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Decorative Arts — Webb's

Auction House:Webb'sNumber of lots recorded:339
Sale Title:Decorative ArtsLots with images:339
Auction Location:AucklandPrices available:166
Date:14-Mar-2020
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A set of six Mart Stam cantilever chairs, the iconic tubular chrome design by Dutch architect and furniture designer regarded as the organic creator of the cantilever chair design, height 82 cm, width 60 cm, depth 55 cm
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A pair of Pierre Jeanneret Chandigarh chairs Pj-Si-28-B, Pierre Jeanneret, chair Pj-Si-28-B originally designed for the architectural offices in Chandigarh, India, 1955-56. The frame constructed of Burma teak, with the seat and backrest recently restored to the rare woven cane star pattern. The inverted 'V' shaped legs present the modern, functional profile lines typical of Jeanneret's work, matched by the incurved backrest attaching to the seat, and anchoring the tapered arms. One with partial original…
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A pair of Ann Robinson twisted flax seed pods, lost wax cast lead glass and bronze. Diptych, signed and dated 2010 and inscribed N.Z. Each, height 3.5 cm, width 8 cm, length 0 cm (each)
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A pair of Italian armchairs, finished in a mottled ivory felt and raised on four tapering cigar legs terminating in brass cappings, height 86 cm, width 86 cm, depth 75 cm (each)
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Gerard Deneriaz 'Razzia'- Pasta, lithograph, large format vintage poster. 1983, hand-signed lower left, an Al Dente Brothers production. 158 x 120 cm, this piece is from a private collection of original, rare French vintage posters that have been produced as early as the 1920s and have been assembled from various visits to Paris. They have all been framed using a range of conservation materials to preserve their unique appeal for many years ahead.
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A set of five T H Brown bar stools, designed in the early 1960s by Australia's leading mid-century furniture maker, T. H. Brown. Solid ash structure with angled and splayed legs, the seat upholstered with black leather. T. H. Brown has been committed to crafting high-quality furniture from the finest sustainable timbers and premium leathers available, each item being hand-finished by expert craftsmen. Labels on the underside, height 70 cm, width 40 cm, depth 40 cm
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A Vittorio Dassi buffet, C. 1960, Italian designed buffet in a five-door formation with standing mirror. Finished in rosewood with green smoked glass tops and brass embellishments, floral motifs etched to each side of the standing mirror, height 206 cm, width 300 cm, depth 50 cm
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A bone inlaid mirror, height 122 cm, width 92 cm
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A Hanz Olsen for C S Mobler rocking chair, in a teak frame with plaited weave seat and leather removable headrest, height 100 cm, width 62 cm, depth 80 cm
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A set of four Italian Infiniti loop chairs, stackable design with chrome plated legs and one piece shell seat design. Manufacturer's mark to underside of seat, height 81 cm, width 59 cm, depth 53 cm
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A pair of Larsen and Bender Madsen occasional chairs, crafted in solid teak with leather upholstery, these chairs by the iconic Danish architects are a refined example of the design duo's prolific career. Willy Beck maker's label to the underside of each chair, height 80 cm, width 64 cm, depth 54 cm (each)
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G. Nicolitch - camping, vintage lithograph signed and dated 1967 in image, 116 x 157 cm, this piece is from a private collection of original, rare French vintage posters that have been produced as early as the 1920s and have been assembled from various visits to Paris. They have all been framed using a range of conservation materials to preserve their unique appeal for many years ahead.
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An original 1950s magazine rack, with triangular geometric detailing, and raised on four pin legs with wooden platform base, height 30 cm, width 37 cm, depth 12 cm
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A rare Pierre Cardin rug, C. 1970. Crimson and chocolate brown colourway with a kinetic pattern. 182 x 182 cm
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A 1970s Foamcore egg chair and ottoman, Reupholstered in pine green quilted velvet and rechromed pedestal base. Chair, height 115 cm, width 70 cm, depth 70 cm, ottoman, height 30 cm, width 65 cm, depth 65 cm
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A Jonathan Adler Utopia ice bucket, with mermaid and sailor depictions raised in relief. Ceramic sieve to interior, height 19 cm, diameter 17 cm
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A Belgian mid-century rug, crafted by Bic carpets, model Boom 373 batik. Woven tufted rug, woolen pile, sand colour. 175 x 238 cm
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A trio of contemporary Insect prints, based on 19 th century illustrations by Edward Lear. On canvas, framed. 102 x 78 cm (each)
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A rare and original photograph depicting the original All Blacks - the New Zealand football team, 1905, of note as one of the very few examples showing the legendary team dressed in very dapper formal attire, many with silver fern lapel badges and brandishing pocket watches on chains. Silver gelatin print on mountboard, some foxing to mount. 23 x 29.4 cm. Along with an additional retouched and enlarged modern print mounted on foam board. 68.5 x 71 cm, the original All Blacks (also known simply as 'The…
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Photographer unknown - New Zealand native football club 1888-89, gelatin silver print. Title inscribed. 12.8 x 20.5 cm, Posing in front of the United Tribes flag and the Union Jack flag, the New Zealand native football Representatives were the first team to perform the Haka and to wear all black. The tour for which this photo was taken was organised entirely by players and was not backed by any authoritative rugby entity, they played a total of 107 matches and were the first to tour beyond Australia.…
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Photographer unknown - an early New Zealand football team, silver gelatin print. 11 x 16 cm
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A gold medalist Peter Snell's 1960 Rome Olympics blazer, Webb's is honoured to present for auction the blazer that New Zealand middle distance running gold medallist Peter Snell wore at the 1960 summer Olympic Games in Rome, Italy. This is an incredibly significant piece of New Zealand's sporting history that embodies a time in Olympic sport when comparative outsiders such as Snell could shock the world with their unexpected ascendancy. Acquired from Snell's ex-wife Sally sometime in the 1970s by the…
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An important New Zealand native timber jewellery box by Anton Seuffert, the top inlaid with a border of geometric laid native timbers, surrounding a cartouche with fine scroll inlays and fern inlays. The sides with Gothic arched cartouches displaying various native timbers. Label to the interior, with lift-out tray with scroll inlaid lids, length 323, height 13.5 cm, depth 24.1 cm
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A mahogany Scotch chest, with two drawers over four-long drawer format. Turned mahogany knobs and brass key fixings. Raised on knopped and faceted legs, height 130 cm, width 10 cm, depth 50 cm
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A Len Castle stoneware table bowl, raised on a pointed base giving the illusion of the bowl levitating. Highly mottled interior grey and brown glaze. Sticker 'No 80' and maker's mark to base, height 10 cm, diameter 33.5 cm
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A large Len Castle bowl, with an interior blue and grey glaze, the exterior with a brown finish and horizontal ribbing, height 8.5 cm, diameter 33 cm
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A Maori carved pediment, carved meticulously from a single piece of wood, depicting entangled manaia and other mythological figures. Provenance: from the collection of Keith St Cartmail, height 113 cm, width 40 cm
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A Royal Doulton 'Kia Ora' jardiniere, embellished in relief with tiki, masks, spiral motifs, and oval 'Kia Ora' stamps against a mottled blue band. Vibrant darker blue to the lower section, height 17 cm, diameter 23 cm
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A set of six Guy Ngan tiles, three with simplified elephant design moulded in relief with crackle glaze, the other three with an abstracted geometric design. Faults, height 15 cm, width 12 cm (each)
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A Frans van Der Heijden and Kate Hume 'Birdman' table, in veneer and solid oak, height 74 cm, length 50 cm, depth 90 cm
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A rare and impressive heraldic map of Towns and Counties Served by Southern railway, showing areas of England and France. By 'Shep' Charles shepherd, 1933. Printed by the Baynard press, London. Quad Royal format. 101.6 x 1270 mm
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A large Aldo Londi for Bitossi abstract garden line lamp, hand-thrown lamp produced in Italy, featuring exquisite incised details and glazing. United States plug, requires rewiring for New Zealand standard, height 110 cm, diameter 31 cm
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A Western Solomon Islands club, made of dense, heavy wood with an elegant teardrop-shaped flattened blade and raised medial ridge that extends into a tapering shaft terminating with a geometric pommel. Intense dark chocolate glossy patina. Decorated with an engraved cross design on the blade, length 100 cm
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A Samoan club, finely carved from hard wood with a diamond-shaped blade and raised medial ridge that extends into a short haft. The geometric decoration is exceptional with the vignettes framed by chevron motifs, length 90 cm
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An exquisite Solomon Islands Alafolo club, delicately carved club with flat rectangular blade enlivened by a raised fin on each side, that extends into a square shaft interspersed with a diamond-shaped knob and terminating with a double-flange pommel. Blackened patina contrasting with lime filled chevron and abstract frigate designs, captivating and distracting the viewer. Blackened wood juxtaposed with white or high gloss embellishments is common in the Solomon Islands inducing a feeling of awe and…
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A rare Tikopia club, Solomon Islands, long and slender club finely carved from dense wood, with an elongated leaf-shaped blade and raised medial ridge that extends into a cylindrical shaft, decorated with six raised ribbed bands where the blade and the shaft meet. Honey-brown patina with wear indicative of use and age, length 140 cm
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A Masi beater, Fiji Islands, Quadrangular hardwood beater with tapering handle, three of the beating sides with incised lines, the fourth side uncarved. Fine dark-brown patina with wear indicative of significant use and age. The masi, also called tapa in other regions of Oceania, was made from pieces of inner bark that were soaked, dried and beaten to create a fine and flexible cloth. Women would beat the bark while singing ancestral stories which would load the cloth with ancestral power and prestige,…
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A Vanuatu pig killing club, carved from hardwood, of shouldered hammer form with serrated protuberances at the intersection between the shaft and the striker, representing the pig's jaw. Tapering shaft terminating into a pommel with round butt. Intense dark patina. In Vanuatu, pigs were a symbol of wealth and prestige. They were raised and taken care of for many years, with the most valuable developing the longest tusks. To achieve these long spiral tusks, the upper teeth were removed and they would be fed…
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A Masi beater, Fiji Islands, quadrangular hardwood beater with tapering handle, three of the beating sides with incised lines, the fourth side uncarved. Fine dark-brown patina with wear indicative of significant use and age. The masi, also called tapa in other regions of Oceania, was made from pieces of inner bark that were soaked, dried and beaten to create a fine and flexible cloth. Women would beat the bark while singing ancestral stories which would load the cloth with ancestral power and prestige,…
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A Tongan throwing club, close-range projectile weapon with bulbous head and cylindrical shaft delicately incised with floral and geometric motifs signalling the status of the owner, rich lustrous patina, height 33 cm
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A beautifully carved Korwar headrest from Cenderawasih Bay, Western Papua, formerly known as Irian Jaya. The concave rectangular top is supported by a finely carved symmetrical design comprising arabesques and two korwar figures in a sphinx pose representing ancestral spirits, resting on a platform with incised decoration. Rich and glossy dark brown patina, height 23 cm, width 26 cm, depth 8.5 cm
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A collection of 19th century Fijian dart tips, four dart heads, made of hardwood, two are male type and equipped with a projecting spike carved in the solid, which would fit into the end of a ree shaft and two are female type with an orifice cut into their base to receive the end of a reed shaft. Beautiful timber grain, glossy patina, signs of age and use. Approx, length 18 cm (each)
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A 20th century middle Sepik River ancestral Figure-Mask, Sepik Art is complex: ancestral representations destabilize and appear to be in constant transformation. This male figure with a long hooked nose, symbol of masculine strength, and imposing headdress terminating in carved faces, holds a body shaped as another ancestral figure. The ancestor appears everywhere under multiple forms and absorbs whoever gazes at them. Provenance: from the collection of Keith St Cartmail, height 134 cm
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A Iatmul orator's stool, Kawa Teget, middle Sepik Papua New Guinea, Iatmul, 20 th century. Stool sculpted in the shape of a standing figure giving tangible form to the ancestor, hands on hips, large face enhanced with black, white and red pigments, inlaid shell eyes, perforations around the edge of the face to fasten a postiche beard and adornments, the legs of the stool are bent. Additional small ancestral figures around. When an orator would deliver their speech, they would throw leaves on the stool,…
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A rare cross river mask, likely Igbo, Nigeria, finely sculpted mask presenting a whitened feminine face, with a domed forehead and crowned by an imposing black headdress. The features are sharp with a straight nose, expressive almond-shaped eyes highlighted by dark outlines, open plump lips revealing teeth. The lower part of the face is pierced into three small cavities to thread ornamental rods through. Mounted on a black pedestal, height 35 cm, width 23 cm, with pedestal, height 54 cm
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A rare Senufo Sejen sculpture, Northern Ivory Coast, wooden sculpture in the shape of a bird with a proud chest, spread wings, long beak in an elongation of the skull. The body and the beak adorned with embossed brass slabs. Loss on one of the wings. Produced by the Poro society, representing a hornbill, symbol of parenting and leadership, and used during initiation ceremonies, height 66 cm
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A middle Sepik River ancestral Figure-Mask, Papua New Guinea, squatting figure raised on a curvilinear triangle, elbows resting on the thighs, elongated nose reaches the base, imposing headdress, body shaped as another ancestral figure, rattan structure with a few remnant feathers on the backside aperture. The whole sculpture thoroughly incised with geometric motifs and carved with multiple ancestral figures, producing a striking optical effect in the tradition of Sepik arts: complex ancestral…
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A Yoruba figurine, Nigeria, Yoruba people, Ogboni society. Brass element of staff Edan, mounted on a pedestal. Two figures on top of each other kneeling, the heads covered with a headdress, almond-shaped bulging eyes, flat noses, large mouths, scarifications, necklaces around their necks. This is the emblem of the Ogboni society. Provenance: from the collection of Keith St Cartmail, height 43 cm
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A Yipwon figure, Sepik, Papua-New-Guinea, sculpted from a single piece of timber, representing a yipwon spirit whose function was to help and protect men during hunting. Simplified shape of a body with a head, a leg and a foot, incorporating a series of opposed hooks. The eyes are cowrie inlaid and a tassel ornament is attached to the nostrils. The chevron motifs refer to the crocodile ancestor. Painted in traditional colours: red, yellow, black and white. Considered as very powerful figures, they would be…
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A Iatmul ancestral spirit figure, Sepik, Papua-New-Guinea, female figure in slight squatting position, hands on the hips, with bulging abdomen, large face with cowrie inlaid eyes and crowned with feathers. Plaited fibres adorn the ears, nose, wrists, ankles and waist. The face and the abdomen are covered with the representation of scarifications. The sculpture is painted in black, red and white. Traditionally, such figures would be kept inside men's houses, each representing the ancestor of a social group,…
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A contact period Maori pa kahawai (Trolling fish hook), wooden shank, paua shell laminate and lashed bone barb. Registration pending, length 9.5 cm
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A Iatmul canoe prow, middle Sepik, Papua New-Guinea, collected from Murik lakes in 1979. Wooden carving in the form of a crocodile combining avian features. Crocodiles play a central role in the culture of the Iatmul people as the creation of the world is attributed to an ancestral crocodile. The Art resulting from this belief displays numerous representations of this ancestor that can appear under various forms combining stylized human and animal aspects. It probably used to adorn a canoe that could have…
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A Bamileke elephant helmet mask, Cameroun, representing the elephant spirit, with erect ears, incised ellipse eyes, trunk and tusks curve downward. In animist context, masks would make supernatural beings, such as nature spirits, tangible, height 62 cm
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A traditional Rajasthani silver Torque, Spirals of silver divided into three sections on each side of the fastener. Provenance: from the collection of Keith St Cartmail, diameter 20.5 cm
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A Bwa mask, Burkina Faso, oval face with pierced diamond-shaped mouth, bold geometric motifs repeated in brightly painted designs that enliven the stylized features. Traditionally, when used during social events, such masks embodied nature and ancestor spirits that interact with human beings and influence their lives. At the beginning of the 20th century, they became a source of inspiration for the French avant-garde artists, fascinated by the abstract forms of this Art not trying to imitate the reality…
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A Papuan tapa cloth, rectangular barkcloth from Papua New-Guinea, divided into four panels each filled with labyrinthine geometric motifs in red, bordered by black contours and dotted lines on natural-coloured ground. The pieces of inner bark from paper mulberry trees or breadfruit trees were soaked, dried and beaten with a mallet, and then joined together with vegetal glue to make a larger cloth. The pigments came from ochres and coal and were applied in a unique way according to the culture of the people…
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A pair of Kalabubu coconut necklaces, tapering shape, slices of coconut shell fitted around internal brass frame, polished and dyed black. Prestigious symbol of strength and warfare triumph, this torc used to be worn by the warriors of the people of Nias in Sumatra, Indonesia, believing it would protect them during battles and bring them victory, height 30 cm
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A Maori carved panel, wooden carving of parallelogram form, painted red. Depicting a central tiki head with flared nostrils and heart-shaped mouth, framed by manaia figures and adorned with rauru pattern. Eyes originally inlaid with paua, some are missing. Faults and losses, parts of the piece appear to have been ablated. Registration pending, length 185 cm, width 20 cm
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A Tongan paddle club 'Akau-Ta, long handle in the form of a quatrefoil section and the head shaped like a paddle. The 'Akau-ta was a symbol of rank as well as a weapon. This club being entirely covered with ornamentation suggests that the owner was a highly skilled warrior and therefore held a high status with an exalted mana - the Polynesian concept of power, prestige, and influence. The formal complexity of the carving indicates a labour-intensity of sharply faceted, delicate modelling chisel-work,…
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A very large painted tapa cloth, made from pieces of inner bark after being soaked, dried, beaten and glued together, entirely painted in black with red geometric motifs. Approx. 449 x 4,20 cm
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An Austral Islands ceremonial paddle, of elegant elongated form with a slightly concave teardrop-shaped blade, a raised central ridge which leads to a slender shaft terminating in a circular hilt with, originally, eight protruding ancestral faces (some losses). Richly decorated with bands of interlocking geometric patterns meticulously carved in low relief across the entire surface. Intense chocolate patina. The balance and symmetry convey a sense of harmony and grace making these Austral Islands paddles…
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A Practice taiaha, carved wood, long flat tapering shaft with spatulate blade tip. Signs of wear and use. Mau taiaha, an ancient form of staff fighting, is still taught and practised in New Zealand. During the training, such practice staffs are used to master the techniques of combat. Provenance: from the collection of Keith St Cartmail, length 131 cm
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A Fijian Ula, a throwing club, made from a single piece of wood used as a close-range projectile weapon. One to three throwing clubs were worn in the warrior's waistband, ready to hand as the situation demanded. Heavy spherical head with notches and natural fissures, slender cylindrical shaft ends with a handle, elaborately carved with zigzag design acting as a firm grip for the club bearer and embellishment signalling the status and prowess of the owner. Beautiful smooth glossy patina. Provenance: from…
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A Povai, Tongan war club, made of dense wood, toa (ironwood or casuarina equisetifolia), chocolate glossy patina. Long cylindrical club ends with a haft, decorated with carved chevron motif acting as a firm grip for the club bearer to bludgeon the enemy's head. Provenance: from the collection of Keith St Cartmail, length 94 cm
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Two toki, Maori adze blades, one basalt blade of long tapered quadrangular form, semi-polished surface. Deep flake scars apparent on back, sides and front near the poll. One side of blade damaged by flakes detaching from corner and bevel. Blade edge curved. Cross-section in haft areas has rounded edges. National registration number: Y21006. Approx, length 14.5 cm, width 5 cm, depth 2.5 cm. The other blade, sedimentary stone, of flattened and tapered trapezoidal form with matt polished surface, loss on the…
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A rare Nias sculpted bust, Sumatra, Indonesia, delicately sculpted ancestral figure - adu - of high rank, highlighted by the insignias they wear: the torc around the neck, the large earring on the left ear, the high complex headdress evoking the gold ornaments worn by dignified individuals. Ancestor worship was at the core of Nias beliefs and specific rites would be performed to the sculpture to benefit from the ancestors' benevolence. Faults. Provenance: from the collection of Keith St Cartmail, height 53…
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An impressive Sepik Triple-Visage sculpture, long wooden sculpture carved into three ancestral visages on top of each other, with a high and domed forehead overlooking a flat face structured by a large nose pierced through the septum, bulging concentric eyes and heart-shaped mouth. The entire sculpture thoroughly painted with white polka dots. Provenance: from the collection of Keith St Cartmail, height 190 cm, width 30 cm
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An upper Sepik yam sculpture, carved wood representing two mirroring faces, with bulging eyes, domed forehead, long straight nose and heart-shaped mouth in high relief, joined together by a handle and painted in traditional hues of red, black and white. The reverse reveals another face in its center. In several areas of the upper Sepik River, peoples share an artistic tradition centered on an annual sequence of ceremonies devoted to the cultivation of yams, one of the essential foods of their diet. A man's…
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A middle Sepik mask, Papua New Guinea, oblong face with domed forehead and extended nose pierced through the septum, cowrie inlaid eyes. The lower half of the face bordered by a fibre ruff, the upper half adorned with incised motifs and white and red pigments decorative highlights. Provenance: from the collection of Keith St Cartmail, height 80 cm, width 46 cm
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A large and Remarkable lower Sepik mask, high and domed forehead overlooking a flat face structured by a large nose pierced through the septum, bulging concentric eyes and protruding mouth revealing teeth giving a threatening look to the visage. The entire face thoroughly painted with scroll and undulation motifs in white, black and red to represent the traditional scarifications. In this region, not many masks had the function of hiding the face. They were more often fastened on the frontage or the inside…
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A middle Sepik naturalistic mask, Papua New Guinea, of flat ovoid form, naturalistic face in its center with domed forehead and tongue out, each facial feature highlighted with white pigment. Decorated with carved concentric circles and arrow-shaped designs painted in white. Diamond-shaped finial at the top. Provenance: from the collection of Keith St Cartmail, height 80 cm, width 22 cm
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A Baule Goli mask Kplekple, ivory coast, large circular and flat face with saw-toothed rim, highlighted with tubular eyes and rectangular mouth revealing teeth, crowned with two in-curved antelope horns forming an arc at the top. The mask, representing a bush spirit, would appear at times of danger, along with a raffia costume attached to the lower section of the mask, hiding the dancer completely, for an impressive visual effect, height 110 cm, diameter 70 cm
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A contemporary Aboriginal hollow log coffin, Central Arnhem land, Australia, hollowed tree trunk, painted section between two undecorated ends with cross-hatching and line work designs in traditional colours: yellow, red, black and white. Each log coffin would display ancestral motifs evoking the deceased, here with serpents and tortoises, similar to the ones painted on barks and people's bodies during ceremonies. Traditionally, the ritual of the burial during which the bones of the deceased are painted…
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A Kominimung shield, Goam river, lower Sepik, Papua New-Guinea, wooden shield of oblong shape decorated with a central slightly protruding triangular panel pointed downward, bedecked with concentric motifs and representing an important ancestor. It is flanked by polychrome diamond patterns filling the entire upper half of the shield and refer to emblems of a particular family or moiety. These shields were held by a carrying strap to enable the bearer to move deftly while holding another weapon in the other…
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A Sali, Fijian war club, carved from dense, heavy wood into a spurred head and long cylindrical shaft terminating with a pommel. Rough area on the underside of the head with a large fissure. Light brown patina. The range of types and styles of Fijian clubs was exceptionally wide and whether it was a time of war or peace, the Fijian warriors were seldom without it, always alert of potential danger and used as an emblem to glorify their status. Provenance: from the collection of Keith St Cartmail, length 95…
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An Abau shield, green river, West Sepik, Papua New-Guinea, flat wooden shield of oblong shape with top finial, adorned with mirroring motifs carved in relief and painted with natural pigments of red, black and white. Two perforations on the sides of the shield originally to thread through fibre strap. Such shields would be wielded with expertise to hypnotize, impress and unsettle the viewers. 126 x 54 cm
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An impressive Trobriand Islands feast dish, Papua New Guinea, carved from dense, heavy wood, hollowed-out deeply. Of elliptical form raised on a small base, ornamented with incised undulating geometric designs on the rim. Beautiful grain with the natural veins visible in the bowl that ripples slightly, deep chocolate patina. Provenance: from the collection of Keith St Cartmail, height 13.5 cm, length 85 cm, width 46.5 cm
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A Kalam shield, Simbai area, Madang Province, Papua New-Guinea, Rectangular-shaped shield, ornamented with incised linear pattern referring to clan designs, unpainted. Two perforations on the sides of the shield originally to thread through fibre strap. 83 x 45 cm
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A fine Tongan headrest, of elegant and slender arching form with flaring terminals, creating a graceful curve. Delicate wedge-shaped feet support the lower edge. Small chip on one of the feet's corners. Old weathered patina. Since the head was the most sacred part of the body, being the residence of the mana - Polynesian concept of power, prestige and influence - head supports were fundamental objects that ought to be well designed. The balance and symmetry convey a sense of harmony making this headrest a…
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An Aboriginal bird sculpture, Long-beaked bird perched on an hourglass-shaped pedestal, its head thrown back, painted in red, white and black. Provenance: from the collection of Keith St Cartmail, height 92 cm
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An Aboriginal dancing staff, painted in ochre and white with black stripes. Bark peeled off on some areas. Provenance: from the collection of Keith St Cartmail, length 110 cm
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A delicately carved Trobriand Islands feast dish, Papua New Guinea, carved from dense wood, of elliptical form raised on a small base with symmetrical abstract leaf-shaped lobes, meticulously decorated with incised spiral and scrolls motifs on the rim. Beautiful grain with the natural veins visible in the bowl that ripples slightly, light brown patina. Provenance: from the collection of Keith St Cartmail, height 12.5 cm, length 84 cm, width 44.5 cm
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A large Peter Alger lidded vase, ovoid form with a striking red and grey glaze. Bow handle to either side, height 43 cm, diameter 37 cm
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An early Len Castle stoneware Pourer, in a matte grey speckle glaze. Maker's stamp to base, height 24 cm, diameter 17 cm
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A Mirek Smisek circular footed bowl, the exterior with a single navy band to the upper, the interior with a stone, red and blue glaze. Impressed maker's mark to base, height 7.5 cm, diameter 20 cm
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A large and impressive Barry Brickell terracotta planter, of ovoid form tapering to a point in the lower, and with outward flaring mouth in the upper. A singular horizontal impressed line to upper body, height 57 cm, diameter 43 cm
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A large Barry Brickell salt glaze crock, in a mottled green and stoneware colourway, ovoid form with outward flaring mouth, height 45 cm, diameter 40 cm
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A Michael Cardew (1901 - 1983) bowl - decorated by Henry Bergen (1873 - 1950) C. 1932, an earthenware bowl with a vibrant peach glaze, the exterior with a horizontal decorative band of cross hatching and abstracted floral motifs. Impressed cypher's and maker's marks to base, height 9 cm, diameter 24 cm
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A Chester Nealie hanging patu form, the lower area with a vertical combing and brown finish, the upper handle area in a grey glaze, length 33 cm, width 10 cm
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A large Barry Brickell stoneware bowl, with an internal circumference line in a mottled red glaze. Impressed maker's mark to base, height 13 cm, diameter 33 cm
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A large and impressive salt glazed decanter by Denis O'Connor, bottle form in a mottled finish with vertical areas of rich forest green glazing. Wooden tap to base. Impressed maker's mark to base, height 52 cm, diameter 20 cm
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A Mirek Smisek Grog clay footed bowl, with comb design to the mottle glazed exterior, and the interior with a soft brown glaze and a green pool in the centre. Impressed marker's mark to base, height 10 cm, diameter 20 cm
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A James (Jim) Greig sculptured vase, of tapering disc form with a diamond-shaped column through the centre. Symmetrical diamond mouth and foot. Impressed maker's mark to base, height 17 cm, width 17.5 cm
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A Mirek Smisek salt glazed teapot, in an all over mottled brown and grey glaze, with a band of impressed dots to the upper. Lidded, with strap handle, height 18 cm, width 22 cm
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An early Barry Brickell bowl, blue salt-glazed stoneware, impressed potter's cypher to the lower margin, height 10 cm, diameter 32.5 cm
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A Len Castle Sedge vase, a stoneware sedge vase of flattened ovoid shape, pigmented finish. Impressed maker's mark, height 22 cm, width 14.5 cm
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A Len Castle rectangular stoneware bowl, in a mottled charcoal and blue glaze to both interior and exterior, height 6 cm, width 27 cm, length 2 cm
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A Graeme Storm stoneware vase, of baluster form, with carved floral motif in a banding to the bulbous area of body. In a blue and brown glaze. Impressed maker's mark to base, height 25 cm, diameter 17 cm
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A large salt glaze bowl by Denis O'Connor, both interior and exterior with a rich green glaze of a grey. Raised on a circular foot. Impressed maker's mark to base, height 11 cm, diameter 35 cm
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A Georgian flame mahogany breakfront bookcase, with four glazed doors underneath a shaped cornice, sitting over a four door and single central drawer format base. With turned knobs to the exterior and ivory and brass fixtures to the interior, height 260 cm, width 205 cm, depth 45 cm
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