kind of painting was figurative but was less about naturalism than about the formal concerns of colour, pattern and texture. Importantly, it was bright, young and

contemporary in feeling. When first shown in Auckland, Hanly’s paintings were like a gust of fresh air entering a stuffy room, and he was not alone in his approach. That year, 1964, was also the year when Don Binney’s bird paintings first made a powerful impact and helped to overthrow the tired conventions of earlier landscapists. The important Emblem series of Milan Mrkusich, made in 1964, also contributed to a coming of age for a new generation of modernist painters who helped lay the foundations for the lively contemporary art scene we have today.

The origins of the Figures in Light paintings have often been traced to an anecdote about Hanly seeing figures on the beach at Campbell’s Bay in strong sunlight and painting the series in response to that experience. However, the naturalistic explanation is too simple to be convincing in itself. Some drawings and monotypes date to 1963 and we know that Hanly, in a journal entry of May that year, wrote, “Light, bright, pure, clean, exciting, free expansive painting must come”. That was his agenda and it included many elements; among them was some social comment on the shallow two-dimensional people he saw around him concerned only with hedonistic values. Figure in Light N. 2 is a rare and important work made at a turning point in New Zealand art history.MICHAEL DUNN

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[51] ralPh hOtereLe Negro Sobre Lo Onooil and gold leaf on glass in a sash window frame title inscribed, signed and dated ‘93 Port Chalmers verso795mm x 750mm$80,000 - $120,000

Undeniably part of the canon of great New Zealand artists, Ralph Hotere’s artwork resonates with a broad audience. Drawing inspiration from sources, both inherent and observed, Hotere’s artwork is at once intensely personal and openly inclusive. His Maori and Catholic heritage play a central role in his artistic vernacular, as do his multiple trips to Europe, especially Spain and France.

Le Negro Sobre Lo Ono (The Black over the Gold) is part of a series of works Ralph Hotere completed in the early 1990s after one of several trips to Spain. This work is instantly recognizable as part of Hotere’s oeuvre, the wooden sash frame and prominent inky black both well established elements of his artistic vocabulary. Interestingly, Hotere’s use of black rarely imparts a feeling of oppressiveness, but more a sense of quiet. Here the black of the glass is thick, almost oily in texture, seemingly absorbing light. However, the black is not stagnant, it is fluid, even somewhat reflective. The black, which can be considered a lack of colour, invites the viewer into a space free of distraction, permitting contemplation. Contradicting the sinuous black are the four rectangles of gold leaf in each corner. The gold is reminiscent of the startling gold found in so many Catholic Cathedrals in Spain.

Indeed the negative space between the four areas of gold effectively creates a cross. Areas of bright colour such as these are common in Hotere’s work and are often sighted as ‘passageways’ the artist has provided for his audience; the proverbial light at the end of the tunnel. The juxtaposition of black and gold creates a tension between the emerging and the disappearing; an elusive environment that refuses to fixate in any one spot. This ambiguousness, a recognized component of much of Hotere’s work, permits a multitude of interpretations, none more ‘right’ or ‘wrong’ than any other.

In many ways works such as Le Negro Sobre Lo Ono reflect Hotere’s own personality. While his artistic persona is frequently very outspoken and politically active, there is an equally strong aspect that is quiet and contemplative. Never does he offer an ‘explanation’ for his work, rather he lets them speak for themselves. Le Negro Sobre Lo Ono offers no obvious story or cause aside from the darkness and light inherent in the world. Le Negro Sobre Lo Ono interacts with the viewer on a profound level, drawing unique meaning from each individual, and carries within a timeless, elegant riddle. SARAH McCRORY


[52] Michael SMitherJoeseph with Two Teethacrylic on board title inscribed, signed and dated 1971 verso530mm x 530mmIllustrated: Trish Gribben, Michael Smither: Painter, Ron Sang Publications 2004 p.161 $40,000 - $50,000

In Joeseph with Two Teeth (1971), Smither portrays a milestone of his son’s childhood – the growth of his first two teeth. He depicts Joeseph boldly, his round face filling the frame. Smither’s work has been likened to photography in its composition and framing and this is very apparent in this particular piece. The way the upper part of his head is cropped off and his mouth ‘captured’ half open is reminiscent of a snapshot aesthetic. The relationship of the work with time is interesting, given the actual labour-intensiveness of his image-making practice and the constant change and growth that occurs in childhood.

Smither was one of a select number of artists represented in the 2005 exhibition High Chair: New Zealand Artists on Childhood at St Paul Street Gallery. Having produced a significant body of work in the 1970s that focused on domestic life and childhood, Smither was viewed as unusual – being male – and his domestic artwork did not gain critical recognition at the time. Retrospectively, the work offers insight into changing social norms and ideals. As he said of his New Plymouth-based work (Joeseph with Two Teeth was produced in New Plymouth), they were not pretty paintings; rather they were concerned with the challenges of family relationships and with questioning

traditional gender roles. Because Smither worked as a full-time painter, his family would have had a unique dynamic for the era given his time spent at home and the economic challenges this presented.

In considering Smither’s non-idealised approach, what becomes apparent is his democratic treatment of his chosen subjects. In Trish Gibben’s Michael Smither Painter (2004), an illustration of Joeseph with Two Teeth appears beside Huntley and Palmers Cracker Biscuit (1973). In this juxtaposition, the full-frame cracker with cheese can be seen to have been given equal care and detail as that given to the painting of his son. It could be suggested that it is not only his hard-edged realist style that provides a sense of reality, but also his practice of drawing from his everyday surroundings inclusively. In viewing Joeseph with Two Teeth, one can easily conjure up future moments and, interestingly, other possible Smither paintings. Joeseph, here caught with an expression in transition, would proceed to chuckle or conversely wail, his scrunched face conveying his mood, or attempt to eat, creatively, as toddlers do. This piece and, more broadly, his work of this period evoke the realities of childhood and family life, from mundane details through to greater trials and experiences. SHELLEY JACOBSON

1 Joeseph is how he is known to his family, rather than Joseph2 Jim & Mary Barr, A Fine Romance: Michael Smither Paints, in Trish Gribben, Michael Smither Painter, Ron Sang Publications, 2004, p.133 ibid p.144 Smither cited Virginia Were, Conflicted Childhood, Art News New Zealand, Autumn 2005, p.55,.575 Smither cited City Gallery Wellington, Michael Smither - The Wonder Years, 2005, http://citygallery.org.nz/michael-smither1/

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[53] bill haMMONdLimbo Bay 6oil on canvastitle inscribed, signed and dated 2001400mm x 600mm$70,000 - $80,000


[54] charleS tOleHillside (The Hill)oil on boardsigned and dated ‘75405mm x 590mm$12,000 - $18,000

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[55] Patrick POuNdPearl Necklacesixteen pieces of oil on canvasboard with fifteen imitation pearls and one imitation diamond each title inscribed, signed and dated 7/91 on label affixed verso150mm x 100mm each$4,000 - $6,000

[56] daVid hatcherStock Exchangeforty screenprints 200mm x 290mm each$5,000 - $7,000

[57] ralPh hOtereUntitledenamel on board signed twice verso400mm x 600mm$12,000 - $18,000

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[58] JOhN reyNOldSParadise Roadten lithographs each signed and dated 2000270mm x 200 each$5,000 - $6,000

[59] SalVadOr daliPerseus - Hommage to Benvenuto Cellinilost wax bronze casting, 4/300signature impressed to base190mm x 110mm x 120mmAccompanied by a Certificate of Authenticity and presentation box. $3,000 - $5,000


[60] ShaNe cOttONAhika Blue Dreamoil on canvas title inscribed, signed with artist’s initials SC and dated ‘04; title inscribed, signed and dated 2004 verso300mm x 400mm$10,000 - $15,000


[61] tONy FOMiSON#142oil on canvas on board title inscribed; title inscribed verso, original Bosshard Gallery stamp applied verso315mm x 225mm$30,000 - $40,000

[63] tONy de lautOurBad White Artoil on boardtitle inscribed; signed and dated 1994 verso760mm x 1220mm$8,000 - $12,000

[62] JuliaN daShPerHalley’s Comet in Silverdaleoil on canvastitle inscribed, signed and dated 1988360mm x 740mm$5,000 - $7,000

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[64] SaM FraNciS (aMericaN 1923 - 1994)Veniceacrylic and watercolour on paper title inscribed, signed and dated 1989 verso875mm x 1060mm$20,000 - $30,000


[65] dOrOthy NaPaNGardiSalt on Mina Minaacrylic on linensigned verso975mm x 410mmAccompanied by a Certificate of Authentification from Altjira Gallery, Alice Springs$2,000 - $3,000

[66] dOrOthy NaPaNGardiSandhillsacrylic on linen signed verso1130mm x 800mmAccompanied by a Certificate of Authentification from Altjira Gallery, Alice Springs$6,000 - $9000

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[72] kathleeN PetyarreMountain Devil Lizardacrylic on canvas2120mm x 1200mmAccompanied by a Certificate of Authentification from Altjira Gallery, Alice Springs$4,000 - $6,000

[71] abie lOy keMarreBush Hen Dreamingacrylic on canvasAccompanied by a Certificate of Authentification from Altjira Gallery, Alice Springs$3,000 - $5,000

[70] abie lOy keMarreUnchuringya (Bush shy leaf)acrylic on linen signed verso920mm x 775mmAccompanied by a Certificate of Authentification from Altjira Gallery, Alice Springs$2,000 - $3,000

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[69] dOrOthy NaPaNGardiSalt on Mina Minaacrylic on linensigned verso430mm x 360mmAccompanied by a Certificate of Authentification from Altjira Gallery, Alice Springs$1,000 - $2,000

[68] Gracie Pwerle MOrtONBush Plumacrylic on canvas1500mm x 900mmAccompanied by a Certificate of Authentification from Altjira Gallery, Alice Springs$1,000 - $2,000

[67] lily kelly NaPaNGardiSand Hillsacrylic on canvas1800mm x 1200mmAccompanied by a Certificate of Authentification from Tomo’s Aboriginal Art Pty Ltd, Alice Springs$5,000 - $7,000

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[73] Michael SMitherDoralto Road in the Moonlightoil on board title inscribed, signed and dated 69 verso720mm x 700mm$45,000 - $55,000

Doralto Road in Frankleigh Park, New Plymouth, is the site of Michael Smither’s childhood home. Mary, Smither’s mother, is backlit at the front door of her home, waving out to Kirby Wright, a long-time friend of the artist. This nocturnal scene depicts a busy evening of people living their lives and, like much of Smither’s most celebrated work from the 1970s, is loosely a ‘domestic’ painting, a poignant depiction of a particular time and place. Typical of Smither’s interest in ‘the extraordinariness of the ordinary’ and his keen eye for the minute details of daily life, this work offers an exaggerated Realism. The varied sources of light, both natural and man-made, include street lights, vehicle headlights and the moon, and bring a high-keyed emotional tenor to the subject matter.

Kirby has pulled into the driveway in his Volkswagen beetle: he was a young man, who was about to sell up all of his worldly possesions, give away his dog and move to join his fiancé Margaret abroad. He was poised on the brink of breaking free of the small town life while Smither, by contrast, stayed on and produced some of the most recognisable images of domestic life in New Zealand’s art history. EMMA FOX

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[74] auGuStuS edwiN JOhNPortrait of Muriel Grantoil on canvassigned, title inscribed on original plaque affixed to frame; title inscribed verso530mm x 445mm$25,000 - $35,000


[75] a. lOiS whiteLady in a Gardenoil on boardsigned440mm x 345mm$6,000 - $8,000

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[77] dick FrizzellPainting Departmentenamel on board signed verso1250mm x 1450mm$8,000 - $12,000

[79] JOhN walShPolicy on Eelingoil on boardtitle inscribed, signed and dated 2005 verso890mm x 1190mm$10,000 - $12,000

[78] aNtON ParSONSSea of Wordsshaped steel, lacquer and ship in a bottle440mm x 1510mm$5,000 - $7,000

[76] dick FrizzellBig Still Lifeoil on boardsigned and dated 12/3/87980mm x 1220mm$20,000 - $30,000

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[80] barry rOSS SMithSheep in Penoil on canvassigned verso1130mm x 1070mm$9,000 - $12,000

[81] barry rOSS SMithSheep and Churchoil on canvassigned920mm x 920mm$9,000 - $12,000

[82] NiGel brOwNWhatever Love Whateveracrylic on boardtitle inscribed, signed and dated ‘86; title inscribed, signed and dated 1986 verso1175mm x 1865mm$20,000 - $25,000

[83] tOSS wOOllaStONNorth Coastline from Greymouthoil on boardsigned; title inscribed in another hand verso445mm x 575mm$22,000 - $30,000

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[85] zarahN SOuthONTe Utu o Ngatoroirangi - The Revenge of Ngatoroirangioil on canvastitle inscribed, signed and dated 2004 verso1220mm x 1010mm$15,000 - $20,000

[84] bill haMMONdLimbo Bayacrylic on papertitle inscribed, signed and dated 2001780mm x 560mm$25,000 - $35,000

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[87] GaViN hiPkiNSConstructivist Studyphotograph197mm x 293mm$1,200 - $1,800

[88] rObiN MOrriSONLake Mahinerangi, Central Otagocolour photographauthenticated as Robin Morrison by Dinah Morrison 2004 verso278mm x 396mm$2,500 - $3,500

[86] rONNie VaN hOutIn Outphotographtitle inscribed and signed382mm x 592mm$2,500 - $3,500

[89] Pat haNlyTorso Serieswatercolour, dye and pastel on papertitle inscribed, signed and dated ‘75215mm x 195mm$3,500 - $4,500


[90] walter wriGhtMaori Village with View of Mt Taupiriwatercoloursigned220mm x 340mm$4,000 - $6,000

[91] JeFF thOMSONMap of New Zealandscreenprinted steel, 10/15signed and dated 2008 verso1700mm x 740mm$5,500 - $7,500

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[93] ralPh hOtereDrawing for Song Cyclewatercolourtitle inscribed signed and dated ‘76; title inscribed and inscribed Cat no. 9. Price $80 on card affixed verso $12,000 - $18,000

[92] Michael SMitherUntitledoil on boardOriginal John Leech Gallery label affixed verso995mm x 1730mm$15,000 - $20,000


[94] GretcheN albrechtInterventionacrylic on papertitle inscribed, signed and dated ‘80800mm x 1200mm$4,000 - $6,000

[95] dick FrizzellStone Wall - Te Mata Parkoil on board title inscribed, signed and dated 21/8/87290mm x 380mm$4,000 - $6,000

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MAGNIFICENT JEWELS

FINE ANTIQUE & MODERN JEWELLERY

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141102

MAGNIFICENT JEWELS, FINE ANTIQUE &

MODERN JEWELLERYWed 1 Dec 2010, 2:00 pm & 6:00pm | EVENING PREVIEW WED 24 NOV

VIEWING


Thu 25 Nov 9:00am – 5:15pm

Fri 26 Nov 9:00am – 5:15pm

Sat 27 Nov 11:00am – 3:00pm

Sun 28 Nov 11:00am – 3:00pm

Mon 29 Nov 9:00am – 5:15pm

Tue 30 Nov 9:00am – 5:15pm

Wed 1 Dec 9:00am – 12 noon (sharp)

BUYER’S PREMIUM

A buyer’s premium of 12.5% will be charged on all

items in this Fine Jewellery & Watches sale.


LOTS 100 – 112 WRIST & POCKET WATCHES

LOTS 113 – 119 ACCOUTREMENTS

LOTS 120 – 273 JEWELLERY & LOOSE DIAMONDS

excePtiONal diaMONd SOlitaireS, FabulOuS GeOrGiaN & VictOriaN

Jewellery, the kiPliNG aNd baldwiN brOOcheS, SPleNdid MOderN

Jewellery, accOutreMeNtS aNd watcheS

NO DELIVERY OF ITEMS PURCHASED CAN BE GIVEN DURING THE SALE SESSIONS.


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2.00pm

AFFORDABLE & ESTATE JEWELLERYLOTS 1000-1200A selection of gold chains, gold coins, interesting antique and modern jewellery mostly without reserve

6.00pm

WRIST & POCKET WATCHESImportant Conditions of Sale for Watches:Please note: as many of the timepieces are old, or their history is unknown, Webb’s offers no guarantee as to mechanical condition or condition of seals etc. A timepiece described as ‘fine’ or ‘as new’ is an opinion as to appearance only. All watches are sold as viewed. It shall be assumed that all buyers have inspected the lots and that they are happy with them in all respects. Watches cannot be returned on the grounds that repairs or service have been carried out, or parts (including straps or bracelets) have been supplied, by anyone other than the named maker. Notwithstanding the foregoing condition, named wristwatches are sold on the basis that the movement (or movement and case where both would normally have been manufactured by the named maker) were manufactured by the named maker. It is recommended that buyers have watches serviced promptly to ensure that damage does not arise from faulty seals or any other aspect of mechanical condition.

100 rayMONd weil, a GeNtleMaN’S wriStwatch. From the Tradition Collection. Large circular stainless steel case. Quartz movement. Textured charcoal face with Roman numerals, sweep second, date windows and day fly-back hand. Black crocodile strap. New. With box and guarantee dated 7/9/2010.$500 - $800

101 rOlex, a lady’S StaiNleSS Steel aNd GOld dateJuSt wriStwatch. Ref: 6917 S/N 7124856 (Nov.1982). Textured gold face with polished batons, sweep second and date window. Jubilee bracelet with original box, guarantee and spare links.$2,200 - $2,800

102 chOPard, a lady’S “h” wriStwatch Set with diaMONdS. Ref: 13/6621 No 529961-445-1. Curvex tank design in 18ct white gold from the “Les Classiques” collection, set with 36 round modern brilliant cut diamonds having a TDW around 3ct. Black leather strap. Mother-of-pearl face with Roman quarters. Quartz movement. Water resistant to 30m. With original box.$12,500 - $14,500 see colour illustration p 115

103 e. GÜbeliN, a lady’S art decO PeriOd wriStwatch Set with diaMONdS aNd SaPPhireS. Tonneau outline case of 18ct white gold, the bezel set with round cut diamonds in lines and geometric designs to two pentagonal cabochon blue sapphires. Silver face with Arabic numerals, manual mechanical movement. Milanese mesh 18ct white gold bracelet. With box (non original).$2,200 - $2,800

104 OMeGa, a GeNtleMaN’S StaiNleSS Steel caSed SeaMaSter wriStwatch. Silver face with Arabic quarters and polished batons. Manual mechanical movement, black leather strap.$450 - $650

105 aN early Fake breGuet POcket watch. Late 18th/Early 19th Century gilded drum-case verge. White enamel face with Arabic numerals and Breguet hands. Key aperture at 2 o’clock. Faults to enamel. The lens bezel set with pastes (deficiencies) the case back decorated with a woman and child within a draped landscape. Polychrome enamels (major fault) within paste border. With gold chain and key. Signed Breguet a Paris. Breguet’s time pieces were regularly faked during his lifetime and this is an interesting early example. Fusee with verge escapement, going.$600 - $1,000

106 bertOlucci, a GeNtleMaN’S heaVy 18ct rOSe GOld autOMatic chrONOGraPh wriStwatch. From the`Pulchra’ Collection. Ref: 664.67-9012. Mother-of-pearl dial with triple register, sweep second and tachymetric scale. Semi-hooded crown, stop and return buttons in the band. Automatic movement. Matching rose gold bracelet. 38mm case. 186g.$18,000 - $22,000 see colour illustration p 107

107 rayMONd weil, a GeNtleMaN’S GOld Plated autOMatic wriStwatch. Ref: 2812. Circular outline, white enamel face with Arabic numerals, sweep second and date window. Black leather strap.$500 - $700

108 rOlex, a lady’S 18ct yellOw GOld Jewelled cOcktail watch. Precision, ref: 8901, silver face with polished batons, manual mechanical movement. The bezel set with round single-cut diamonds. 14ct yellow gold twin strand bracelet to lugs set with marquise cut rubies and further single-cut diamonds. Strap and gemstones ex-factory.$1,800 - $2,200


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110 rayMONd weil, a lady’S wriStwatch Set with diaMONdS. From the “Shine” Collection. Ref: 1500 S/N V47931. Rectangular art deco influenced design in stainless steel with round modern brilliant cut diamonds set to borders and lugs. Textured charcoal face with single-cut diamond outline to centre. Quartz movement. With books, guarantee dated March 2008 and spare links.$2,200 - $2,600 see colour illustration p 113

111 chOPard, a lady’S all 18ct white GOld wriStwatch Set with diaMONdS. From the `Les Classiques’ Collection. Ref: 10/6115-23, the cushion outline case bezel set with some 112 round modern brilliant cut diamonds having a TDW 1.59ct. The crown and lugs set with cabochon blue sapphires. The bracelet of heavy polished 18ct white gold links. Quartz movement. White face with Roman numerals. S/N 419/1, 520495. 103g. With original box, papers and certificate dated 11. Aug. 2006. As new condition.$12,500 - $15,000 see colour illustration p 111

112 PiaGet, a lady’S all 18ct white GOld wriStwatch Set with diaMONdS. Ref: 9902 G1, 313202. Cushion outline case with border of round modern brilliant cut diamonds. Black onyx face. Tapered bar-link bracelet also of 18ct white gold. Manual mechanical movement. With original box.$8,500 - $9,500 see colour illustration p 111

113 aN eleGaNt Pair OF cuFFliNkS OF 18ct yellOw GOld, each Set with a diaMONd. Rectangular outline in matt and polished yellow gold, each rub-over set with a round modern brilliant cut diamond of around 0.40ct to one corner. 20.7g. Gemologist’s report available.$3,250 - $4,250 see colour illustration p 109

114 a GOOd VictOriaN caSed cuFFliNk aNd Stud Set OF 15ct yellOw GOld. The cufflinks of twin oval panel and bar design decorated with engraving; the 4 matching dress studs of circular outline with matching engraving. Hallmarks for London 1864. Appears to have had little or no use. With original fitted box.$600 - $800

115 a late reGeNcy FOb Seal. Ornately worked gilded metal set with a foil-back vacant citrine. Gemologist’s report available.$200 - $300

116 aN iNtaGliO Seal aNd bar brOOch. The bar of 9ct yellow gold suspending a modern seal fob of 9ct gold set with a good carved crystal armorial intaglio.$300 - $400

117 a Patu rail PaSS Style PeNdaNt aNd bar brOOch.The patu pendant of cast and hand finished 15ct gold with bale surmount suspended by a branch motif bar brooch of 9ct yellow gold.$300 - $400

ACCOUTREMENTS

118 a Particularly GOOd early 19th ceNtury claSP Set with caMeOS. Oval outline panels in yellow gold (tests approximately 14/15ct), rope edge to green gold foliate borders enclosing oval carved shell mirror image cameos of a putto and swan. Each panel 37 x 32mm$700 - $1,000 Not received in time for illustration

119 aN excePtiONally heaVy charM bracelet SuSPeNdiNG 6 SealS aNd a heart. The 14ct yellow gold chunky solid flat curb link bracelet suspending a variety of 19th Century fobs and seals, including two intaglios, all of 9ct or higher, together with a large heart motif pendant of yellow gold with a rose gold applied key motif enhanced with a line of three square cut rubies. 170 g.$5,500 - $6,500

109 biJOu, a lady’S wriStwatch Set with diaMONdS ON a diaMONd aNd Pearl bracelet. Circular outline case of rolled gold with a white gold bezel set with round modern brilliant cut diamonds. Gold and silver face with Roman numerals. Manual mechanical movement. The integrated bracelet of yellow and white 18ct gold panels enhanced with further diamonds and each separated by two rows of three round cultured pearls. Bracelet and bezel probably ex-factory.$3,000 - $4,000 see colour illustration p 125


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124 a daiNty Necklace Set with diaMONdS. Designed as a two row chain of miniature belcher links joined at even intervals by 10 round collet links, each set with a round modern brilliant cut diamond. TDW 0.82ct.$1,800 - $2,200 see colour illustration p 125

121 a StyliSh heaVy GOld bracelet Set with PreciOuS StONeS. Designed as 3 rows of articulated cupped flowerheads in 18ct yellow matt and polished gold, each set with a round cut diamond, ruby, emerald or sapphire. 67.9g.$3,000 - $3,500 see colour illustration p 115

122 a VictOriaN lOcket brOOch Set with GeMStONeS.Cushion outline in satin finished yellow gold (tests as over-gilded 18ct) enhanced with linen folds about a cross shaped array of four cabochon opals, four small diamonds and a central emerald-cut emerald. Suspending a double festoon chain and tassel fringe drop. Verso a glazed compartment (fault to glass). 24.3g.$650 - $850 see colour illustration p 113

123 a bracelet OF 14ct yellOw aNd white GOld. Textured anchor chain links of yellow gold with white gold rope edge borders. Ring and toggle clasp. 29.9g.$1,000 - $1,200

120 a heaVy GOld MeSh bracelet Set with a hardStONe caMeO. The wide gate-mesh bracelet of 18ct yellow gold centred by a circular panel of 15ct gold with a ropework border enclosing a 25mm circular carved hardstone cameo of a classical woman’s head in profile. The cameo signed on the reverse. 69g.$3,000 - $4,000 see colour illustration p 109

125 a Necklace OF SOuth SeaS PearlS aNd GOld chaiN.The necklace of 9ct yellow gold set with five silver/white semi-round Broome cultured pearls of 12.5 - 11mm.$700 - $800

126 a heaVy baNGle OF 18ct yellOw GOld Set with diaMONdS aNd a PiNk tOurMaliNe. Hinged design, the upper section of open interwoven design outlined with rows of round modern brilliant cut diamonds to a central rub-over set round cut pink tourmaline of around 4.2ct. TDW approximately 2.27ct . 60.38g. Gemologist’s report available on request.$7,000 - $8,000

127 a Necklace aNd bracelet Suite OF 14ct yellOw GOld Set with diaMONdS. Flat curb links, each centred by a chenier rub-over set round modern brilliant cut diamond. Necklace 500mm. Total 24.7g. TDW 1.98cts. Gemologist’s report available.$2,400 - $2,600

FINE JEWELLERY, LOOSE DIAMONDS & PRECIOUS STONESIndependent Gemmological Reports and Valuations:Valuations are made available to customers for two primary purposes: Firstly to provide an independent opinion as to the quality of the stones and metals comprising the piece, and Secondly so that buyers can, if they wish, obtain suitable Insurance cover immediately upon purchase and prior to delivery.A valuation for insurance purposes represents a calculated replacement cost allowing for maximum retail margins, such that an Insurer can assess the outer limit of their exposure to risk. It does not represent actual new retail replacement as it makes no provision for competitive trade practice, or for discounts obtained by individual bargaining. As fashion, desirability and current market forces all have variable impact on second hand or Auction value, there is no direct formula for estimation of such value by interpolation from Insurable value.As the currency exchange rate and spot metal prices have a marked effect on jewellery valuations, buyers should note the date and prevailing economic factors at the time that the valuation was produced. Once all of the prevailing parameters have been established, it is possible for an experienced person to interpolate a rough estimate of the current cost of manufacture from past insurable value, but again that exercise will give no indication of actual market forces.Buyers should also note the stated purpose of the valuation (insurance, retail market, cash value, estate division etc). All valuations remain opinions and not matters of fact.Whilst Webb’s staff will assist buyers to understand the methodology and technical details of Gemmological reports and valuations, buyers must make their own assessment of an item’s value before bidding. Webb’s its consultants and employees make no representation or warranty regarding any outside opinion, valuation or certificate of any item on offer.Please note: where gemological reports are available these should be read together with the catalogue description. Should there be, through error, omission or introduction of better evidence, any significant difference between the catalogued description and that provided in the gemologist’s report, it shall be assumed that the buyer has inspected the report and is buying in acceptance of it. Unless otherwise stated, all stones have been assessed for weight, colour or clarity mounted and the descriptions given in the catalogue or report are therefore based on estimates which are limited in accuracy. Where an actual weight is given the stone will have been weighed loose, however while the grading of a stone loose will minimise error margins it shall be accepted by the buyer that all reports and descriptions remain opinions and not matters of fact.


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142 a twO rOw Necklace OF PearlS Secured by aN excePtiONal VictOriaN SaPPhire aNd diaMONd claSP. The oval outline clasp centred by an octagonal-cut Ceylonese blue sapphire of fine quality and estimated weight a little over 11ct rub-over set in yellow gold within a border of 12 old cut diamonds of very good quality for the period, set in silver with an estimated TDW 6.0ct. The double row of individually knotted cultured pearls graduated from the centre, round/off-round 10 - 7.3mm, cream/rose of good quality. With box. Gemologist’s report available.$28,000 - $32,000 see colour illustration p 105

137 a SNaP baNGle Set with GarNetS. Hinged design in 14ct yellow gold, the upper section set with a row of 12 round cut garnets of matched size. 22.4g.$650 - $750

138 a bracelet OF 18ct yellOw GOld beadS. The line of hollow beads of graduated size in a repeating pattern secured by a heart shaped padlock clasp. 22.8g.$750 - $950

139 theO FeNNell, a StriP PeNdaNt aNd MatchiNG drOP earriNGS. 18ct white gold set with lines of square cut blue topaz. The pendant suspended by an 18ct white gold neck chain. With original box and London sales receipt.$1,000 - $1,400

140 a SPleNdid VictOriaN brOOch/ceNtrePiece Set with OVer 15ct OF Old cut diaMONdS. Designed as five knife-edge sprays of 18ct yellow gold/silver doublet supported by foliated scroll work. The sprays set with diamonds ranging from 2ct down to 0.15ct, the major stones estimated as 2.02, 1.88, 1.67, 1.18, 1.10, 0.92, 0.91ct. The removable brooch frame suggests that this could well have been used alternatively as the centre to an even more significant piece such as a tiara. Gemologist’s report available.$22,000 - $26,000 see colour illustration p 102

141 a late VictOriaN aiGrette. The egret feather supported by a comet tail set with seed pearls and a star set with old mine cut diamonds within a crescent of graduated half-pearls. Over gilded yellow gold, the folding hair slide of silver-gilt. With a fitted box from J. Snowden of London.$2,000 - $3,000 see colour illustration inner title page 102

133 a PeNdaNt Set with rubieS aNd diaMONdS. Rectangular outline in 18ct white and yellow gold set with 12 square cut rubies in a 3 x 4 grid separated and bordered by lines of round modern brilliant cut diamonds. TDW 1.50ct, TRW 2.00ct. Gemologist’s report available.$1,650 - $2,250

134 PaSQuali bruNi. a chaiN riNG Set with diaMONdS.From the “Fiori” Collection, the line of articulated flower heads set with round modern brilliant cut diamonds. TDW 1.62ct. Ref: 10481/951633. Hartfields Certificate available.$5,000 - $6000

135 a wide, heaVy bracelet OF 9ct yellOw GOld MeSh.37.5mm wide flat mesh. 75.6g.$1,250 - $1,650

136 a StyliSh bracelet OF black ONyx aNd yellOw GOld. Four large chunky open oval links of curved polished tubular black onyx capped with gold and joined by gold links. 14ct. With box.$750 - $850

143 a VictOriaN lOcket brOOch Set with turQuOiSe aNd Seed PearlS. Circular outline in yellow gold (tests approximately 15ct) set with turquoise beads in a quatrefoil about a four point star set with further turquoise beads below a cross overlay of seed pearls, suspending a tassel fringe and ball drop. Verso a glazed locket and two sets of initials dated 1875 and 1915. With original fitted box.$800 - $1,200 see colour illustration p 107

132 a PeNdaNt Set with a cOrONet halF eaGle GOld cOiN aNd diaMONdS with aN 18ct GOld chaiN.The coin dated 1880 claw set in open loopwork pendant frame of 18ct yellow gold set with 16 round modern brilliant cut diamonds, the bale set with a further diamond; suspended by a long neckchain of 18ct yellow gold, lovers’ rope knot and plain polished links. 700mm, 55.2g.$2,750 - $3,250

131 a VictOriaN bracelet eNhaNced with eNaMel aNd PearlS. Hinged design in yellow gold (tests as over-gilded 15ct), the upper section decorated with a transverse panel enhanced with midnight blue enamel about a graduated line of half-pearls to bead finials. One finial fitted with a pendant hanger bale. With original box.$1,500 - $2,000 see colour illustration p 117

130 a VictOriaN SNaP baNGle Set with diaMONdS.18ct rose gold/silver doublet, the upper section set with a line of 9 old mine cut diamonds, graduated from the centre, with an estimated TDW 1.26ct. Gemologist’s report available.$1,650 - $1,850

129 a Necklace OF 18ct GOld Set with diaMONdS.Collar style in 18ct polished white and satin yellow gold hinged links. The mid-section 29 white gold links each set with two brilliant cut diamonds. 49.7g.$2,000 - $2,500

128 Peter MiNturN, a riNG OF ObJet trOuVéS deSiGN18ct yellow gold bark design. 10.75g$400 - $600


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149 a Pair OF eMerald aNd diaMONd drOP earriNGS.Designed as companions to the previous lot, an articulated fall of diamond set links from the stud terminates in a pendeloque drop set with a pendeloque cut emerald within a tiered two row border of diamonds. Gemologist’s report available.$6,500 - $8,500 see colour illustration p 113

150 a Pair OF earriNGS Set with GeMStONeS. Rectangular outline in 14ct yellow gold enhanced with reeding to an off-set line of 5 square cut gemstones: periodot, citrine, blue topaz, amethyst and garnet. 17.5g.$450 - $650

151 aN edwardiaN baNGle Set with OPalS aNd diaMONdS. Tapered hinged design in 18ct yellow gold, the upper section set with a row of 7 oval opal crystal cabochons graduated from the centre and separated by 6 pairs of old European cut diamonds having an estimated TDW 1.64ct. With original box.$4,000 - $5,000 see colour illustration p 107

152 a larGe caMeO brOOch. The 50 x 38mm oval carved shell cameo of the three graces is set in an ornate frame of yellow gold (tests approximately 18ct). The cameo signed on the reverse. With original fitted box.$850 - $1,250 see colour illustration p 115

153 a lOOSe Pear ShaPed diaMONd OF 1.65ct. The brilliant pendeloque cut diamond assessed as E, SI2. Gemologist’s report available.$10,000 - $12,000

154 a cuShiON ShaPed diaMONd cluSter dreSS riNG.18ct white gold, the domed head pavé set with 45 round modern brilliant cut diamonds of good quality and TDW 1.84ct. Gemologist’s report available.$2,200 - $2,800 see colour illustration p 115

155 a Full eterNity riNG Set with baGuette aNd brilliaNt cut diaMONdS. 18ct white gold set with pairs of baguettes separated by round modern brilliant cut diamonds around the circumference. TDW 1.08ct approximate. Gemologist’s report available.$1,850 - $2,450

156 aN iMPreSSiVe PiNk tOurMaliNe aNd diaMONd cluSter cOcktail riNG. Designed as a large multi-petal cluster flowerhead in 18ct white gold set with oval cut pink tourmalines and round modern brilliant cut diamonds. Gemologist’s report available.$2,850 - $3,450 see colour illustration p 113

157 a riNG Set with a SOlitaire diaMONd OF aPPrOxiMately 1ct. The round modern brilliant cut diamond rub-over set in a wide band of 18ct yellow gold enhanced with a sinuous line of white gold. Gemologist’s report available.$6,000 - $7,000

158 a riNG Set with a rOw OF eiGht diaMONdS. The heavy band of 18ct yellow gold with raised borders channel set with the row of diamonds of fine quality (F/G, VS2+) and estimated TDW 1.20ct. Gemologist’s report available.$2,750 - $3,250

159 a VictOriaN ruby aNd diaMONd FlOral SPray brOOch. 15ct yellow gold/silver doublet set with oval cut rubies (centre stone approximately 2ct) together with old mine and rose cut diamonds to suit the design, the largest stone estimated at 0.89ct. With box. Gemologist’s report available.$4,000 - $5,000 see colour illustration p 109

147 a 19th ceNtury Multi-StONe diaMONd aNd cOlOured StONe brOOch. The design comprising three large oval cut amethyst and old cut diamond clusters separated by lines of step-cut emeralds further enhanced with old cut rubies, citrines and a further diamond. Silver with dome-backed settings. With original fitted box. Gemologist’s report available.$3,000 - $4,000 see colour illustration p 113

148 a Necklace Set with aN eMerald aNd diaMONdS.The articulated line of box links, mildly graduated from the centre, each set with a round modern brilliant cut diamond suspends at mid-section a large pear-shaped drop set with a 15 x 10.5mm pendeloque cut emerald of rich colour enclosed by a tiered two row border of round modern brilliant cut diamonds. 18ct white gold. Gemologist’s report available.$10,000 - $12,000 see colour illustration p 113. see also following lot

146 a Pair OF earcliPS eNhaNced with diaMONdS.Each of Creole design ribbed 18ct yellow gold to a central white gold strip further enhanced with a band of 7 round modern brilliant cut diamonds. 18.3g.$800 - $900

145 a heaVy baNGle OF 18ct GOld. Italian “Michelette” design in white and yellow wire bands caught by three cross motifs. 59g.$2,500 - $3,000

144 a larGe VictOriaN MicrO MOSaic brOOch. The 52 x 42mm oval inlaid glass floral mosaic set in a frame of over gilded yellow gold (tests as 18ct) enhanced with four floral and foliate motifs.$600 - $800


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166 a riNG Set with teN Old cut diaMONdS. The bridge of 18ct yellow gold set with a transverse marquise array of round old cut diamonds having a TDW approximately 1.60ct. Gemologist’s report available.$1,500 - $1,800

167 a riNG Set with a SOlitaire diaMONd OF 1.17ct.The round modern brilliant cut diamond assessed as E-F, SI2-I1, Good make, is set in a cross-over setting of 14ct yellow gold. The stone faces up well. Gemologist’s report available.$6,000 - $7,000

168 aN iMPreSSiVe FaNcy yellOw aNd white diaMONd cluSter cOcktail riNG. Scalloped circular outline created by intersecting 18ct white gold open loops set with lines of white round modern brilliant cut diamonds enclosing a randomly set array of 9 oval and radiant cut fancy yellow diamonds. TDW 3.63ct. Gemologist’s report available.$4,750 - $5,750 see colour illustration p 109

169 a Pair OF FOur-leaF clOVer MOtiF drOP earriNGS.Each designed as a Creole hoop suspending three articulated four-leaf clover panels of graduated size set with round cut yellow sapphires and round modern brilliant cut diamonds. 18ct white gold. Gemologist’s report available.$4,000 - $4,500 see colour illustration p 105

170 a late 18th/early 19th ceNtury FreNch dreSS riNG Set with diaMONdS. Convex elongated octagonal outline in silver/gold doublet bordered with a line of old cut diamonds enclosing an amethyst-glass panel centred by a single old mine cut diamond of approximately 1ct. The diamond assessed as K/L, SI1. TDW approximately 2.00ct. Unidentified Continental marks of French origin. The “mourning style” reflected in fashionable Regency English pieces from the same period. With box. Gemologist’s report available.$3,750 - $4,250 see colour illustration p 115

171 a Jade cabOchON aNd diaMONd cluSter dreSS riNG. The 12 x 9mm oval apple green jadeite cabochon of 2.99ct is set in a ballerina style ring of platinum within a border of round brilliant and tapered baguette cut diamonds of total 0.74ct. Gemologist’s report available.$2,400 - $3,200 see colour illustration p 105

173 a riNG Set with a SOlitaire diaMONd OF 1.63ct. The round modern brilliant cut diamond of reported weight 1.63ct and assessed quality G, VS2 is set in a handmade four claw mount of platinum. Gemologist’s report available.$19,500 - $22,500 see colour illustration p 117

172 aN eleGaNt bracelet Set with 12.9ct OF diaMONdS.The line of 19 circular links of 18ct white gold each set with four central Princess cut diamonds within a border of round modern brilliant cut diamonds. The 304 diamonds of good quality (G, SI) have a TDW 12.95ct. Gemologist’s report available.$16,000 - $18,000 see colour illustration p 113

165 a StyliSh FiNe Quality “SOlitaire” diaMONd riNG.The central diamond of stated weight 1.11ct and quality E, SI1 is set within a border of small diamond brilliants above a band fully set with rows of brilliant cut diamonds of similar quality to the central stone. TDW 4.21ct. The ring hand made in 18ct white gold. Gemologist’s report available.$12,500 - $15,000 see colour illustration p 113

162 a FlOral SPray brOOch Set with OPalS aNd diaMONdS. Three scroll leaf fronds set with lines of diamonds are tied by a circular opal and diamond cluster, the flower heads on wires are set with solid black and crystal opal cabochons with a scattering of diamonds in between. White and yellow gold. Gemologist’s report available.$1,750 - $2,250 see colour illustration p 107

163 a lOOSe rOuNd MOderN brilliaNt cut diaMONd OF 2.00ct. The diamond assessed as M/N, VVS2. Gemologist’s report available.$12,000 - $15,000

164 a riNG Set with a liNe OF FiNe Quality baGuette cut diaMONdS. 18ct yellow gold channel set with 5 baguette cut diamonds of fine quality (D/F, VS2+) and estimated TDW 1.10ct. Gemologist’s report available.$2,750 - $3,250

161 a teNNiS Style liNe bracelet Set with diaMONdS.The line of articulated circular links of platinum each set with a round modern brilliant cut diamond. TDW (stamped) 3.00ct.$3,000 - $4,000 see also previous lot

160 a riVière Necklace Set with diaMONdS. The line of articulated circular links of platinum graduated from the centre, each set with a round modern brilliant cut diamond. TDW (stamped) 3.00ct. Gemologist’s report available.$3,000 - $4,000 see also following lot


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181 a Pair OF PeNdaNt earriNGS PaVé Set with diaMONdS. Linen-fold drape design in 18ct white gold pavé set with a total of 944 good quality round modern brilliant cut diamonds having a TDW 3.92ct. Gemologist’s report available.$5,750 - $6,750 see colour illustration p 113

182 a StrikiNG riNG Set with a heSSONite GarNet, black aNd white diaMONdS. The cushion cut garnet of very lively appearance is set in a ring of 18ct white and yellow gold, bordered by round cut black diamonds, the shoulders enhanced with lines of round modern brilliant cut white diamonds. Gemologist’s report available.$3,000 - $3,500 see colour illustration p 115

183 aN eMerald aNd diaMONd cluSter dreSS riNG.The emerald cut emerald of very good colour and weight 1.69ct (stamped) is set in an oval ballerina style ring of platinum set with baguette and brilliant cut diamonds of total 0.75ct (stamped). Gemologist’s report available.$2,500 - $3,500 see colour illustration p 105

184 a riNG Set with a SOlitaire diaMONd OF aPPrOxiMately 1.5ct. The round modern brilliant cut diamond set in a ring of 18ct white and yellow gold. Gemologist’s report available.$8,500 - $9,500 see colour illustration p 125

185 a riNG Set with a SOlitaire diaMONd OF aPPrOxiMately 1.69ct. The round early European brilliant cut diamond assessed as F/G, SI2/I1 is set in a ring of 18ct white gold. Gemologist’s report available.$7,500 - $8,500 see colour illustration p 113

186 aN excePtiONal Necklace OF SaPPhireS aNd diaMONdS.

Designed as a graduated line of octagonal clusters, each centred by an emerald-cut blue sapphire of fine quality bordered by brilliant cut diamonds and separated by articulated links each set with a square step-cut diamond of fine quality supported by lugs set with further brilliant cut diamonds. 18ct yellow gold. The diamonds, some 110 in all estimated as G VS2+/VS2 have an approximate TDW 26.52ct, the sapphires approximate TSW 25ct. Gemologist’s report available on request.$45,000 - $55,000 see colour illustration p 115

177 a heart MOtiF PeNdaNt PaVé Set with diaMONdS.18ct rose gold, the wave surface pavé set with round modern brilliant cut diamonds, suspended by a trace neck chain of 9ct white gold. Gemologist’s report available.$2,200 - $2,600

178 a Pair OF drOP earriNGS Set with FaNcy yellOw aNd white diaMONdS. Designed as a fall of 4 links in 18ct yellow and white gold. A pear shape yellow and white diamond cluster at the stud to a single round modern brilliant cut diamond to a circular diamond cluster to a concentric pear shaped finial having an outer line of brilliant cut diamonds enclosing a free swinging yellow and white diamond cluster. TDW 3.43ct. Gemologist’s report available.$8,500 - $9,500 see colour illustration p 178

179 a Pair OF ruby aNd diaMONd drOP earriNGS. Articulated figure-of-eight design in 18ct yellow gold set with a continuous line of round modern brilliant cut diamonds and each set with two round cut rubies of good colour, the lower free swinging within an open frame. Gemologist’s report available.$3,750 - $4,250 see colour illustration p 117

180 a teNNiS Style liNe bracelet Set with aPPrOxiMately 9ct OF PriNceSS cut diaMONdS.The articulated line of 56 box links of 14ct white gold each set with a Princess cut diamond assessed as I/K, VS2-I1 with a TDW estimated 9.10ct. Gemologist’s report available.$6,750 - $7,750

176 a SPleNdid lOOSe Pear cut diaMONd OF 3.99ct.The pendeloque brilliant cut diamond weighed and graded as F, Top SI1. Gemologist’s report available.$58,000 - $64,000 see colour illustration p 111

175 a Set OF FiVe late 18th/early 19th ceNtury leaF MOtiF brOOcheS. The set comprising two large and three smaller brooches of five segments in silver - gold doublet set with lines of old European and mine cut diamonds to suit the design (2 small stones deficient). Presumed to have been designed for use as dress ornaments about a neck-line. TDW estimated 10ct. Gemologist’s report available.$10,000 - $12,000 see colour illustration p 117

174 a riNG Set with a SOlitaire diaMONd OF 1.6ct.The round modern brilliant cut diamond assessed as 1.602ct, I, VS2, Very Good Make is set in a ring of 18ct white and yellow gold. Gemologist’s report available. $11,000 - $13,000not received in time for illustration


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196 a crOSSOVer baNGle Set with diaMONdS. 18ct white gold hinged design, the upper section set with channel set baguette cut diamonds bordered by round modern brilliant cut diamonds in a split line crossover. TDW 3.96ct. Gemologist’s report available.$6,000 - $7,000 see colour illustration p 117

197 aN iMPreSSiVe PeNdaNt Set with FaNcy yellOw aNd white diaMONdS. Diamond outline openwork 18ct yellow and white gold as a fall of 25 circlets, each set with a border of round modern brilliant cut white diamonds enclosing a pendeloque cut fancy yellow diamond. The bale and chain support links also set with diamonds. The chain of fine 18ct yellow gold foxtail box links. TDW 4.57ct. Gemologist’s report available.$5,800 - $6,800 Not received in time for illustration

195 a late 18th/early 19th ceNtury aNiMal Paw PiN Set with diaMONdS. The 5 toed paw of silver set with 34 old mine cut diamonds having an estimated TDW 2.36ct, with a hinged pin of 18ct yellow gold. Gemologist’s report available.$2,000 - $2,500 see colour illustration p 117190 a SPleNdid ruby aNd diaMONd cluSter riNG.

Cushion outline in 18ct yellow gold centred by a slightly oval cut ruby of very good deep red hue, set within a border of 10 round modern brilliant cut diamonds of fine quality (E/F, VS2, very good make) having a TDW 2.41ct. Gemologist’s report available.$14,000 - $20,000 see colour illustration p 115

191 a riNG Set with a diaMONd OF a little OVer 1ct iN a FiliGree aNd diaMONd baNd. The wide tapered band of 18ct white gold filigree lace set with round modern brilliant cut diamonds to diamond set borders is centred by a round modern brilliant cut diamond of over 1ct. Gemologist’s report available.$7,800 - $8,800 see colour illustration p 107

192 a riNG Set with a diaMONd OF aPPrOxiMately 2.65ct. The round modern brilliant cut diamond assessed as H/I, VS1 (or higher), good make is set in a ring of 18ct white and yellow gold with two small shoulder diamonds. TDW approximately 2.88ct. Gemologist’s report available.$27,500 - $30,000 see colour illustration p 113

193 a Particularly FiNe GeOrGiaN PeriOd Necklace.The central three panel section of cannetille and beadwork set with a large oval cut amethyst and two smaller oval cut green beryls is suspended by a three row chain of textured belcher links secured by a cannetille work clasp set with a further oval cut amethyst. 18ct yellow gold washed with gold of a higher carat. Gemologist’s report available.$4,000 - $6,000 see colour illustration p 109, see also following lot

194 a Pair OF GeOrGiaN braceletS cONVertible tO a chOker leNGth Necklace. Four row plain belcher link chains of 18ct yellow gold centred by a cannetille panel set with an oval cut amethyst, the clasp of an identical panel set with an oval cut green beryl. The bracelets may be joined to form a choker of length 350mm. As the panels and clasps are identical to the clasp of the previous lot, the bracelets may be worn as companions to it. Gemologist’s report available.$2,500 - $3,500 see colour illustration p 109

189 a Pair OF earStudS Set with diaMONdS. Oval outline in silver/gold doublet, each set with an oval table-cut diamond within a border of small single-cut diamonds.$1,500 - $2,000 see colour illustration p 107

188 a Pair OF drOP earriNGS Set with chaMPaGNe aNd white diaMONdS. Each designed as a double scroll ear fitting suspending an articulated long open scrolled panel centred by a graduated line of 6 rub-over set champagne coloured diamonds ranging in size from 1ct down. The panels enhanced with lines of round modern brilliant cut white diamonds. 18ct white gold. TDW approximately 8.48ct. Gemologist’s report available on request.$8,500 - $10,000 see colour illustration p 105

187 a SPleNdid Necklace Set with FaNcy cOlOured SaPPhireS aNd diaMONdS. Designed as a continuous articulated line of 52 rectangular panels of 18ct white gold, each set with an emerald-cut sapphire of fancy colour bordered by round modern brilliant cut diamonds, the panels joined by small links each set with a Princess cut diamond. TSW 14.80ct. TDW 5.98ct. Gemologist’s report available.$10,000 - $12,000 see colour illustration p 117

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198 aN excePtiONal Pair OF FaNcy yellOw aNd white diaMONd drOP earriNGS. Each designed as a large open pear shaped drop of 18ct white gold, the lower section set with fancy yellow diamonds in a variety of shapes and sizes to suit the design, the upper section pavé set with modern brilliant cut white diamonds to a circular white diamond cluster at the stud. TDW 18.18ct of which 15.68 are Fancy Intense Yellow. Gemologist’s report available.$16,000 - $18,000 see colour illustration p 107

199 a baNGle Set with a SiNGle rOw OF diaMONdS.Hinged 18ct white gold design, the upper section set with a row of 28 round modern brilliant cut diamonds of good quality and TDW 2.41ct. Gemologist’s report available.$3,800 - $4,800 see colour illustration p 117

200 a Pair OF SOlitaire brilliaNt cut diaMONd earStudS OF aPPrOxiMately 1.08ct tOtal. The diamonds assessed as J/L, SI2 are set in 14ct yellow gold. Gemologist’s report available.$2,400 - $2,800

201 aN OVal SaPPhire aNd diaMONd cluSter riNG.The oval cut dark blue sapphire set within a border of 12 round modern brilliant cut diamonds having a TDW in excess of 1.5ct. Gemologist’s report available.$4,750 - $5,250 see colour illustration p 115

202 aN iMPreSSiVe diaMONd cluSter riNG ceNtred by a StONe OF aPPrOxiMately 2.60ct The central round modern brilliant cut diamond estimated as K/L VS2 is set in 18ct white and yellow gold within a border of round modern brilliant cut diamonds bisected by two baguette cut diamonds. TDW approximately 3.52ct. Gemologist’s report available on request.$16,000 - $18,000 see colour illustration p 125

209 a SPleNdid Necklace Set with OVer 25ctS OF white aNd chaMPaGNe cOlOured diaMONdS. Designed as a line of alternating 18ct white and yellow gold links set with either white or champagne round modern brilliant cut diamonds to a central three diamond drop suspending a flowerhead cluster of nine white diamonds of which the largest stone is 0.79ct (H/VS2+). Gemologist’s report available.$28,000 - $34,000 see colour illustration p 107

208 a StrikiNG crOSSOVer riNG Set with twO FaNcy yellOw diaMONdS tOGether with white diaMONdS.Split shank design in 18ct white gold set with lines of small round modern brilliant cut diamonds to two opposed finials comprising a pear shaped fancy yellow diamond bordered by further white brilliants. TDW 2.43ct. Gemologist’s report available.$6,800 - $7,800 see colour illustration p 125

203 aN attractiVe aNd uNuSual QuadruPle crOSS-OVer riNG Set with diaMONdS. Wide split shank design comprising two lines of white gold and two lines of yellow gold each set with two rows of round modern brilliant cut diamonds to a white gold shank. 18ct. TDW 1.96ct. Gemologist’s report available.$3,000 - $4,000

204 aN excePtiONal riNG Set with FaNcy PiNk aNd white diaMONdS. Marquise outline in 18ct white and rose gold, centred by a line of three pink diamonds: two pear shaped brilliants of TDW 0.34ct set either side of a radiant cut of 0.59ct (G.I.A. Cert.) within a border of round modern brilliant cut white diamonds, the shoulders pave set with further white brilliants. (Total white Diamonds 2.00ct), TDW 2.93ct. approximately. Gemologist’s report available on request.$55,000 - $60,000 see colour illustration p 111

205 a StyliSh bracelet Set with FaNcy yellOw aNd white diaMONdS. Designed as a wide flexible band of 90 articulated pear shaped clusters in rows. Each cluster comprising a pendeloque cut fancy yellow diamond bordered by small round modern brilliant cut diamonds. TDW 13.64ct. 18ct yellow and white gold. Gemologist’s report available.$17,500 - $20,000 see colour illustration p 105

206 a riNG Set with a radiaNt cut diaMONd OF OVer 3ct. The diamond set in a ring of 18ct white gold with a smaller radiant cut diamond on either side, the band set with lines of Princess cut diamonds. Gemologist’s report available.$38,000 - $44,000 see colour illustration title page

207 aN exQuiSite PeNdaNt Set with FaNcy PiNk aNd FaNcy yellOw diaMONdS. Designed as a four panel articulated drop in platinum, each panel of circular outline set with white brilliant cut diamonds enclosing a free swinging round cut diamond: pink, yellow, pink, yellow in descending order and increasing size. The bale set with further white diamonds. Suspended by a trace chain of 18ct white gold. Gemologist’s report available on request.$14,500 - $15,500 see colour illustration p 105


120

210 the kiPliNG brOOch. Belle époque open oval outline design in platinum, set with old mine and rose cut diamonds in lines, foliate swags and geometric motifs. Once the property of Carrie Kipling and understood to have been a gift from her husband Rudyard Kipling. Provenance: by descent and gift, see details above. Gemologist’s report available.$6,000 - $7,000 see colour illustration opposite page

the kiPliNG, baldwiN & hOward brOOcheSThe provenance of the following four brooches is both interesting and romantic. To begin the story in the style of Rudyard Kipling: “In the high and far-off times Oh Best Beloved there lived four beautiful sisters of celebrated style, whose lives were to touch the fortunes of literary giants, great artists, Prime Ministers, soldiers and Kings.”

The MacDonald sisters were the darlings of the avant-garde set of Victorian England. They were beautiful, intelligent, witty, independent and spirited. Needless to say they were eagerly courted by the most eligible suitors. Georgiana married the famous Pre-Raphaelite artist Edward Burne-Jones while Agnes married the equally famous artist & President of the Royal Academy Edward Poynter.

But it is to the other two sisters, and their descendants, that we must now turn for the story to unfold. Louisa married an important industrialist, Alfred Baldwin. Their son, Stanley Baldwin, was Prime Minister of Great Britain for three separate terms. It was he who oversaw the crisis that led to the abdication of King Edward VIII. He married Lucy Ridsdale and was created an Earl in 1937. The emerald & diamond bow brooch, lot 211, belonged to Lucy who gave it to her daughter Leonora. Leonora Baldwin married a WW1 veteran Capt. Hon. Sir Arthur Howard, KBE, CVO, Croix de Guerre (with palms). His regiment was the Scots Guards and he gave Leonora the diamond and enamel regimental brooch, lot 212. Both brooches have then passed by direct descent to the vendors who are members of the Howard family.

The fourth sister, Alice married Lockwood Kipling. Their first child, Rudyard, was born in Bombay and later became famous as the author of such classics as the Just-so Stories, the Jungle Books and The Man Who Would Be King. Rudyard Kipling (who was not only first cousin, but also close friend of Stanley Baldwin) married Carrie Balestier. The diamond brooch, lot 210, belonged to Carrie and is believed to have been a gift from her husband Rudyard. Carrie Kipling gave it to their only surviving child, their second daughter Elsie,who in turn gifted it directly to the vendors.

The Howard brooch, lot 213, set with aquamarines and diamonds, was made by Asprey’s of London as a bespoke piece for the vendors.

211 the baldwiN brOOch. Designed as an elongated ribbon bow in platinum, set with a line of rectangular cut emeralds bordered by early European cut diamonds, both graduated from a single central old cut diamond. Once the property of Lucy Baldwin (Countess Baldwin of Bewdley) and understood to have been given to her by her husband Stanley Baldwin (Prime Minister of Great Britain). Provenance: By direct descent, see details above. With a fitted box from Aspreys of London. Gemologist’s report available.$8,500 - $9,500 see colour illustration opposite page

212 a ScOtS GuardS reGiMeNtal brOOch Set with diaMONdS. Designed as a miniature of the breast star of the Order of the Thistle in yellow gold/silver doublet set with lines of round cut diamonds to an enamelled motto ring enclosing a jewelled thistle motif. Once the property of Lady Leonora Howard, daughter of Stanley Baldwin, and given to her by her husband Captain Hon. Sir Arthur Howard. Provenance: by direct descent, see details above. Gemologist’s report available. $5,000 - $6,000$5,000 - $6,000 see colour illustration opposite page

213 a SPray brOOch Set with aQuaMariNeS aNd diaMONdS.Designed as a floral spray tied with a ribbon, set with one large and two smaller oval cut aquamarines together with three round modern brilliant cut diamonds. Stated to have been made by Aspreys of London, the property of the direct descendant of Lady Leonora and Sir Arthur Howard. Provenance: see details above. Gemologist’s report available.$2,500 - $3,000 see colour illustration opposite page


210

211

213

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216 aN iMPOrtaNt Necklace Set with 30ct OF FiNe Quality `tycOON’ cut diaMONdS. The 115 diamonds graduated from the centre of very good make and estimated quality F/G VVS-VS (one SI). Gemologist’s report available.$100,000 - $110,000 see colour illustration title page

217 a riNG Set with a MaGNiFiceNt 3.03ct eMerald-cut diaMONd. The diamond of exceptional quality described in G.I.A. report 10443318 as E, VVS2, Very Good Make is set in an elegantly simple ring of platinum with a tapered baguette cut diamond at each shoulder. Gemologist’s report available.$80,000 - $90,000 see colour illustration p 111

218 aN iMPreSSiVe art decO Style riNG Set with 4.45ct OF diaMONdS. The heavy platinum mount of geometric design set with five major stones: three in a central line and one at each shoulder, the geometric borders set with lines of smaller diamonds. The major stones, all round modern brilliant cut stated to be 1.01ct, 0.80ct, 0.78ct and two at 0.67ct, G/K, SI. The smaller diamonds, 74 in all having a total weight of 0.52ct. Gemologist’s report available.$24,000 - $26,000 see colour illustration p 111

219 aN eleGaNt MeSh bracelet Set with OVer 9ct OF diaMONdS. 18ct white gold soft chain mesh of 18mm width, each link set with a round modern brilliant cut diamond of good quality. The diamonds, 369 in all, having a stated TDW 9.17ct. Gemologist’s report available.$11,000 - $14,000 see colour illustration p 113

220 a riNG Set with a SOlitaire diaMONd OF aPPrOxiMately 3.5ct. The round early European cut diamond set in a ring of platinum with two shoulder baguette cut diamonds. Gemologist’s report available.$35,000 - $38,000 see colour illustration title page

221 a SOlitaire eMerald-cut diaMONd OF a little OVer 2ct Set iN a PeNdaNt. The diamond assessed as 2.05 - 2.10ct, J/K, VS2, good make is set in a rub-over frame of 18ct yellow gold suspended by a trace neck chain also of 18ct yellow gold. Gemologist’s report available.$9,500 - $12,500 see colour illustration p 109

222 a riNG Set with a SOlitaire MarQuiSe cut diaMONd OF 3.02ct. The diamond of reported weight 3.02ct and assessed quality J, SI2, Good make is rub-over set in a mount of platinum and 18ct yellow gold, the shoulders each enhanced with 3 tapered baguette cut diamonds. Gemologist’s report available.$26,000 - $30,000 see colour illustration p 111

223 a SPleNdid Necklace Set with OVer 25ct OF diaMONdS. Chevron outline, designed as an articulated graduated interlocking line of domed chevron links in 18ct white gold set with a total of 641 round modern brilliant cut diamonds of good quality and total weight 25.65ct. Gemologist’s report available on request.$30,000 - $40,000 see colour illustration p 111

224 a Pair OF aQuaMariNe aNd diaMONd drOP earriNGS.Each designed as a tapered open scroll panel of 18ct white gold set with round modern brilliant cut diamonds to an articulated drop set with a pendeloque cut aquamarine of over 7ct. TDW 1.19ct, TAW. 14.59ct. Gemologist’s report available.$3,700 - $4,700 see colour illustration p 125

225 a Pair OF SOlitaire diaMONd earStudS OF aPPrOxiMately 1.24ct tOtal. The round modern brilliant cut diamonds assessed as G/I, I1 are set in 14ct yellow gold. Gemologist’s report available.$2,500 - $2,800

226 a StrikiNG GreeN tOurMaliNe aNd diaMONd cluSter riNG. The 14 x 12mm emerald-cut tourmaline set in a cushion outline ring of 18ct yellow and white gold within a three row border of round modern brilliant cut diamonds. Gemologist’s report available.$5,500 - $7,500 see colour illustration p 105

214 aN exQuiSite Jewelled draGONFly brOOch with wiNGS eN-treMblaNt. 15ct yellow gold/silver doublet. The wings enhanced with ajoure about rows of old European cut diamonds (one small diamond deficient), the eyes set with cabochon rubies, the thorax with a blue sapphire and diamond cluster, the abdomen/tail set with a line of fine blue sapphires of possible Burmese origin. With original fitted box and hair slide interchangeable with brooch pin. Gemologist’s report available.$7,500 - $8,500 see colour illustration back cover

215 aN iMPOrtaNt SOlitaire PriNceSS cut diaMONd OF 5.14ct. The diamond described in G.I.A. report 17237000 as G, SI1, excellent make is set in a ring of 18ct white gold, the wide shoulders pavé set with 64 round modern brilliant cut diamonds of estimated total weight 1.00 ct. Gemologist’s report available.$135,000 - $145,000 see colour illustration p 100

122


230 a baNGle Set with a liNe OF baGuette aNd brilliaNt cut diaMONdS. 18ct white gold hinged design, the upper section having a close channel set line of baguette cut diamonds bordered by round modern brilliant cut diamonds. The diamonds of fine quality (D/F, VS/SI) have a TDW 4.24ct. Gemologist’s report available.$5,500 - $6,500 see colour illustration p 113

231 a late 17th/early 18th ceNtury PeNdaNt aNd earriNG Suite Set with diaMONdS. The pendant of three articulated sections : bow surmount, sunburst mid-panel, and V scroll finial in 22ct yellow gold rub-over set with rose and senaille cut diamonds. The earrings of similar design. Unidentified Continental mark on pendant bale. Possibly French or Portuguese/Spanish. Gemologist’s report available.$3,500 - $4,500 see colour illustration p 125

232 aN uNuSual kNiGht aNd lady MOtiF brOOch. Finely carved and worked 18ct yellow gold of heraldic style. The design of a medieval knight and lady leaning in casual pose toward a central pear shaped ruby and diamond cluster. The frame of parchment scrolls and floral garlands enhanced with four larger diamonds. The brooch pin clearly a later addition, suggesting that the piece may have been part of the ornamentation of some other object such as a jewellery or trinket box. Gemologist’s report available.$2,000 - $3,000 (suite) see colour illustration p 117

233 a Particularly GOOd diaMONd riVière Necklace OF FiNeSt Quality The 137 articulated links of 18ct white gold set with a line of round modern brilliant cut diamonds, graduated from the centre. The diamonds with a stated TDW 10.00ct are reported to be D-F, VVS-IF. Gemologist’s report available on request.$20,000 - $25,000 see colour illustration p 125

234 a StyliSh bracelet Set with three cabOchON PreciOuS StONeS. 18ct yellow gold gatelinks to three rub-over panels set with an oval cabochon ruby, emerald and blue sapphire. 21.8g.$800 - $1,000

235 a triPle crOSSOVer baNGle Set with diaMONdSHinged design in 18ct white gold, the upper section of three broken lines of diamonds in a slightly concave triple crossover. Each line comprising a central close set row of baguette cut diamonds bordered by round modern brilliant cut diamonds. TDW 4.83ct. Gemologist’s report available.$6,200 - $6,800 see colour illustration p 113

236 a GOOd Pair OF GeOrGiaN drOP earriNGS Set with diaMONdS. Filigree teardrop outline in silver with finial bow motifs, suspended by wire hooks. Each set with rose cut diamonds to a central pear shaped rose cut diamond. TDW very approximately 2ct. With box. Gemologist’s report available.$2,500 - $3,000 see colour illustration p 125

237 a Pair OF SOlitaire PriNceSS cut diaMONd earStudS OF aPPrOxiMately 1.30ct tOtal. The diamonds assessed as J/L, SI2/I1 are set in 14ct yellow gold. Gemologist’s report available.$2,000 - $2,500

238 a GOOd eMerald aNd diaMONd cluSter riNG.The emerald cut emerald of very good colour and reported weight 4.03ct is set in a ring of 18ct white and yellow gold within a border of round modern brilliant cut diamonds, with further diamonds at each shoulder. The diamonds, 76 in all with a reported TDW 0.60ct are of fine quality (D/F, VS - SI). Gemologist’s report available.$8,000 - $12,000 see colour illustration p 109

239 a riNG Set with a SOlitaire eMerald-cut diaMONd OF aPPrOxiMately 2ct. The diamond of excellent clarity and attractive light citrus-champagne colour is set in a four claw mount of 18ct white gold. Gemologist’s report available.$10,000 - $12,000 see colour illustration p 107

229 aN excePtiONal VictOriaN PeriOd eMerald aNd diaMONd bracelet. Designed as a line of hinged gold panels set with rectangular cut emeralds to a central rococo oval panel set with a larger emerald and four mine cut diamonds. The emeralds of fine colour. Gemologist’s report available on request.$4,500 - $5,500 see colour illustration p 107

227 a FaShiONable cluSter riNG Set with baGuette aNd brilliaNt cut diaMONdS. Quatrefoil oval marquise outline in 18ct white gold set with three tiers of baguette cut diamonds bordered by round modern brilliant cut diamonds. TDW 3.07ct. Gemologist’s report available.$3,750 - $4,750 see colour illustration p 117

228 a riNG Set with a Pear ShaPed SOlitaire diaMONd OF a little OVer 2ct. The pendeloque cut diamond set in a ring of 18ct white and yellow gold. Gemologist’s report available.$12,500 - $14,500 see colour illustration p 117


124

243 a riNG Set with three eMerald-cut diaMONdS.The emerald-cut diamonds estimated as 1.05ct, F/G, VS1-2, very good make are set in a bridge of 14ct white gold centred by the largest stone; the shoulders set with 6 Princess cut diamonds of good quality. TDW 2.15ct. Gemologist’s report available.$3,000 - $4,000

244 a riNG Set with a Jade cabOchON aNd diaMONdS. The 13 x 10mm oval apple green jadeite cabochon set in a ring of 18ct white and yellow gold enhanced with ajouré set with lines of round modern brilliant cut diamonds. Gemologist’s report available.$1,750 - $2,000 see colour illustration p 109

245 a bridGe riNG Set with diaMONdS. The wide band of 18ct white gold set with a panel of round modern brilliant cut diamonds in three rows with every alternate diamond set above the others in a rub-over chenier. Gemologist’s report available.$2,000 - $2,500

246 a liNe bracelet Set with OVer 5ct OF diaMONdS.The articulated line of 36 tonneau shaped 18ct white gold links each set with a central row of baguette cut diamonds bordered on the outer edges by round modern brilliant cut diamonds. The fine quality (D/F, VS-I1) diamonds having a TDW 5.43ct. Gemologist’s report available.$3,800 - $4,400 see colour illustration p 117

247 a late 19th ceNtury FlOral bOuQuet brOOch Set with diaMONdS. Silver/gold doublet set with lines and clusters of old mine and rose cut diamonds to suit the design, centred by a diamond of approximately 0.75ct. TDW estimated at 7.50ct. Gemologist’s report available.$3,500 - $4,500 see colour illustration p 115

248 a GOOd three diaMONd riNG. The round modern brilliant cut diamonds graded loose as 0.803ct E, I1; 0.603 E, SI2/I1; 0.64ct F, I1; all very good make (TDW 2.04ct) are set in a bridge of 18ct white gold graduated from the largest stone. Gemologist’s report available.$8,000 - $9,000 see colour illustration p 105

249 a Pair OF tOurMaliNe, diaMONd aNd briOlette drOP earriNGS. Each designed as an oval cut pink tourmaline and diamond cluster stud suspending by chain a fall of briolette cut green and pink tourmalines of graduated size. The tourmalines having a total weight of over 40ct and the diamonds 0.60ct for the pair. Gemologist’s report available.$3,600 - $4,200 see colour illustration p 113

250 a Pair OF creOle Style hOOP earriNGS PaVé Set with OVer 4ct OF diaMONdS. Circular hinged tubular design, the inner and outer leading surfaces pavé set with 384 round modern brilliant cut diamonds having a TDW 4.89ct. Gemologist’s report available.$5,500 - $6,500 see colour illustration p 113

251 a three rOw GateliNk diaMONd bracelet. Designed as 44 rectangular gate-linked bars, each close channel set with a row of 5 Princess cut diamonds. The diamonds, 220 in all having a TDW 4.05ct. Gemologist’s report available.$3,800 - $4,800 see colour illustration p 117

252 a Pair OF PiNk tOurMaliNe aNd diaMONd chaNdelier Style drOP earriNGS. Each designed as a triangular cluster stud supporting a fall of bar, scrolls and drops set with lines of small round modern brilliant cut diamonds, suspending articulated tourmaline drops. 18ct white gold. Gemologist’s report available.$3,800 - $4,800 see colour illustration p 115

240 a riNG OF art decO deSiGN Set with diaMONdS.Rectangular outline geometric design featuring a line of circular panels, hand made in 18ct white gold, set with 87 very good quality round modern brilliant cut diamonds having an estimated TDW 1.17ct. Gemologist’s report available.$2,750 - $3,750 see colour illustration p 107

241 a Pair OF late 18th ceNtury FreNch drOP earriNGS Set with diaMONdS. Articulated open loop and enclosed drop design in silver/gold doublet suspended by a quatrefoil link and hook. Set with rose cut diamonds within closed back mounts. TDW very approximately 1.75ct. Unidentified French marks probably Paris c.1790. With box. Gemologist’s report available.$2,750 - $3,750 see colour illustration p 105

242 a PeNdaNt aNd earriNGS Suite Set with GOldeN tOPaz aNd SOuth SeaS GOldeN PearlS. Each piece designed as an oval cut golden topaz set in 18ct yellow gold suspending a near round golden South Seas cultured pearl of good lustre and almost blemish free. The pendant suspended by a trace chain of 18ct foxtail links.$2,250 - $2,750 (suite) see colour illustration p 125


224

233

267

273 256

242SUITE

184208

236

124

231SUITE

109

264

202

258 a 19th ceNtury FlOral brOOch. 18ct yellow gold/silver doublet set with old mine and rose cut diamonds together with oval imitation turquoise cabochons (one natural). TDW very approximately 4.70ct. The imitation turquoise possibly dyed chalcedony. Gemologist’s report available.$2,500 - $3,500 see colour illustration p 105

259 a riNG Set with a SOlitaire diaMONd OF 0.54ct.The round modern brilliant cut diamond assessed as F, SI1, very good make is set in a simple ring of platinum. Gemologist’s report available.$2,000 - $2,500

260 a ruby aNd diaMONd cluSter dreSS riNG. The oval cut deep red ruby of stated weight 1.40ct is set in a ballerina style ring of platinum within a border of tapered baguette cut diamonds of total stated weight 1.48ct. Gemologist’s report available.$3,000 - $4,000 see colour illustration p 105

261 a riNG Set with aN OctaGONal cut GreeN SaPPhire aNd diaMONdS. The sapphire of approximately 4.44ct is set within a border of round modern brilliant cut diamonds, the under-bezel, shoulders and band set with further diamonds. The diamonds, some 128 in all have an estimated TDW 2.96ct. Gemologist’s report available.$4,000 - $5,000

262 a williaM iV PeriOd MeMOriaM riNG. 18ct yellow gold set with diamonds and black enamel to a central rectangular cut ruby. Inscribed sentiment dated 1830. With box from Fattorini the manufacturers of order jewels.$750 - $850 see colour illustration p 117

263 a riNG Set with a SOlitaire diaMONd OF 1.00ct.The round modern brilliant cut diamond assessed as H/I, VS1 is set in platinum. Gemologist’s report available.$5,800 - $6,400

264 a PeNdaNt Set with FaNcy yellOw aNd white diaMONdS. Designed as an articulated fall of three clusters: pear shape at the bale, mid-section marquise and free-swinging pear shape double border finial. Each set with a fancy yellow diamond of pear or marquise cut bordered by white round modern brilliant cut diamonds. TDW 2.09ct. Gemologist’s report available.$2,500 - $3,500 see colour illustration p 125

265 a cONteMPOrary bracelet OF 14ct GOld Set with GeMStONeS. Yellow gold panels and satin white gold pierced links, each yellow gold link rub-over set with an emerald cut gemstone: peridot, aquamarine, citrine, amethyst, garnet; the pattern repeated once.$900 - $1,200

266 a crOSS PeNdaNt Set with diaMONdS. The Latin cross of 18ct white gold set with intersecting rows of baguette cut diamonds, all bordered by a continuous row of round modern brilliant cut diamonds. TDW 2.29ct. Gemologist’s report available.$2,750 - $3,250 see colour illustration p 115

256 a GOOd late VictOriaN three diaMONd GyPSy riNG. 18ct Yellow gold set with three old European cut diamonds graduated from the centre estimated as : 1.30ct G, VS2(+); 0.55 and 0.38ct G, VS2/SI1. TDW approximately 2.23ct. Gemologist’s report available.$6,250 - $7,250 see colour illustration p 125

257 a Pearl aNd diaMONd cluSter dreSS riNG. Lobed rectangular outline in 14ct white gold set with marquise, round and baguette cut diamonds to a central 12mm ovoid white cultured pearl. Gemologist’s report available.$3,000 - $4,000 see colour illustration p 115

255 a traditiONal FiVe diaMONd bridGe riNG. The bridge of platinum set with a row of round modern brilliant cut diamonds of matched size and estimated quality E/F, VS2/SI1 with a TDW approximately 1.55ct. Gemologist’s report available.$3,500 - $4,500

254 a Pair OF SOuth SeaS Pearl aNd diaMONd earcliPS.Each designed as a `V’ of baguette cut diamonds with a surmount of three marquise cut diamonds supporting a 10-11mm ovoid white cultured pearl. White gold. Gemologist’s report available.$2,500 - $3,000 see colour illustration p 115

253 a Pair OF GeOrGiaN PeriOd GiraNdOle earriNGS.9ct yellow gold/silver doublet in three sections to a wire ear hook. The upper two sections of possibly later date set with old cut pastes; the lower section of three articulated drops set with old mine and rose cut diamonds. Gemologist’s report available.$1,700 - $2,200 see colour illustration p 117

126

267 a Mid-VictOriaN FlOral aNd FOliate MOtiF brOOch Set with eMeraldS aNd diaMONdS. 18ct yellow gold/silver doublet, designed as a spray of four long leaves set with lines of round-cut emeralds to a large flower-head pavé set with rose cut diamonds. The design suggests possible use as a hat or turban jewel. With original octagonal fitted box.$2,500 - $3,500 see colour illustration p 125

268 aN attractiVe diaMONd cluSter riNG ceNtred by aN eMerald-cut OF 0.81ct. The emerald-cut diamond set within an octagonal border of small round brilliants, the shoulders set with Princess cut diamonds. TDW 1.90ct. The diamonds assessed as F, VS2. 18ct white gold. Gemologist’s report available.$6,500 - $7,500 see colour illustration p 107

269 a riNG Set with aN 0.73ct SOlitaire diaMONd OF excePtiONal Quality. The round modern brilliant cut diamond described in HRD certificate 20034445501 as E, VVSI, very good make, hearts and arrows, is set in a ring of platinum. Gemologist’s report available.$5,500 - $6,500

270 a Necklace OF SOuth SeaS cultured GOldeN PearlSThe 10-13mm near round pearls slightly graduated from the centre to a bright-cut 14ct yellow gold glitter ball clasp. 470mm. Gemologist’s report available.$5,000 - $6,000 see colour illustration 107

271 a riNG Set with a SOlitaire diaMONd OF 1.00ct.The round modern brilliant cut diamond assessed as G/H, SI1 is set in a ring of 18ct white and yellow gold. Gemologist’s report available.$5,000 - $6,000

272 a riNG Set with rubieS aNd diaMONdS. The wide band of 18ct white gold and platinum having an upper section pavé set with brilliant cut diamonds to three rub-over set square cut rubies. Gemologist’s report available.$2,000 - $2,500 see colour illustration p 117

273 a SiGNet Style dreSS riNG eNcruSted with diaMONdS.The broad band of 18ct white gold set with brilliant and baguette cut diamonds to the shoulders and under bezel centred by a circular cluster of Princess and round modern brilliant cut diamonds. TDW 2.89ct. Gemologist’s report available.$3,800 - $4,800 see colour illustration p 125


128

497

128128

ANTIQUES & MODERN DESIGNThur 2 Dec 2010 – 6:00pm | EVENING PREVIEW WED 24 NOV

[497] a FiNe POlyPhON tabletOP

MuSic bOx

includes twenty discs, c.1890.H340 W550 D500$8,000 - $12,000

VIEWING


Thu 25 Nov 9:00am – 5:30pm

Fri 26 Nov 9:00am – 5:30pm

Sat 27 Nov 11:00am – 3:00pm

Sun 28 Nov 11:00am – 3:00pm

Mon 29 Nov 9:00am – 5:30pm

Tue 30 Nov 9:00am – 5:30pm

Wed 1 Dec 9:00am – 5:30pm

Thu 2 Dec 9:00am – 12:00pm

BUYER’S PREMIUMA buyer’s premium of 15% will be charged on all

items in this Antiques & Modern Design sale.


Phone and Absentee bids to be placed no later

than 12 noon on day of sale.

Published in this catalogue is an overview of the highlights of the Decorative Art & Modern Design section of the sale,

providing just a taste of the broader offering. A catalogue with full descriptions of all lots included in the sale will be available

free of charge at viewing and online from November 19.

PLEASE NOTEAbsentee and phone bids must be registered before 12:00pm on Thursday 5 August 2010.

This sale will be preceded by an uncatalogued Collectables sale at 4:00pm.

Both sales are fully illustrated online at webbs.co.nz.

ANTIQUES & MODERN DESIGN 129

130

410

403

432 390

430 451 424

426, 427, 425 431

325

559396

556 (2) 303

311

412 411 445

402 449 420, 422, 421

130

A SELECTION OF PIECES FROM THE SALE ARE ILLUSTRATED AND DETAILED - A FULL CATALOGUE IS AVAILABLE ONLINE AND FREE OF CHARGE AT THE VIEWING


[402] a Mirek SMiSek larGe Salt

Glaze bOwlgreen and brown salt glaze, deep sides with incised banding, tapering to a raised foot. H210 D310$1,000 - $1,500

[410] a leN caStle diScOid VaSewith heavily grogged surface and three deep groves to either side, grooves with incised cuts. Ochre pigment. H415 W400 D180$2,500 - $3,500

[420] a JOhN Parker ‘red chiNa

bOttle’of round form, turned bands to the base and long tapered neck. H205$450 - $550





[403] a Mirek SMiSek larGe Salt

Glaze braNch POtdark green salt glaze of ovoid form, incised with repeating decorative banding. H520 D400$3,000 - $4,000

[412] a leN caStle larGe ShiNO

bOwlwith an everted rim, turned bands and supported on a ring foot. H125 D385$2,000 - $3,000

[411] a leN caStle larGe red

StudiO POttery bOwl

Note: glaze cracks. H170 D445$2,000 - $2,500

[425] a JiM GreiG Pebble VaSeH180$500 - $800



[424] a JOhN Parker brONze

bOwlH120 D270$300 - $500

[413] a NichOlaS braNdON red

Glazed StONeware SculPtureH840$500 - $800





[406] a rOy cOwaN larGe abStract StONeware

SculPtureorganic architecture, multiple slab-built rectangular form with a variety of shaped windows.H990 W530 D500$8,000 - $10,000

[396] a 19th ceNtury Sauce bOat

relief molded with painted landscapesH70$80 - $120

[389] a MartiN bOyd diNNer Setwith painted bird and floral decoration. Includes six dinner plates, five side plates, one lidded tureen, six soup bowls, six cups and saucers, salt and mustard pot. Signed to base.$400 - $600

[390] a PhiliP JOlley SculPtural

VaSePurchased from The Fletcher Challenge Ceramics Award 1991 H240$300 - $500

[325] a 19th ceNtury bOtaNical

bOwlwith shaped border, burgundy rim and floral decoration. Meissen mark to base.D226$150 - $200

[311] a haNd PaiNted aNd Gilded

diShdiamond shaped with scalloped sides gold border. Landscape scene ‘Near Twyford, Derbyshire’. Derby mark to base. L285$150 - $250

[303] a 19th ceNtury Gilded aNd

PaiNted Platewith scalloped edge, blue border, painted swags and central urn. Chelsea Derby mark to base. D222$100 - $200

[370] a larGe PaiNted baluSter ShaPed FOley “iNtarSiO”

aMPhOra VaSewith Art Nouveau woodland landscape pattern. Marked on base with pattern 3025 and Registration No.330288, c.1905.H355$700 - $900

[372] a Pair OF SeVreS Style

OrMOlu MOuNted urN VaSeSwith painted courting couples panels and small landscapes. Pineapple finials with relief swag and scroll decoration. c.1860.H340$800 - $1,200

[373] a larGe 19th ceNtury

SeVreS Style Fruit bOwlwith ormolu frame mounts and base. Painted ‘Lovers in a Woodland’ and landscape panels with gilt borders on a cobalt ground.L380$800 - $1200


132

[449] a Peter Stichbury

teacaddy

with screw lid and chun glaze. H185$300 -$500

[445] a Peter Stichbury black

teaPOt

with a cane handle. H205$300 - $500

[451] a larGe Peter Stichbury

Platter

with green glaze and swirling decoration.H70 D415$800 -$1200

[478] aN italiaN carVed Marble

buSt OF JeSuSon a turned alabaster pedestal, early 20th century. H480$1,200 - $1,500

[499] aN OriGiNal architectural PlaN FOr the ObeliSk ON

MauNGakiekie - ONe tree hilltitled ‘Proposed Obelisk For Maungakiekie, for the trustees in the estate of Sir John Logan Campbell K.T. deceased. Ratkinson Abbott, 38 Shortland St. Auckland. January 1939.H780 W715$2,000 - $3,000

[498] aN rare early 20th ceNtury POwerS MOVie

PrOJectOr

c.1900. H1770 W1400 D530$1,500 - $2,200

[540] a Pair OF VictOriaN

SterliNG SilVer SuGar SiFterSwith heavily worked repousse birds and foliage. W. Comyns, London 1892.H175$800 - $1,200

[515] a larGe GerMaN 19th ceNtury GeSetzlich aNd

GeSchuetzl Plate caMera

lens by Schneider and Co.$200 - $300

[517] a butcher’S ‘caMeO’

FOldiNG Plate caMera

c.1910.$60 - $100

[519] aN eaStMaN kOdak baby

brOwNie bOx caMera$60 - $100

[520] aN aMericaN carltON

PlaStic caMera$80 - $120

[522] aN early 20th ceNtury

Plate caMera$100 - $200

[524] aN edwardiaN ScOttiSh

J. lizarS Plate caMera

c.1905.$150 - $250

[526] a thOrNtON Pickard

‘SaNderSON’ Plate caMera

c.1905.$200 - $400

[528] a VictOriaN SMall MaGic

laNterN

with original reflector, lens and burner.H480$150 - $200

[559] a blue aNd white chiNeSe

exPOrt SParrOw beak JuGwith chrysanthmums and central medallion. Note: Replacement handle and stapled body. H205$80 - $120

[556] a 19th ceNtury chiNeSe

exPOrt SParrOw beak JuGover painted with European flowers. Together with coffee can with replaced handle. Note: chips to glaze. H105$50 - $100

[533] aN early VictOriaN SterliNG SilVer caNteeN OF

Fiddle PatterN Flatwarefifty six pieces of mixed dates and makers, mostly George Angell. Also includes 6 large Marshall & Sons soup spoons, Edinburgh 1835.$2,000 - $3,000

[569] a rare 19th ceNtury

chiNeSe rOOt carViNG GrOuPdepicting an old street magician with two small attendants. All figures with well carved arms, legs and heads and the clothing skillfully comprising the natural root effects. Inlaid ivory teeth and black coral eyes supported on a three legged black root stand. H 1220$6,000-$9,000

[554] a chiNeSe chiNG POrcelaiN

baluSter VaSewith underglaze blue figure in landscape decoration. H360$500 - $700

[432] a leN caStle bOwl

with red interior. H140 D280$1800 - $2500

[430] a larGe leN caStle

iMPreSSed blue bOwlH120 L590$800-$1200

[431] a leN caStle iNVerted

VOlacNO SculPture

with deep red interiorH190 L845$2000 - $3000

[440] a rare leN caStle

OVOid VaSewith a tall neck and a speckled blue glaze. H270$600 - $1000

[441] a barry brickell dOGwith impressed markings to front CATOPHOBIC PEOPILLICAPRICOPHILLIC SUPERCILIO CANINOMORPH DRIVING CREEK RAILWAY WORKSHOPS 1990.Note: some restoration to tailH600 L500$3000 - $5000

132


525

528

516

515526

524

523

522

527

520

517521

415, 414, 413 554

373

389 662

372 370 540

440 441

662

519

663


134

652

626 666

677

134


676 498

569 406


136

692

478499

671638 674

651

628 533

136


[662] a Pair OF VictOriaN caSt

irON claSSical GardeN urNS

painted green. H440$400 - $800

[663] a larGe VictOriaN caSt

irON claSSical GardeN urN

painted blue and green H560$800 - $1,000

[638] aN early VictOriaN FiGured rOSewOOd FliPtOP

tableon a turned pedestal base with four scroll carved legs. The top opens to reveal a finely inlaid burr walnut circular panel with rosewood centre, c.1840. Note Hinge needs attention.$1,000 - $1,500

[651] a JaeGer-lecOultre iN-liNe

bridGe SkeletON MaNtle clOckwith bridge works, brushed brass frame, ribbed and frosted backing glass. Stamped 385. Original box, c.1960.H205 W165 D38$2,000 - $2,500

[671] a 19th ceNtury rOSewOOd

ceNtre tablethe two shaped supports and freize with carved foliate decoration.H750 W1530 D890$1,800 - $2,500

[692] aN OrNately carVed

cONtiNeNtal SidebOardthe breakfront with three cupboards below three drawers in Renaissance revival style, late 19th CenturyH1040 W1990 D650$1000 - $1500

[674] a 19th ceNtury Stickback

elM wiNdSOr arMchairH1080$700 - $1,000

[677] a late GeOrGiaN

MahOGaNy cheSt ON StaNdthe six drawer upper section raised on cabriole leg stand with three drawers to the shaped frieze. Original handles and escutcheons, 18th Century and later.H1460 W1010 D590$3,500 - $5,000

[626] aN NeSt OF three ViNtaGe

MahOGaNy tableSwith an integrated tray, c.1960.$300 - $500

[652] a VictOriaN caSt irON

PlaNt StaNdwith a ‘T’ section beige foliate frame and nine graduated pot stands. H1100 W1000 D500$800 - $1,200

[666] aN attractiVe FreNch

Fauteuilin carved giltwood, caned back and seat panels.$500 - $800

[628] aN eNGliSh G-PlaN

SidebOardcomprising of three cupboards and one drawer, shaped wooden handles and detailing. On square sectioned legs.H850 W1220 D450$600 - $900

[676] a 19th ceNtury carribeaN

cuPbOardthe upper section with two doors, the lower section with three drawers above two doors. Ebonised detailing to the whole, raised on turned legs with a shaped frieze. H2060 W1230 D430$3,500 - $6,000

[669] a Set OF FOur FreNch Park

chairSwith sheet metal backs and seats.$400 - $600

[627] aN eNGliSh G-PlaN diNiNG

Suitecomprising draw leaf table and four chairs. L1420 W780$600 - $800

627 669


138138

ADVENTURE & DISCOVERYThurs 9 Dec 2010 – 6:00pm | VIEWING FROM 4 DEC

For all those fishing fanatics out there, Webb’s presents a specialist sale of vintage fishing equipment to be held on Thursday 9 December – the first in a planned series of ‘Adventure & Discovery’ sales

offering a range of must-have collectibles for the intrepid at heart.

The sale features the most important collection of fresh and salt water fishing materials ever to be offered in New Zealand, with more than 300 examples of pre-1940 vintage game-fishing gear

including fishing reels, rods and lures. A number of pieces have documented histories back to the legendary adventurer Zane Grey.

Published in this catalogue is an overview of the highlights of the sale, providing just a taste of the broader offering. A catalogue with full descriptions of all lots in the sale will be available free of

charge at the viewing and online from 19 November.

cONtact: James hogan | [email protected] | +64 21 510 477

VIEWING

Sat 4 Dec 11:00am – 3:00pm

Sun 5 Dec 11:00am – 3:00pm

Mon 6 Dec 9:00am – 5:30pm

Tue 7 Dec 9:00am – 5:30pm

Wed 8 Dec 9:00am – 5:30pm

Thu 9 Dec 9:00am – 12:00pm

ADVENTURE & DISCOVERY 139

140

A selection of vintage gamefishing rods, reels, lures, garb and flying gaffs included in the sale.

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MR MRS MISS MS (PLEASE CIRCLE)

FIRST NAME SURNAME/COMPANY

HOME PHONE BUSINESS PHONE

MOBILE FACSIMILIE

POSTAL ADDRESS

CONTACT NAME

EMAIL ADDRESS

BIDDING SLIP

Please bid on my behalf at the above sale for the following lots up to the prices recorded. These bids are to be executed as cheaply as is permitted by other bids or reserves if any.* I agree to comply with the Conditions of Sale as printed in the catalogue. I understand that in the case of a successful bid on items in the Important Works of Art and Fine Jewellery & Watches sales a buyer’s premium of 12.5% will be added to the hammer price and that GST is charged on the premium, and that in the case of a successful bid on items in the Antiques and Modern Designsale, a buyer’s premium of 15% will be added to the hammer price and that GST is charged on the premium. On major lots customers may prefer to bid by telephone. Please enquire regarding this service which Webb’s carry out at no charge.

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

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

SIGNED DATE

FOR ABSENTEE BIDDERS ON LOTS IN SALE 319

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 12.5% for the Important Works of Art and Fine Jewellery & Watches sales and a buyer’s premium of 12.5% for the Antiques and Modern Design, (unless otherwise stated), together with GST on such premiums.5. PAYMENT. Payment for all items purchased is due on the day of sale immediately following completion of the sale.If full payment cannot be made on the day of sale a deposit of 10% of the total sum due must be made on the day of sale and the balance must be paid within 5 working days.Payment is by cash, bank cheque or Eftpos. Personal and private cheques will be accepted but must be cleared before goods will be released. Credit cards are not accepted.6. LOTS SOLD AS VIEWED. All lots are sold as viewed and with all erros in description, faults and imperfections whether visible or not. Neither 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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iNdex OF artiStS

McCahon, Colin 1

Al, Et 38

Albrecht, Gretchen 94

Bambury, Stephen 35, 47

Binney, Don 31

Brown, Nigel 82

Cotton, Shane 20, 60

Culbert, Bill 25

Dali, Salvador 59

Dashper, Julian 13, 62

de Lautour, Tony 63

Fomison, Tony 30, 61

Francis, Sam 64

Frizzell, Dick 21, 26, 44, 76, 77, 95

Goldie, Charles 32

Hammond, Bill 45, 46, 53, 84

Hanly, Pat 6, 37, 50, 89

Hatcher, David 56

Hipkins, Gavin 87

Holmwood, John 17

Hotere, Ralph 12, 42, 51, 57, 93

Intra, Giovanni 11

John, Augustus Edwin 74

Killeen, Richard 28

Loy Kemarre, Abie 70, 71

Maddox, Allen 22

McCahon, Colin 1, 16, 29, 36

Mitchell, Sam 5

Morrison, Robin 88

Morton, Gracie Pwerle 68

Napangardi, Lily Kelly 67

Napangardi, Dorothy 65, 66, 69

Parsons, Anton 78

Peryer, Peter 10

Petyarre, Kathleen 72

Pound, Patrick 55

Pule, John 43

Rae, Jude 23, 24

Reynolds, John 58

Robinson, Ann 14, 48

Robinson, Peter 27

Ross Smith, Barry 80, 81

Shepherd, Michael 9

Smither, Michael 15, 39, 49, 52, 73, 92

Southon, Zarahn 85

Stichbury, Peter 19

Swallow, Ricky 33, 34

Thompson, Elizabeth 2, 3

Thomson, Jeff 4, 91

Tole, Charles 54

van Hout, Ronnie 7, 8

van Hout, Ronnie 86

Walsh, John 79

White, A. Lois 18

White, A Lois 75

Wong, Brent 40, 41

Woollaston, Toss 83

Wright, Walter 90

webb's catalogue 319 important works of art

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