Full details of each lot are displayed, except the lot number, estimate and price. You must be a subscriber to view lot numbers, estimates and prices.

Click here to view registration and subscription levels

Oceanic & Indigenous Artefacts — Webb's

Auction House:Webb'sNumber of lots recorded:176
Sale Title:Oceanic & Indigenous ArtefactsLots with images:176
Auction Location:AucklandPrices available:126
Date:17-May-2021
***
A Baule mask, Ivory Coast. Associated with the ancestor cult. Carved from wood a single piece of wood, this make is a small oval shape. It depicts a female face with a textured coiffure. The eyes are shaped like almonds, the nose is thin and long, and the lips are pursed. The rim of the mask has six holes for fastenings. Height 70 cm, width 13 cm, depth 7 cm
***
***
***
A Kamoro Kaware festival mask, Papua New Guinea. The Kaware festival in which is mask is worn, celebrates new life after death. Made in the late 20th century. Made from a bark cloth base and rattan weaving, plant fibre fringing, and plumage of cassowary and chicken. Feathers. Height 140 cm, width 100 cm
***
***
***
A Lega mask, Democratic Republic of Congo. Used in initiation ceremonies for the Bwami society. The Bwami society is a centuries old voluntary society which promotes peace among the Lega who have no centralised state or regional authoritative roles. Lega masks are not often worn on the face, they are adorned on different parts of the body or hung for display. Carved from wood and coloured with white pigment. The mask is a small circular shape with almond shaped eyes. The nose is a raised ridge that runs…
***
***
***
A collection of six Voodoo figures, Benin. The figures are all carved from wood and are wrapped in fabric and cord with bitumen. Some of the figures have bottles, shells, and feathers. Largest height 19.7 cm, width 5.5 cm, depth 6 cm
***
***
***
A Kumu mask, Democratic Republic of Congo. The Kumu people inhabit the Ituri rainforests in the eastern part of the Congo. Masks in Kumu society are used in initiation ceremonies for coming of age. Carved from wood this mask in an oval shape with blocking contrasting pigments in brown, beige, and black. The eyes are small oval shapes and the mouth hole hints at a smile. Height 25.5 cm, width 16 cm, depth 8 cm
***
***
***
A Hemba figure, Democratic Republic of Congo. Carved from wood. Torso resting on a calabash and is held to place with fibre cord and bitumen. Height 26 cm, width 13 cm, depth 12.5 cm
***
***
***
A kete mask, Democratic Republic of Congo. The mask is carved from a single piece of wood. It depicts a face with an exaggerated long jaw line and large protruding eyes with small eye holes. The mask is coloured with red, black, and white pigment. The headdress at the back of the mask is finely woven from raffia and coloured black raffia. Length 56 cm, width 22.5 cm, depth 17 cm
***
***
***
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…
***
***
***
A Yoruba mask, Benin, Nigeria. Gelede masks are worn by male Yoruba dancers in honour of female living members of the community and passed female ancestors. The headpiece of the mask is made from wood and is highly pigmented with a red base and detailing in white, blue, black, and yellow. The headpiece sits on a basket woven base resting on the head. The base is covered in woven raffia and has decorations of cowrie shells. Height 57.5 cm, width 28 cm, depth 23 cm
***
***
***
A Luba headrest, Democratic Republic of Congo. The Luba are a Bantu speaking people located in the south central Democratic Republic of the Congo. This headrest would have been used by the owner to elevate the head and protect the hairstyle of the wearer. Headrests are more frequently owned by royalty and elite as their hair was more likely elaborately styles. Carved from wood with a dark brown patina. A concave rectangular top that is supported by a kneeling female figure holding her breasts. Height 15.5…
***
***
***
A Phemba maternity figure, Democratic Republic of Congo. Yombe figures were often placed upon shrines to honour ancestral mothers. This figure is carved from wood and has a rich brown patina. The female figure is bare-breasted, she sits with her legs crossed. Upon her lap is a small child. The figure is mounted on a small cube stand. Height 18 cm, width 59 mm, depth 5.9 cm
***
***
***
A headrest, Tanzania. The headrest is c arved from wood and has a dark brown patina. The headrest has a concave rectangular top, four legs and at each end of the headrest is a rhinoceros head. Height 10 cm, width 35 cm, depth 7.6 cm
***
***
***
A Kanaga mask, Dogon people, Mali. Kanaga masks are worn at dama rituals that are performed to usher the spirits of dead from the vilage. This large mask is a hollowed rectangular form carved from wood. At the top of the head is a tall piece of wood with small carved figures at it's peak. Leather straps secure the two horzontal pieces of wood that create a double cross form. The mask is coloured with black and brown pigment. Height 94.5 cm, width 47 cm, depth 9.7 cm
***
***
***
A Lega mask, Democratic Republic of Congo. Used in initiation ceremonies in the Bwami society. The Bwami society is a centuries old voluntary society which promotes peace among the Lega who have no centralised state or regional authoritative roles. Lega masks are not often worn on the face, they are adorned on different parts of the body or hung for display. Carved from wood and coloured with white and black pigment. The mask is a small circular shape with almond shaped eyes and small rectangular mouth…
***
***
***
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
***
***
***
A Dogon monkey mask, Mali. Masks are worn at dama rituals that are performed to usher the spirits of dead from the vilage. The mask has an ovoid form with hollowed back. The eyes of the mask are small with triangular eye holes. At the head of the mask is a small round form with ears much like an ape. Three vertical ridges run down the face of the mask. Length 33 cm, width 15.5 cm, depth 11.5 cm
***
***
***
A Songye fetish figure, Democratic Republic of Congo. Carved from wood this fetish depicts a figure holding two small figures. The figure has a horn at it's head, wears a woven skirt, and features an armadillo tail. Height 79 cm, width 18.5 cm, depth 18 cm
***
***
***
A Dan mask, Liberia. Carved from wood the mask is a large oval shape with a high brow and pointed chin. The mask has pouting lips and small circular eyes. Around the eyes is a red textile applique that is nailed to the mask form. Length 23.5 cm, width 11.5 cm, depth 6.5 cm
***
***
***
A monkey fetish figure, Cameroon. Carved from wood with a dark brown patina. This fetish figure has a rotund belly with hands resting on knees. The lower portion of the figures legs have broken away. Tied around the monkey's neck is a red fabric cord. Height 32 cm, width 16 cm, depth 17 cm
***
***
***
A Yaka mask, Democratic Republic of Congo. Used in the Mukanda coming of age ceremony, a ceremony that symbolises the rebirth as a man from a young boy. Young boys spend their initiation period separated from their village and made to go through a series of challenges to test their courage. The face of the mask is carved from wood. The face has oval eyes, a circular open mouth with teeth exposed, and a horn or upturned nose. At the top of the mask is a black fabric hat with yellow and red dots with four…
***
***
***
A Sikasingo figure, Democratic Republic of Congo. Carved from wood in a smooth dark patina. The figure depicts a standing male with an oval face, a long neck, square shoulders, a short body and bent knees. The figure stands on a small square base. Height 29.5 cm, width 9.5 cm, depth 9.5 cm
***
***
***
A Chokwe mask, Angola. This is a Pwo mask, it's purpose is to honour ancestral women of the Chowke. Carved from wood this small mask depicts a face with almond eyes and thin slit eyeholes. The mouth is slightly downturned and exposes small filed teeth. The forehead has an inscribed symbol that is prominent in Pwo masks, it is said to depict a cosmogram. The hair of the mask is braided from red textile with attached seeds, cowrie shells, and beads. Height 19 cm, width 23 cm, depth 21 cm
***
***
***
A Senufo Kepeliye'e mask, Senufo, ivory coast. Poro society mask. An oval face with geometric projections at the sides. Raised and incised scarification patterns. Provenance: from the collection of Keith St Cartmail. Height 43 cm
***
***
***
A Kuba mask, Democratic Republic of Congo. Carved from wood, the mask is coloured with black, brown, red, and white pigments. The headdress of the mask in woven raffia. Height 29 cm, width 20.5 cm, depth 18 cm
***
***
***
A Yoruba figurine, Nigeria. From the 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
***
***
***
A Coptic rosary, north Africa. The pendant of the rosary is carved from a polished wood, it depicts Jesus Christ on the cross. On the reverse of the cross is the letters 'I.H.S' inscribed. The pendant sits on a cord of beads. Length 34.7 cm
***
***
***
A Mossi Biiga doll, Burkina Faso. A Biiga is a fertility doll used to aid Mossi women in conception. When leaving the homes of their fathers to live with their husbands, Mossi women bring their biiga dolls with them. Carved from a single piece of wood, this biiga is tall and thin. It depicts a female figure. The figure stands on a small circular base. Height 34 cm, width 4 cm, depth 7.5 cm
***
***
***
A Songye fetish figure, Democratic Republic of Congo. Carved from wood, the figure is depicted holding its large stomach and its feet form a circular base. The figure has a single horn to the upper and wears a necklace of red beads and a skirt of red fabric. Height 24.5 cm, width 10 cm, depth 9 cm
***
***
***
A Dogon mask, Mali. Depicting an antelope. Kanaga masks are worn at dama rituals that are performed to usher the spirits of dead from the village. This mask has a rectangular form head carved from wood. A slender long arrow shaped nose and projecting mouth. The mask has four vertical horns. The mask is coloured with black and red pigment in a dot pattern. Fibre rope ties at the back. Height 51.5 cm, width 20 cm, depth 14 cm
***
***
***
A Hemba ancestral figure, Democratic Republic of Congo. Hemba figures are typically devoted to the representation of male ancestors. Hemba people understand that ancestors live in a realm separate from the living but are able to watch over the living in this realm and that ancestor figures act as vessels for these ancestors. This figure is carved from wood and depicts a standing male with a long ovoid faces, square shoulders, and long slender body, and bent knees on a circular base. Height 42.5 cm, width…
***
***
***
A Lega mask, Democratic Republic of Congo. Lega masks are not often worn on the face, they are adorned on different parts of the body or hung for display. A minimalistic mask carved from wood. The face is a rectangular shape with the widest point at the brow ridge. The eyes are small pierced holes and the nose is a thin peak that runs down the mask's face. Plant fibred emerge out of the square hole mouth, they are knotted at the chin. There are remnants of a white pigment. Height 50 cm, width 16 cm, depth…
***
***
***
A pair of African Ngoma drums, Bantu people. Long cylindrical bodies covered with cow skin ends. Raised relief on one of the drums of a figure. Height 120 cm
***
***
***
A Dan mask, Libera. Carved from wood, this mask has an oval shaped face with a pointed chin. The mask has pouting lips and thin slits for eyes. Around the edges of the mask are circular holes. The wood has a rich dark patina. Height 55 cm, width 40 cm, depth 7 cm
***
***
***
An anthropomorphic stool carving, south America. Carved from a single piece of wood, this stool depicts a figure on all fours. The wood is coloured with red, black, and white with natural pigments and the eyes of the figure are cowrie shells. The top and base are circular disk. Height 357 mm, depth 33.5 cm
***
***
***
A Kwere trough zither, musical instrument, Tanzania. Known as a 'Inaga' to the Kwere. Carved from wood and coloured with a brown patina, the zither is a long rectangular shape with concave sides. At the top of the handle is a figure. Length 65 cm, width 7.5 cm, depth 5 cm
***
***
***
A shield, Africa. Carved from wood. An oval form with a small central peojection at the front centre. Coloured with black, grey, yellow, and brown triangular designs. Length 44.5 cm, width 19.5 cm, depth 9 cm
***
***
***
A Shona knife, Zimbabwe. 19th century carved handle and sheath with geometric decoration and iron blade. Length 18 cm
***
***
***
A Bambara Chi Wara Headcrest, Mali. A Chi Wara represents the spirit that taught the Bambara agricultural practice. The Chi Wara is worn on the head in dance. The dancer also wears a costume made of long raffia strands. Carved from wood, the headdress depicts an antelope. The antelope has strings of beads and cowrie shells falling from its horns. The Chiwara is on a disk shaped headdress covered in a beige textile and ornamented with cowrie shells. Height 48 cm, width 24 cm, depth 116.5 cm
***
***
***
A Worlley game board, Yacouba tribe, Democratic Republic of Congo. Carved from wood, this games board has a grid of 32 square compartments, at the bottom of the board is one large raised square dish. The top of the board has a carved head. Length 75 cm, width 30 cm
***
***
***
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,…
***
***
***
A throwing club, Tonga. 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. Length 33 cm
***
***
***
A Kiakavo war club, Fiji. 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…
***
***
***
A paddle club 'akau-ta, Tonga. The ' akau-ta was a symbol of rank as well as a weapon. This example differs in its shape, the handle in the form of a quatrefoil section and the head shaped like a paddle. Tongan clubs are renowned for their exquisitely fine decoration and this is another stunning illustration. Provenance: from the collection of Keith St Cartmail. Length 104 cm, width 11.5 cm
***
***
***
A wooden kava bowl, Fiji. Carved from a single piece of wood, this kava bowl rises from four cylindrical legs. The bowl is a ovoid form and features a triangular lug with two pierced holes. Height 16 cm, depth 51.1 cm
***
***
***
A club, Samoa. 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
***
***
***
A 20th century Masi, Fiji. A Fijian small tapa cloth of an old traditional stencil pattern. A series of natural and black patterned and plain brown borders enclosing a central panel. A stylised flower motifs on black and brown grounds and separated by black patterned panels. Height 74.5 cm, width 233.5 cm
***
***
***
A 20th century Masi, Fiji. A Fijian tapa of geometric patterns with lines, diamonds, and triangles in boarders around a large central panel. Black and brown natural pigments on the natural beige colour of the tapa cloth. Height 244 cm, width 113.5 cm
***
***
***
A small Hiapo, Niue. Intricate floral designs in black on a light brown ground. Delicate fringing. Samoans are said to have introduced Niueans when they were brought over as missionaries with Captain cook in 1774. The distinctive fine lines seen in Niuean Hiapo emerged in the late 1880s. The production of Hiapo in Niue dramatically declined in the late nineteenth century. Height 60 cm, width 131 cm
***
***
***
A raku fired water vessel, Fiji. Made from terracotta. A spherical body with three small lipped openings on short necks. Applied ceramic dot design. The vessel sits on a plait woven ring base made from dried panadus leaf. Height 42.5 cm, width 32 cm
***
***
***
A raku fired vessel, Fiji. Made from terracotta. A spherical body with a large circular opening. Applied ceramic dot design and floral incised patterns. The vessel sits on a plait woven ring base made from dried panadus leaf. Height 31 cm, depth 22 cm
***
***
***
A raku fired vessel, Fiji. Made from terracotta. The vessel has two shoulders with a rounded body. Applied dot designs to the shoulders. The vessel sits on a plait woven ring base made from dried panadus leaf. Height 25.5 cm, width 24.5 cm, depth 16 cm
***
***
***
A Solomon Island club. Carved from a single piece of wood and coloured dark brown. The head of the club has incised geometric patterns that have been coloured with white pigment. Length 88.3 cm, width 9.1 cm, depth 5 cm
***
***
***
A neck adornment, Solomon Islands. Made from a large clam shell centred with a delicately cut tortoise shell overlay. On the reverse is two strings of tridacna shells. The neck cord is made from braided plant fibre. Length 22.5 cm, width 18.6 cm, depth 7.6 cm
***
***
***
An Alafolo club, Solomon Islands. A delicately carved club with flat rectangular blade enlivened by a raised fin on each side. The shaft terminates with a double-flange pommel. The wood has a blackened patina that contrasts with a lime pigment design filled into geometric incisions at the head of the club. Length 96 cm, width 6.5 cm, depth 6 cm
***
***
***
A large Masi, Fiji. A large tapa with two panels of contrasting designs, one side heavily designed with black and brown naturalistic designs, the other has rubbing patterns in brown and a central large triangle motif in black and brown. Height 500 cm, width 172.8 cm
***
***
***
A Solomon Island club. The club has a long shaft with a tear shaped head. Both sides of the head has a raised medial line running down. The shaft has a woven cane handle wrap that is damaged. Length 119 cm, width 11 cm
***
***
***
A bowl with mother of pearl inlay, Solomon Islands. Carved from a single piece of wood, this bowl is an oval shape, it sits on a short oval foot, and has handles carved to depict a Bonito fish. The wood has been blackened and decorated with mother of pearl inlay. Height 26 cm, width 66 cm, depth 18.5 cm
***
***
***
A Siapo tapa, Samoa. Made from the inner bark of the u'a paper mulberry tree. A square shaped siapo decorated with brown and black dyes creating square panels with flora designs. The Siapo Tasina is a tapa that has been decorated with a pattern that has been carved into wood that is placed under the tapa and dyes have been rubbed over. Leaves are also used to create these patterns. Height 156 cm, width 153 cm
***
***
***
A Masi, Fiji. Made from the inner bark of the u'a paper mulberry tree. The tapa is a large rectangular shape. It is decorated with dyes of black and brown creating rectangles with in rectangles patterns. The edges of the tapa are fringed. Length 284 cm, width 15.5 cm
***
***
***
A Siapo Tasina tapa, Samoa. Made from the inner bark of the u'a paper mulberry tree. A square shaped siapo decorated with brown and black dyes creating square panels with flora designs. The Siapo Tasina is a tapa that has been decorated with a pattern that has been carved into wood that is placed under the tapa and dyes have been rubbed over. Leaves are also used to create these patterns. Length 142 cm, width 142 cm
***
***
***
A paddle club, Solomon Islands. Carved from wood, with a leaf-shaped head, with a raised line running down the head. A long cylindrical shaft with finial at the end. The handle is wrapped with red coloured cane. Length 110.5 cm, width 12.5 cm
***
***
***
A Kiakavo club, Fiji. Carved from a single piece of wood, the club has a long cylindrical handle. The head of the club is incised with patterns and also features a spur. Length 84 cm, width 20 cm
***
***
***
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
***
***
***
A walking stick, Solomon Islands. A smooth black patina. A long cylindrical shaft with a widening upper section with white shell inlay. Length 79.5 cm
***
***
***
A Trolling lure, Solomon Islands. Mother of pearl flashing and carved turtle shell barb bound with woven natural fibre. Length 12 cm
***
***
***
A Trolling lure, Solomon Islands. Mother of pearl body, carved turtle shell brab fastened with woven fibre line. Length 12 cm
***
***
***
A Trolling lure, Solomon Islands. Mother of pearl flashing and carved bone barb bound with woven natural fibre. Length 13 cm
***
***
***
A grouping of hook fragments, Polynesia. A pa kahawai curved body with muka binding and line, three mother of pearl lure bodies, and two carved turtle shell barbs. Largest length 11.5 cm
***
***
***
A fishing lure, Polynesia. Tortoise shell carved hook bound to shell body with fine string binding and attached line fragment. Length 9 cm
***
***
***
A fishing lure, Polynesia. Shell carved hook bound to shellk body with fine string binding and attached line fragment. Length 11 cm
***
***
***
An exquisite chiefly lure, Tonga. Of rare and large form. Whale bone shank, carved turtle shell barb and pearl shell base bound with natural woven fibre. Length 18 cm
***
***
***
A matau (iron shark hook). A good example with single barb, flax fibre binding and trace still partially present. Length 16 cm
***
***
***
An early pa kahawai. Early trolling lure with wooden body, paua flashing inlaid to the interior curve, bone barb with muka binding and line. Length 16 cm
***
***
***
A contact period pa kahawai fishing hook. Paua shell shank with iron barb, lashed with woven muka fibre. Height 11 cm, width 2 cm
***
***
***
An Oceanic stone oil lamp. Likely fueled by seal oil or whale blubber. These lamps were generally used for light and heat with the wick hanging around the raised area in the bowl. Height 4.5 cm, width 12.5 cm, depth 6 cm
***
***
***
A pre European waka hoe. This pre-European example of a longer Maori steering paddle, known as a hoe whakahaere. These longer steering paddles, in pre-European times were usually made of kahikatea wood, which withstood the water and was also suitably light and strong. This longer steering paddle shows evidence of lengthy swamp immersion. A notable feature is the notched butt end providing a grip handle, demonstrating it to have been a working paddle. Length 246 cm, width 10 cm.
***
***
***
A mid/late-19th century waka huia, Maori treasure box. While high-ranking people used treasure boxes to store their prestigious adornments, the waka huia themselves are exquisite works of Art and personal objects that were highly valued, being handed down from one generation to another. A halo of tapu (sacred power) surrounds them because of the ancestral treasures they May have once contained. Since their power, the waka huia would be suspended from the interior rafters of a house to be kept out of reach,…
***
***
***
A pre European waka hoe. This Maori steering paddle is known commonly as a waka hoe, or a canoe paddle-and is sometimes referred to by Maori as a whakatere. A unique feature of this paddle is the carved manaia butt. Waka hoe of this ilk usually have only a knobbed butt. The waka hoe has the appearance of swamp immersion, with a strongly curved handle with reticulated manaia type butt. Leather strapping to the clade and pins to the grip. Steering paddles were usually employed on at least four points of the…
***
***
***
A rare late 19th century whakapakoko atua (Godstick). Whakapakoko Atua were driven into the ground in front of a priest (tohunga), often adorned in feathers or bound in cord. The physical embodiment of the spirit of the gods, these were not worshipped but were an instrument used by the tohunga who vocalised the spirit of the god. Height 77 cm, width 9 cm, depth 8.5 cm.
***
***
***
A superb korowai. The korowai exemplifies whatu, finger weft twining. Whatu is artform that has been passed through generational knowledge since the ancestral migration to Aotearoa some 900 years ago. The body of the cloak is woven with fux flax and decorated with long black twisted throngs. Framed and mounted. Height 132 cm, width 133 cm.
***
***
***
A exceptionally large archaic toki, North Island Region. A long tapered form with pecked finish. The stone is a dark grey/black tone. The surface is rough and chipped from use. Mounted on a large metal display mount. Length 30 cm, width 8 cm, depth 5 cm
***
***
***
An exquisite long handled axe (toki kakauroa). A long cylindrical shaft with a dark brown patina. Mid way up the handles length is a carved faces with paua shell inlay eyes. Steel axe head. Length 147 cm, width 20 cm
***
***
***
Hongi Hika's Royal presentation Fowling piece. Maker of the gun. John Twigg (English 1732-1790). Provenance: gifted by King George IV to chief Hongi Hika, 1820. Bequeathed to son-in-law, Hone Hika 1928. Private collection, Melbourne Australia. Gun description. Silver mounted, half-stoked percussion fowler, 16 bore, 36' barrel, stepped lock plate engraved 'Twig'. Hall marled silver furniture by Michael Barnett dated 1782 with acorn finial to trigger guard and engraved butt plate. 'A nineteenth century…
***
***
***
A rare late 19th century Maori carved kauri figural inkwell. Intricate carved detailing featuring three figures with paua inset eyes on an oval base. One sits on the back of another, holding up the inkwell. The third offers supports from the other side. Original glass inkwell and richly-finished patina. Height 16 cm, width 26 cm, depth 11 cm
***
***
***
An extremely rare pounamu breastplate adornment. Found in a river inlet in Otago in the 1950s. This archaic breastplate was traditionally carved with countersunk suspension holes and lashing grooves, such a piece would have been worn only by a high-ranking members. The stone is gem quality Southland jade with areas of chatoyancy and no visible inclusions. The carving is so fine that the piece has a clear translucent quality making it one of the finest and rarest examples of a pre-European pounamu anywhere…
***
***
***
A rare and important Pak' (rain cape). One of the rarest and finest examples to be seen anywhere in the world. This particular example was removed from New Zealand immediately following the 1886 eruption of Mt Tarawera by American lecturer Dr. A Fairbrother. He was known to have one of the finest collections of Maori korawai, carvings, and clubs in the world. After Fairbrother left New Zealand following the eruption, the cloak was included in a tour of the USA in 1888. It is likely the cloak was collected…
***
***
***
A large and impressive pounamu blank. An exceptional example of pre-European Maori master craftsmanship. An incomplete example, a piece of this superb quality would have been destined to be carved into a tool or weapon for a very high-ranking individual. This piece is of gem quality with chatoyant streaks throughout and an extremely high acoustic resonance. Found by a deer stalker in a small cave in the central North Island c.1950. Length 55.6 cm, width 14 cm
***
***
***
A Tapahi pounamu bronze plaque by James Mcdonald (1865-1935). Renowned photographer and sculptor. C.1910. A rectangular plaque with high relief depicting a Maori male carving pounamu with a stone tool. Height 53 cm, width 40 cm, depth 5 cm
***
***
***
A patu muka flax beater. Carved from stone, the tool has a bulbous head and a flattened pounding surface, a tapered grip, and knob head. Length 31.5 cm, depth 9.5 cm
***
***
***
Arthur James Isles 'Ancient Maori Carvings'. Albumen silver print. Mounted in black frame with gold meander boarder decopration. Text in the photo describes the image as 'Ancient Maori carving'. Height 19 cm, width 14 cm
***
***
***
A carved wahaika. Carved from wood with a deep red/brown patina. A lobed blade. To the inside of the blade is a female figure. The butt of the wahaika has a manaia face with protruding tounge. A pierced hole at the butt with a cord. Length 39.1 cm, width 15 cm
***
***
***
Blind Solomon Led by his Wife on a Missionary Journey. 1852. Lithograph and watercolour on linen for the working Mans Educational Union. Framed and mounted. 120 cm x 90 cm
***
***
***
A toki adze blade. A tapered form with a narrow butt end and a curved bevel. Length 19 cm, width 5.2 cm, depth 3.2 cm
***
***
***
An impressive Jane Brenkley carved box. The lid features an uncommon design of possum and tuatara forms flanked by Maori masks and organic spiral patterns. The design is carved and painted, with inset paua detailing. Pokerworked and painted cottage scene to the interior lid, with epithet 'May Your heart be ever happy.., Jane Brenkley 1954'. The interior of the box is decorated with decoupage cut-outs of young women on a wallpaper background. Repair to hinge. Height 12 cm, width 53 cm, depth 28 cm
***
***
***
A Jane Brenkley Maori folk art side table. The rectangular top with highly detailed carving depicting a man, woman and dog in the foreground, and a lake scene in the mid ground. Carved figural central column and stepped base. Signed and dated 1942. Height 58 cm, width 46 cm, depth 30 cm
***
***
***
A kauri Ditty box from the Shaw, Savill & Co. New Zealand Emigrant ship S.V. Lady Jocelyn 1878. Attractively carved in the round with local flora and fauna and geometric shapes, inscribed to one side lady Jocelyn 1878 with sliding lid. Built by C.J. Mare of Blackwall in 1852 for the general screw S.S. Co.'s East Indies trade, the lady Jocelyn was an auxiliary barque registered at 2138 tonnes. Bought by Shaw, Savill & Co. In 1866, they removed her engines to make space for service as an emigrant ship and…
***
***
***
A large and impressive waka prow by the late Tamati Edwards. This prow was chisel carved by the late Tamati Edwards who is of Ngapuhi of Northland, New Zealand. The prow is an exact downsized replica of the famous Ngapuhi waka taua named Ngatokimatawhaorua, which was originally carved on the Te Ikaroa peninsula in the Waikare river. The timber for this waka was donated by Kapotai tribe from the Waikare and trees came from the kauri forests of the Ngaiotonga.The original waka is to be viewed at Waitangi and…
***
***
***
A Peter Chatsworth attributed Tukutuku panel. Entitled 'My Marae. Tukutuku panels are an integral part of story telling for Maori and were designed to hold the attention of the viewer as the story unfolded. They were designed to add aesthetic beauty to the surroundings of the interiors of wharekai and meeting houses where they were held in conjunction with the carvings of the rafters and the pou and pare panels to add to ancestral stories. The traditional tukutuku panel is a lattice-like frame made up of…
***
***
***
A Peter Chatsworth attributed Tukutuku panel. Entitled 'My Turangawaewae. Tukutuku panels are an integral part of storytelling for Maori and were designed to hold the attention of the viewer as the story unfolded. They were designed to add aesthetic beauty to the surroundings of the interiors of wharekai and meeting houses where they were held in conjunction with the carvings of the rafters and the pou and pare panels to add to ancestral stories. The traditional tukutuku panel is a lattice-like frame made…
***
***
***
A Peter Chatsworth attributed Tukutuku panel. Entitled 'Maunga. Tukutuku panels are an integral part of storytelling for Maori and were designed to hold the attention of the viewer as the story unfolded. They were designed to add aesthetic beauty to the surroundings of the interiors of wharekai and meeting houses where they were held in conjunction with the carvings of the rafters and the pou and pare panels to add to ancestral stories. The traditional tukutuku panel is a lattice-like frame made up of…
***
***