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Material Culture Live — Webb's

Auction House:Webb'sNumber of lots recorded:171
Sale Title:Material Culture LiveLots with images:171
Auction Location:AucklandPrices available:62
Date:2-Feb-2022
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A folk art Maori inkwell, C.1950s. Two carved tiki heads sitting in high relief either side of a glass inkwell, inset with paua eyes. All over carving to base. Height 7 cm, width 22.5 cm, depth 14 cm
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A totara waka hoe dance stick, ngati Raukawa, carved from a single piece of wood. It would have once had paua shell inlay eyes, however they are now gone. Of the Leslie Adkin collection. Length 24.5 cm, width 5.5 cm. Preveiously of the Leslie Adkin collection
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A pounamu pekapeka, pendant with countersunk suspension hole named pekapeka after the native New Zealand bat which they resemble. Height 8 cm, width 4.5 cm
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A stunning pounamu kapeu (ear pendant), in rich, gem grade Kahurangi stone with exceptional translucence. Suspension hole to the upper with oven trace. A fine example. Length 11.5 cm
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A Bowenite pounamu hei tiki, Orthodox form with hands clasped to thighs. Woven lanyard through suspension hole. Height 11 cm, width 6 cm
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A folk art Maori carved panel, depicting a carved standing figure with inset paua eyes. Bordered with all over carving. C. 1960s. Height 3 cm, width 9 cm length 25 cm
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A pair of poi, Aotearoa, with a raupo outer and a newspaper inner. With four-ply plaited handles of muka, both of which terminate with a muka tassle. The raupo is drying and deteriorating. Length 40 cm, width 7.5 cm
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A waka by master carver Wi Te Parihi Mou Paru, Wi Te Parihi Mou Paru, also known as bill Mou (1912-1974) carved this waka as a private commission in the 1960s. Bill Mou began his carving apprenticeship with Mr. Pine Taipa in 1925 and worked on the Waitangi meeting house in the bay of Islands. Bill Mou has also worked on the Rongopai meeting house at Waituhi. In 1968 bill Mou founded the Maori Arts & Crafts centre in Gisborne and became its first tutor. In 1936 Sir 'Pirana Ngata founded the ngati Paneke…
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A superb Tongan goddess figure, of classical form with a rich patina. This wood figure May have been a vehicle through hich the formidable deity Hikule'o manifested herself in the physical realm. The balance and restraint of the figure's compact posture, articulated through the angular geometry of her breasts, legs, and buttocks, belie her tremendous vigor. Said to guard the entrance to Pulotu, the watery, dark realm of the ancestors, Hikule'o held a ritual role as mediator and was associated with the Tu'i…
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A Fijian figural carving, modernist form in Fijian hardwood, angular profile. Shell inlaid eyes. Height 60 cm, width 11 cm, depth 10 cm
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A Santa Cruz (Solomon Islands) ancestral figure, refined, elegant form with a rich dark patina. Height 45 cm, width 10 cm, depth 10 cm
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A Soloman Islands club, either Rennell or Bellona Island. Lobed to the upper and woven handgrip to the lower. Rich, dark patina. Length 60 cm, depth 12 cm
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A fine Fijian Kinikini of chiefly proportions. Known as the broadsword of the pacific. The kinikini was the most challenging of all Fijian clubs to carve. With its wide blade (often the width of the hardwood tree from which it was made), raised and incised decoration and long slender handle, there was no room for error. Favored amongst warriors and chiefs, able fighting men would rarely be found without one in times of war and peace. This traditional example has been produced with a fine raised and incised…
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A 19th century Fijian Ula, lobed head to the upper and chip carved handgrip to the lower. Rich, dark patina. Presented on custom stand. Height 43 cm, depth 10 cm
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Tafuliae Currency necklace, Solomon Islands, a necklace made up from hundreds of shell discs that ave been hand carved and pierced. On a finely woven fibre cord. The necklace also features blue glass beads. Length 39 cm. Preveiously of the Leslie Adkin collection
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Eight fishing Lures, Solomon Islands, with a mother of pearl shank, a tortoise shell barb lashed to the shank with fine woven fibre. All with glass bead tassels. Largestmm length 7 cm, width 1.9 cm. Preveiously of the Leslie Adkin collection
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A Seashell necklace, Solomon Islands, used for personal adornment. Made up of rings of spiral shaped seashells that are densely layered on a thin fibre cord. Length 24 cm. Preveiously of the Leslie Adkin collection
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A Siapo, Samoa, made from the inner-bark of Hiapo (mulberry tree) and decorated with oodblock patterns with over hand died designs. 158 x 140 cm
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A Masi, Lou Islands, Fiji, made from the inner-bark of Hiapo (mulberry tree). Decorated with dyes in shades of brown and black over the natural colour of the backcloth. 98 x 264 cm
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A large and impressive Ngatu, Vava'u, Tonga, with a Tokelau feletoa kupseo (design). Made from the inner-bark of Hiapo (mulberry tree) and decorated with dyes in shades of brown. 3,20 x 400 cm
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A double bowl with mother of pearl inlay, Solomon Islands, with sunken relief to the rim of the bowl and plaited dried pandanus wrappings. Height 6.8 cm, width 37.8 cm, depth 26.5 cm
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A carved box, Tokelau, with incised geometric patterns and flowers. Height 9.6 cm, width 12 cm, depth 8 cm
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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…
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A Totokia club, Fiji, made from hardwood and dark brown patina. A long cylindrical handle with incised decoration. Dried pandanus plaited and wrapped around the shaft. The head of the club is modelled after the fruit from a pandanus trees. There is some damage to the point of the head. Length 82 cm, width 12 cm, depth 20 cm
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A trolling lure, Solomon Islands, mother of pearl flashing and carved turtle shell barb bound with oven natural fibre. Length 12 cm
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A rare mother of pearl shell hair comb, Solomon Islands, worn by men as a indicator of social status. Made from individual sticks that ave been woven together with fibre and reenforced with a black putty made from ash and plant resins. The comb feathers mother of pearl decoration. Length 22 cm, width 7.1 cm. Preveiously of the Leslie Adkin collection
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Cat fish by George Jungawunga, Rembarrnga, Northern Territory, painted in 1987. Painted with ochre on Eucalyptus bark. The painting depicts two catfish ith intricate cross-hatch detailing. Purchased from Injalak Arts & Crafts Association at Gunbalanya. 81 x 50 cm
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A painting by Abie Loy Kemare, Utopia, Northern Territory, acrylic on canvas. 124 x 127 cm
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Fish trap by Neville Mardday, Gunwinggu, Northern Territory, painted with ochre on Eucalyptus Stringybark. Height 112 cm, width 59 cm
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'Tete d'un Guerrier de la Nouvelle Zelande' or 'Head of a New Zealander' by Sidney Parkinson, lithograph. First French edition c.1780. Drawn by Sydney Parkinson and engraved by John Benard. In a new box frame. Print 22.5 x 18.5 cm, frame 40.5 x 35.6 cm
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Efpece de Maßne des Habitans de la Nouvelle Zelande appellees Patou-patons vus de cote, du tranchant et du bout. Ils ont de 14 a 18 pouces de long' - Bernard, 1774. Plate 15. French lithograph from 'Relation des voyages entrepris par ordre de SA Majeste Britannique' or 'Account of voyages undertaken by order of his Britannic Majesty' by John Hawkseworth and engraved for the French version by Bernard. In a new box frame. Print 22 x 16.8 cm, framed 40 x 34 cm
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Homme de pa Nou Zelande by William Hodges, lithograph. Plate number 57. A portrait of Rangituanui, principle chief of ngati Hikatoa. Drawn by Hodges and engraved by Robert Bernard circa 1870. In a new box frame behind glass. Print 24 x 19 cm, frame 41.5 x 36 cm
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A view of Afi-Too-Ca, a Burning place in the Island of Amsterdam - William Hodges, Hand-coloured lithograph. 1787. In a new box frame. Print 22.8 x 335, frame 39 x 49.5 cm
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Ornamenti, Utensili, ed armi delle Isole Degli Amici, lithograph. 1780. From the second voyage of James cook. Printed in Rome. In a new box frame. Print 21.8 x 35.5 cm, frame 38.2 x 51.2 cm
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The Landing of Captain cook at Erramanga one of the New Hebrides, lithograph. 1780. In a new box frame. Lithograph 24.5 x 39.5 cm, frame 42 x 52.5 cm
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'Specimens of New Zealand Workmanship' -Bernard, 1774. French lithograph from 'Relation des voyages entrepris par ordre de SA Majeste Britannique' or 'Account of voyages undertaken by order of his Britannic Majesty' by John Hawkseworth and engraved for the French version by Bernard. Framed and mounted. Print 26 x 21.1 cm
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Acclimation Le kiwi, kiwi de La Nouvelle Zelande, lithograph. Journal des Chasseurs, 15 Septembre 1869. In a new box frame. Print 55 x 210, frame 33 x 38 cm
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'Efpece de Maßne des Habitans de la Nouvelle Zelande appellees Patou-patons vus de cote, du tranchant et du bout. Ils ont de 14 a 18 pouces de long' - by John Frederick Millar and John Bernard, 1774. French lithograph from 'Relation des voyages entrepris par ordre de SA Majeste Britannique' or 'Account of voyages undertaken by order of his Britannic Majesty' by John Hawkseworth and engraved for the French version by John Bernard. Framed and mounted. Print 25.7 x 20.1 cm
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A Tongan bell - R. Atkinson and W.A. Hirschmann, lithograph. 1888. In a new box frame. Print 25.9 x 17.8 cm, frame 42.2 x 32.5 cm
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The Afiatookas of Futtafaihe at Mooa by William Wilson and M.A. Rooker, lithograph. 1799. Voyage of the missionary ship 'Duff'. Sketched by William Wilson and etched by M.A. Rooker. In a new box frame. Print 21.2 x 26 cm, frame 36 x 40.8 cm
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Otago - William Hodges, a chief of Tongatapu. Lithograph. 1777. In a new box frame. Print 25.5 x 21 cm, frame 42 x 34.5 cm
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A man of New Zealand drawn by W. Hodges, engraved by Michel. Lithograph. 1777. N°Lv. Published in 'A voyage towards the south Pole' by James cook. Framed and mounted 29 x 23.3 cm
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Boats of the Friendly Isles - William Hodges, Hand-coloured lithograph. 1787. In a new box frame. Print 21.6 x 35.5 cm, frame 37.8 x 51.4 cm
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'Poe-bird new Zeeland' by William Hodges, no. Lii, engraving from Cook's second voyage, published 1777 by Wm. Strahan and Thos. Cadell, London. Framed and mounted. 29 x 22.9 cm
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A black water river mask, middle Sepik, Papua New Guinea, made from a hessian sack that is supported with sticks that ave been lashed together. The mask has been decorated with black, red, and white paint in geometric repeating triangle patterns. The eyes and mouth are slit openings, and the mouth exposes jagged white teeth. The opening edges of the mask has fringe of dried plant fibres. Height 54 cm, width 31 cm, depth 27 cm
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A Sago ceramic pot, Sepik River, Papua New Guinea, used for food preparation and storage. Sago pots are made from rings of soften clay that are moulded together and then pulled upwards creating the thin walls of the ceramic. Later raised relief depicting faces and abstract shapes are added onto the neck region of the pot. White pigment as been applied to the design. Height 33.5 cm, depth 34 cm
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A Kalam shield, Simbai area, Mandang Province, Papua New Guinea, collected by missionaries in the 1960's. A large rectangular piece of hard wood with raised relief. The shield has been coloured with a dark brown pigment. There are two holes in the central plane for a strap to pass through for adornment. Height 88.5 cm, width 56 cm, depth 2.5 cm
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A Iatmul mask, Sepik River, Papua New Guinea, carved from a hardwood. The mask has a elongated form with hooked beak inspired by hornbill birds. Cowrie shells depict the eyes of the mask. The mask is coloured with black pigment base and white pigments highlights that ave preserved excellently. At the peak of the mask is a small bird. Height 54 cm, width 11 cm, depth 10.5 cm
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A Sepik carved panel, Papua New Guinea, the panel has been carved from a light wood and coloured with red pigment. The panel features five smiling faces.and geometric patterns surrounding. The grooves of the carving have been coloured with hite and black natural pigments. Height 20.5 cm, width 170 cm
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A Yaka Ndeemba mask, Democratic Republic of Congo. This Ndeemba mask would have originally had an impressive mane of raffia surrounding the wearers head, the raffia would have almost enveloped the face of the mask. Ndeemba masks would be worn dancers at initiation events and are only used once, after these events the masks are either destroyed or sold.The top of the mask features a central spire with three graduating brims of fabric. The carved wood face of the mask features a upturned hook nose. Mounded…
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Ceremonial axe, Mt agen, Western Highlands, the blade of the axe is made from a highly polished grey stone. Thin strips of rattan cover the wood counter balance for the stone blade.. The tapering handle is made from a hardwood. The blade has broken off and been re-attached to the axe. These axes do not ave a physical functionality, but rather are a display of wealth, used in exchange for goods, or are used as part of a dowry. Length 75 cm, width 66 cm, depth 3.5 cm
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A carved bowl, Trobriand Islands, Papua New Guinea, carved from hardwood, this shallow bowl is in an oval form. The rim of the bowl features geometric patterns. Carved heart shape handles flank each other. The wood has been coloured with a rich brown patina. Height 3.4 cm, width 40 cm, depth 17 cm
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A large and impressive fertility hook, Papua New Guinea, food and valuables are suspended from these hooks in baskets and bags. The hooks are then suspended from the rafters of buildings. This hook is carved from a hardwood and covered in a dark pigment. The hook depicts a large female figure with a smaller figure, possibly a child sitting upon her head. The eyes of the female figure are made from large disk shaped shells. The hook has been coloured with red, white, and yellow pigments. Height 181 cm,…
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A mask, Timbunke village, Sepik River, carved from a hardwood. The mask has a elongated form with hooked beak inspired by hornbill birds. Large cowrie shells depict the eyes of the mask and the nose features large boar tusks. A rich red toned clay has been built up around the mask and embedded with cowrie shells. Natural pigments of white, red, and black. Cassowary feathers feature at the top of the mask and at the bottom is a carved crocodile head. Length 95 cm, width 19 cm, depth 11.2 cm
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A story board, Papua New Guinea, carved from wood in a rough oval shape with openwork, and red and white ochre detailings. Storyboard were used as a tool for cultural memory depicting daily life. This story board depicts village scenes of hunters, chickens, paddlers in a canoe, and water species. Height 47.5 cm, width 94 cm, depth 4 cm
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A Sepik carved mask, Papua New Guinea, a ancestor mask carved from a single piece of wood. Coloured black and decorated with red and white pigment. This mask would have been mounted at the front or the interior of a men's house. This mask is an embodiment of a ancestral spirit, it gives a tangible form to an invisible being. Height 64 cm, width 20 cm, depth 14 cm
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A Bilum bag, central Highlands, Papua New Guinea, made from stripped plant fibre that as been twisted into thread and then looped to create a textile weave. These bags are used by men and woman to store and carry foods along with other personal effects. Length 67.5 cm, width 40 cm
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A Biwat mask, Yuat river Papua New Guinea, a sacred flute mask. Carved from wood with black clay facial features and inset nassa shells. Boar tusks protruding from the nose. Raffia edging to the mask and cassowary feathers at the brow. Coloured with black and white pigment. Formerly of the Christianson collection in Australia. Height 46 cm, width 38 cm, depth 24 cm
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A Mortlock Island axe, Micronesia, used for harvesting taro. Made with a turtle bone blade that is set into a groove in the wood handle and lashed into place. The handle has been bleached white. Length 37.5 cm, width 15.8 cm, depth 1.7 cm
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A Kota Mahongwe reliquary figure, Gabon, made from carved wood, copper strips, and wire. Mahongwe figures are placed in wickerwork baskets that contained the bones of those who have passed to ward off unwanted entities. Mounted on a wood stand. Height 61 cm, width 21 cm, depth 13 cm
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A Sepik River carved figure, Papua New Guinea, carved from wood and heavily pigmented with ochre and charcoal. The anthropomorphic figure features a crocodile tail and inset cowrie shell eyes. Height 73 cm, width 15 cm, depth 26 cm
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A Baule figure, ivory coast, carved from a single piece of hardwood. The figure has slightly bent knees and hands clasped at the stomach. The figure has scarification marks to the forehead, chest, and stomach. Height 63 cm, width 9.5 cm, depth 8.5 cm
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A Baule storage post, ivory coast, likely late 20th century. Carved from wood with an interior dung clay lining. The pot is flanked by a carving of a male figure and a Porpianong hornbill. Raised relief of a lizard, turtle, and insect feature on the sides of the pot. The lid of the pot features a seated female figure with coiffed hair. Height 56 cm, width 30 cm, depth 18.5 cm
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A Bambara Marka mask, Mali, made from wood with facial plane sheet brass nailed into place. The mask depicts a anthropomorphic antelope. Antelope are often depicted in Bambara cultures as a spirit of an antelope taught the Bambara people agricultural practices that are still used at present day. Height 54 cm, width 23 cm, depth 24 cm
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A large and impressive Baye Pewhairangi Riddell floor pot, Baye Pewhairangi Riddell of ngati Porou and Te Whanua-a-Ruataupare was born in 1950. He began working in clay in Christchurch in 1974. He would use local clay dug from his families land as this 'Evokes a respect for the material and sense of connection with his Tipuna'. This piece was made in 1987 when he co-founded Kaihanga uku-Maori ceramists group. This group was responsible for a huge development in Maori ceramics. Marked to the base. Height 81…
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A Putorino flute carved by John Collins, carved from kauri wood and stained with a rich brown patina. The flute is made from two pieces of wood with a central aperture whole that depicts the mouth of a carved face. A carved face also feature at the top and bottom of the Putorino. The faces feature paua shell inlay eyes. Length 42.5 cm, width 7 cm, depth 3.3 cm
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A mask carved by John Collins, carved from kauri wood and coloured with a rich brown patina. The mask depicts a face with t' moko tattooing and inset paua shell eyes. Height 29 cm, width 14 cm, depth 8 cm
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A Dayak Mandau sword, Borneo, Mandau were historically used for headhunting but are also used as a machete to clear rainforest flora. The blade is made from tempered metal with an incised cross pattern along the side. The sword has a deer horn handle that is decorated in brown and black. The sheath is made from wood and is heavily decorated in brown, black, and white pigments. Three patches of goat ide adorn the sheath. There are 52 strings of beads and goat teeth hanging from the sheath. The hilt is…
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An original Thai Consulate carved relief sign, the sign is made from wood with and features Thai script and the words 'Siamese Consulate Philadelphia'. At the centre of the sign features a garuda, a legendary bird that features in the Hindu religion. The script and garuda are coloured with a gold gilt paint. Height 72.5 cm, width 73.5 cm, depth 11 cm
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An Aboriginal carving of a fish, Central Australia, carved from wood and mounted on a stand. Coloured black with intricate designs coloured with hite, red, and brown pigment. Height 14 cm, width 52 cm, depth 9.5 cm
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A carved mask, Aitape Region, Papua New Guinea, carved from a single piece of wood, this mask is an oval shape with short medial shafts at the top of the face and the bottom of the chin. The features of the face are carved with sunken relief. The wood is coloured black and red and white pigment as been applied to the facial features. Mounted on a metal stand. Height 36 cm, width 25 cm, depth 20 cm
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