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Material Culture Live — Webb's

Auction House:Webb'sNumber of lots recorded:267
Sale Title:Material Culture LiveLots with images:267
Auction Location:AucklandPrices available:172
Date:17-Oct-2022
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A Dan passport mask, ivory coast, carved from a single piece of light wood. The Dan people also carried small masks called 'Passport' masks. They are miniature copies of family masks, worn on the hands, arms, or the smalls of people's backs for protection when travelling. These apotropaic masks can also act as witnesses during initiation ceremonies. Carved from a single piece of wood with slits for eyeholes. The eyes are framed with a white outline. The mask features a prominent beak and a raised forehead.…
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A Baole elephant mask, ivory coast, worn only by men in masquerade dances. This anthro-zoomorphic mask is carved from a single piece of lightwood. It features many of the characteristics of the more naturalistic Baule masks, such as the semi-circular eyes and a 'T' shaped nose that represent idealised features. The elephant features comprise of large rounded ears at the top of the head, and at the chin a miniature trunk and tusks. The mask has a black laquer finish and details such as the tusks, eyelids,…
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A Ngbaka mask, Democratic Republic of Congo. The Ngbaka or Mbaka are a small ethnic group of roughly 300,000 people. This mask is captivating in both its artistry and presence. A short and rounded forehead leads into long and concave orbital plane with small holes for the eyes. The round mouth and jawline features an open solemn mouth with bared teeth. Short lengths of wood have been inserted into the mask to create scarification marks around the brow, down the length of the nose, and down the chin. Mask…
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A Ngbandi figure, Democratic Republic of Congo, collected in the 1930s. This Ngbandi figure is carved from a single piece of wood in an elongated form without legs. The figure's projecting chest, paw-like hands, and rounded head and ears suggest this May be a carving of a monkey. The eyes are made from encrusted cowrie shells. String through holes in the ears is a plant fibre twisted cord, which May suggest the figure was hung. Around the neck are remnants of a collar of chicken figures. Figure height 40…
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A Dogon Tellem figure, Mali. Tellem figures were sprinkled with blood of chickens and were later burried with their owners. Tellem figures are characterised by their elongated forms and arms raised above the head, a gesture that signifies rain. This figure is carved from a single piece of wood and depicts a female. The figure has significant age to it that is signified by the deeply encrusted patina. Figure height 47 cm, width 6.5 cm, depth 6.4 cm, on stand height 50.2 cm. Provenance: Lim-Strutt collection…
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A Senufu Pombilele Rhythm pounder, ivory coast. Pombilele pounders were used during dances to keep rhythm while dancing. The figure would have been held by the arms and the columnar base stamped on the ground. Rhythm pounders were also used to stamp down the soil of the grave of the recently deceased to ensure the spirit went on to the afterlife. This pounder is carved from a single piece of wood of large proportions, it has an elongated torso and arms, while the legs are short and without feet. Detailing…
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A Chokwe mask, Angola, late 20th century. This stunning Pwo (face mask) is an idealised representation of a Chokwe woman and believed to spread fertility wherever it is worn. The mask is carved from a single piece of wood with visible chisel marks to the reverse. It features a carved head dress, slit eyeholes, a delicate nose, an open mouth, and facial scarifications. Woven fibre is attached to the mask and worn over the wearer's head. Some areas have been coloured with red and ochre pigments, namely…
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A Baule mask, ivory coast, naturalistic Baule masks like this one are used for entertainment purposes during festivals for dignitaries. The mask depicts a small oval face with a 'T' shaped nose and semi-circular eyes, as is typical of these masks. At the crown of the head is a comb with long prongs, secured with a leather strip that has been nailed into place. The face features scarification at the brow and cheeks. Corrosion to the nails and the losses to the leather suggest some age to the mask. Mask…
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A Senufo Kpeliye'e mask, ivory coast. This Kpeliye'e mask is used by the Poro society at funerals to repel the deceased spirit from their home. This mask is expertly carved from a single piece of hardwood. The mask depicts an idealised female face with a narrow 'T' shaped nose, scarifications to the cheeks and forehead, and a protruding mouth with teeth bared. The protrusions around the face and head are said to represent many different things including a type of palm, legs, and a hairstyle. Height 30.5 cm…
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A Bena Lulua maternity figure, Democratic Republic of Congo, carved from a single piece of wood. This figure depicts a kneeling woman holding her child at her side. Her stomach is large and round and she has an exagerated bellybutton. A yonic symbol representing scarfication at the forehead adds to the hyper-femininity of this piece. There is a duality between the faces of the child and mother; the child appears aged and stern in contrast to the serenity of the mother's face. Height 41.5 cm, width 12 cm,…
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A rare pair of Chokwe figures, Angola. This pair is perhaps a depiction of the 16th century lovers Chibinda Ilunga, a Luba Prince, and Lweji a Lunda princess whos marriage began the Mwata Yamvo dynasty. The pair settled in the Uchokwe region and their future generations married into Chokwe society and were venerated by the people. The symmetry of each piece and refinement of form suggests these figures were carved by an expert artist. These figures are carved from a hardwood, and lacquered with rich deep…
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A Baule figure, ivory coast, Baule figures represent ancestors or usu spirits that populate Baule life, making these figures a reflection of indivdual devotion. This figure has many of the core characterists reflected in Baule figures such as arms held tightly to the abdomen, knees slightly bent, and a face of tranquility. This figure is carved from a single piece of hardwood and coloured with a dark brown pigments. Scarification is depicted upon the figure's face, chest, stomach, back, and neck. The time…
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A Luba kifwebe mask, Democratic Republic of Congo, kifwebe masks are used in initiations and played a role in establishing order in society, they were also used to cleanse the village from benevolent spirits. This mask is carved from wood and has a small circular form. The mask has large circular eyes with thin slits for eyeholes, the nose is is triangular, and the mouth is represented by a square protrusion with an incised cross. The mask features striated lines framing the face. Mask height 21 cm, width…
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A Baule Goli mask, ivory coast, collected in the 1940s. The Goli mask represents a bush spirit. The goli is worn during masquerades and its appearance signifies a time of danger. The Goli masks are considered mediators between people and anwin (supernatural forces), the anwin can have both positive or negative influence over humans dependant on their satisfaction. This goli is masterfully carved from a single piece of wood. It has a simplistic circular face with conical eyes and a rectangular mouth with…
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A Holo Headress mask, Democratic Republic of Congo, Holo helmet masks are worn at the top of the head in conjunction with a large raffia costume. This holo mask has a small carved head depicting a female with an elaborate coiffure fanning across her head. The face has large almond shaped eyes and a short, delicate nose. The mouth is open with teeth baring. At the back of the helmet is a bustle made from a cotton fabric that has colourful, hand-painted geometric patterns. Around the helmet is raffia…
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A Songye power figure, Democratic Republic of Congo. This power figure was created to ward off witchcraft and sorcery and protect the community in which it lived with. These figures are created in collaboration between a skilled carver and a ritual practitioner in order to fully realise the figures power. This figure depicts a woman as denoted by the breast and vulva. The figure has a exaggerated head and a square jaw. As is typical with Songye power figures, the figure features large almond shaped eyes…
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A Bobo mask, Burkina Faso. This plank mask is carved from a heavy wood. The mask features stacked shapes of a circle, a rectangular, and a crescent moon at the top. The face of the mask depicts an owl. A protruding hook on the mask represents a hornbill beak. Original sheet metal repairs feature at the crescent moon. The mask is densely coloured with white kaolin and black soot pigments. Height 184 cm, width 38.5 cm, depth 24 cm. Provenance: Lim-Strutt collection, Aotearoa
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A Songye power figure, Democratic Republic of Congo. The size of this Nikisi figure suggests that this was a community power figure. This Songye figure would have been used to protect an entire village from illness, death, and harmful spirits, and was so powerful it would have been housed in its own hut within the village. The crafting of these power figures was made in partnership between a carver a nganga spiritual practitioner. The Nikisi has many of the form-features of Songye carvings, such a square…
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A Chokwe mask, Angola. This is a Pwo mask. Its purpose is to honour ancestral women of the Chowke. The mask is worn by males during dances and will spread fertility where it is worn. Carved from a hardwood, the mask depicts an idealised form of beauty to the Chokwe. The mask has been expertly carved with the brow and eyelids creating a heart shape that frames the delicate facial features. The almond shaped eyes have small slits for the wearer to see through, the nose is thin with a peaked ridge running…
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A Kwele mask, Gabon. This mask is used in the Beete society's rite of passage initiations. The Beete society promotes peace and maintains social order of the Kwele. This mask has an oval face surmounted by large ram horns that create a heart-shaped form. The almond shaped eyes have thin slits which May indicate that this mask was not worn but rather shown. The masks is boldly coloured in brown, red, and white natural pigments. The multiple layers of pigment suggest the lived history of this piece in that…
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A Luena mask, Angola, for the Luena and Chokwe peoples mwana phwevo masks embody a mythological character of idealised beauty. The mask features a nearly perfect symmetry and delicate facial features. The incised grooves at the forehead, cheeks, and nose represent scarifcation, an ideal in feminine beauty for the Luena. Twisted red and brown rope represents the hair of this mwana phwevo. On custom wooden stand. Mask height 21 cm, width 14.5 cm, depth 20 cm, on stand height 36 cm. Provenance: The Lim-Strutt…
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A Lobi bateba figure, ivory coast. An interesting form in that it is a hybrid between a batise mating couples figure, and a bateba maternity figure. Used to encourage fertility. This figure is carved from a single piece of wood and depicts a male figure leaning backwards with a female figure extending from the male's stomach. The female figure holds a child with exagertated breats at her hip. The wood has losses due to insects creating hollowed cavities. There is evidence of chicken feathers and substances…
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An important Songye Nkisi Community power figure, Democratic Republic of Congo, 19th century. Songye power figures, such as this from the Lim-Strutt collection, are used to fight witchcraft and sorcery. Their function is socially benign - they protect, heal, and counteract evil. The power of the figure resides not in its sculptural form or aesthetics, but in the magical substances embedded in cavities formed in the abdomen, or in the horn that projects from the head. The power of these figures May also be…
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A Baule monkey figure, ivory coast, 20th century. Baule monkey figures are used to protect their owners from harmful spirits. Because these figures are so powerful they are kept in the bush and away from public display. The monkey stands with knees bent and arms lifting a bowl that would store an egg. Sacrifices were brought to these figures and poured over the form to feed it. This figure has traces of egg, millet and grain, palm oil, and feathers incrusted into its dense patina. The monkey wears a fabric…
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A Bembe mask, Democratic Republic of Congo, likely used during the initiation period for adolescent boys who must go through a series of rituals and tasks inorder to become a man. The mask is made from a single piece of wood and comprises of four planes. In its simplicity of design the mask still portrays a face with emotions. The medial ridge that runs down the nose features two small holes that transform a simple peak into a long elegant nose. Mask height 28 cm, width 4 cm, depth 7.5 cm, on stand height…
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A Bamana Ntomo mask, Mali. The Bamana, also known as the Bambara people use masks for a multitude of occasions such as weddings, births, harvest seasons, and death. Banama masks are also used in masquerades for the various initiations that all male Bamana must enter into. This mask is used in the Ntomo society, which is the first society a male will enter in to. The mask has anthropo-zoomorphic face made up of geometric forms and clean lines. At the top of the head are stylised horns that have sheets of…
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A Western Songye kifwebe mask, Democratic Republic of the Congo. This female kifwebe mask is carved from a single piece of wood with heavy linear incisions. Female masks are associated with the moon and are worn for moon rituals as well as during funerals and initiation rites. The mask has wide rectangular slit-shaped eyes, a jutting triangular nose, and a protruding trapezoidal mouth. There are traces of kaolin pigment within some of the inset grooves, indicating the original colouring of the mask. Wear…
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Dogon figures, Mali, These figures are associated with the ancestor cult. Once carved, they are placed on altars and left there to age. These skillfully carved figures have elongated torsos and arms, and have slightly bent knees. The maternal figure's face is sculpted with triangular forms for the eyes and coiffure. Her expression is almost mounrful, which is echoed in the face of the child. The figure has been coloured with a dark brown pigment that has become deeply encrusted. Figure height 47 cm, width…
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A Phemba maternity figure, Democratic Republic of the Congo, Yombe maternity figures were often placed upon shrines to honour ancestral mothers. This figure is carved from wood with a rich brown patina and her hair is coloured with black pigment. The female figure is bare-chested with enlarged breasts. The eyes have been detailed with white and black pigments and covered with small pieces of glass creating a captivating gaze. She sits with her legs crossed, and upon her lap is a small child. Height 20.5 cm…
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A Baule maternity figure, ivory coast. This hand-craved figure depicts a female seated whilst in childbirth. The elongated form has been intricately carved with detailing such as scarfication and the elaborate coiffure. The figure is depicted in childbirth, her hands rest upon her large stomach and an infant emerges from between her legs, the figure's face is however serene. The mastery of this carving is best viewed from the profile where we can observe echoes of peaks and falls to the form in the jaw,…
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A We mask, ivory coast, used in masquerades. The mask is carved from wood and features twised fabrice secured to the large opening with wrapped cane that creares large gaping lips. At the chin is braided rafia for a beard. Along the jaw is an adornments of strings of bead and bells. At the top of the mask is a clam-shaped form with two bent nails at the peak, and nails around the edge. The rim of the mask is also wrapped in cane. On the inside of the mask we can observe chisel marks from the artists tool.…
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A Senufu Pombilele Rhythm pounder, ivory coast. Pombilele pounders were used during dances to keep rhythm while dancing; the figure would have been held by the arms and the columnar base stamped on the ground. Rhythm pounders were also used to stamp down the soil of the grave of the recently deceased to ensure the spirit went on to the afterlife. This pounder is carved from a single piece of wood with an elongated form. The figure is female as noted by the enlarged breasts. She has a spiked coiffure and…
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A Ngabaka bird mask, Democratic Republic of Congo, 19th century. Used in rite of passage ceremonies. Carved from a lightwood, this mask depicts a bird with a large hooked beak. The mask has a rounded head and a wide neck, the neck features two chevrons, the first pigmented with red and the second coloured black. A ground of white kaolin pigment remains. Mask height 37.5 cm, width 23 cm, on stand height 59 cm
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A mounted Maasai spearhead, Kenya. In its full form the spear would have been used both for hunting and for defense. Made from iron and mounted to a wood base. In the form of a leaf, the spear head has a thin profile. The remnants of the neck are also made from wood and likely would have fit over a wooden shaft. Three concentric bands feature at the top of the neck and the bottom. Height 57.1 cm, width 9.1 cm
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A Bedu plank mask, ivory coast, 20th century. Used during new year fesitivites during dances to ward away sorcerers or bad spirits and usher in fertility and abundant harvests. This large and impressive mask is made from wood. The face of the mask is square and has a three triangulated holes for the eyes and mouth. At the top of the mask is a pair of large horns; this is a male mask as the horns do not meet in a full circle like the female counterparts. The mask is coloured with a white kaolin pigment…
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A small Luguru throne, Tanzania, carved from wood, this smaller sized throne depicts an anthropomorphic form. At the top of the backrest is an elongated neck with a spherical head. The stool has three legs with inward facing bends. Incised detailing to the back rest. Coloured all-over with a black pigment. Height 67 cm, width 26.1 cm, depth 24 cm
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A whalebone heitiki, Aotearoa, transitional heitiki in whalebone. With the emergence of the British curio trade in the 19th century amongst the middle and upper classes, Maori quickly adapted their skills into producing 'Authentic' pieces to satisfy the Victorian need for 'tribal relics'. This tiki is produced in orthodox form with head tilting to shoulder and aggressively protruding tongue. With hands resting on her thighs, broad shoulders and pregnant belly this transitional tiki is presented on a custom…
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A pounamu heitiki, Aotearoa, head tilted to the left shoulder, hands on thighs, four incisions on each hand for fingers. Knees bent and feet together, with two diamond-shaped incisions for genitals. With red sealing wax around the circular eyes. With a drilled hole at the top of the head with a shord red cord secured through. Heitiki length 7.6 cm, width 5 cm, depth .9 cm, on stand height 12.5 cm. Provenance: Private Collection, Aotearoa
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A bone heitiki, Aotearoa, carved from bone. Depicting a human form with chin tilted to the left shoulder, hands resting on the thighs. A small suspension hole features at the back and top edge of the form. Length 8.5 cm, width 4.7 cm, depth .7 cm. Provenance: Private Collection, Aotearoa
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A kete, Aotearoa, superb muka kete in frame. Kete decorated with natural, undyed muka to form an intersecting criss cross pattern over the entire body. Fine subtle fringe of natural muka envelopes three sides, terminating in a rolled muka handle at the top. Frame 56 x 46 cm. Registered as kete muka. Provenance: Private Collection, Aotearoa
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A poi, Aotearoa. A rounded ball wrapped with thick plant fibre strips which are wrapped with thinner dyed flax coloured green and red. With coarse muka fringe surrounding the poi with natural coloured muka, and some red coloured muka. With a muka wrapped cord. Length 35 cm, depth 7 cm. Provenance: Private Collection, Aotearoa
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A kete, Aotearoa, fine feather kete (flax bag). Feather kete became a favourite acquisition for Collectors in the early Victorian curio trade owing to their beauty and utilitarian nature. This well used example is presented in a Museum grade frame to ensure it lasts for generations to come. Adorned with the remains of native bird feathers and a bold processed fibre fringe, this imposing example shows the intricate nature that often lays hidden below the feathers. Frame 54.5 x 42.5 cm. Registered as kete…
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A pounamu toki, Northland, Aotearoa, shaped from pale green inanga greenstone with smaller darker inclusions. With highly polished surfaces. A quadrangular cross-section with straight sides tapering to the butt. With a faintly curved and blunt blade edge with some small chips. Length 26.5 cm, width 7.5 cm, depth 3 cm. Provenance: Private Collection, Aotearoa
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A large pounamu flake tool, Aotearoa. A worked pounamu stone. A long thin form. Featuring the number '7138' in white ink. Length 5.5 cmmm, width 6.5 cm, depth .6 cm. Provenance: Private Collection, Aotearoa
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An extremely rare pounamu breastplate adornment, Aotearoa, 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…
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A child's cape, Aotearoa, Kakahu Tamariki (child's cloak) - finely woven early child's or infants cloak in all natural fibres. The main body of this kakahu is made entirely from muka and is adorned with tessellating squares in natural and died fibres to form a checkerboard like design. Five sections of orange adorn the extreme upper fringe and original suspension cords are present. Presented in a Museum grade frame, this kakahu has been stabilised and preserved to ensure it lasts for generations to come.,…
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A rare and important pake, rain cape, Aotearoa, pre-contact period. One of the rarest and finest examples to be seen anywhere in the world. This particular example was removed from Aotearoa 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 korowai, carvings, and clubs in the world. After Fairbrother left Aotearoa following the eruption, the cloak was included in a tour of the USA in 1888. It is likely…
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A tea Cosy, Aotearoa, rare and fine muka tea cosy. In traditional pre-European Aotearoa, for every situation requiring a vessel, a weaver could almost always manufacture something to suit. During early contact period M_ori weavers began to take inspiration from Victorian textile work.. This muka tea cosy is testament to just how skilled and adaptable the weavers were as they faced the assimilation of the meeting cultures. Constructed entirely from muka fibre, the tea cosy is presented in the form of an…
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A patu aruhe, Aotearoa, patu aruhe (fernroot beater). Pounders in wood were used to process the aruhe (roots) of the Rauaruhe (bracken fern). The process included soaking in water then roasting, steaming or boiling the roots before finally pounding them to separate the hard fibres from the edible flesh. This heavy example is of fine form with well-formed handle, adzed body and a warm, varied patina indicative of use., made from a dense brown wood. This pounder is used for beating rauaruhe fern down to…
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A patu aruhe, Aotearoa, made from a dense brown wood. This pounder is used for beating rauaruhe fern down to extract the edible flesh from the fibres. A very weathered form. A cylindrical undecorated pounder with a rounded bottom. Some darkened discoloration to the side and handle, possibly from fire. Length 33.5 cm, width 7 cm. Provenance: Private Collection, Aotearoa
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A patu aruhe, Aotearoa, made from a dense brown wood. This pounder is used for beating rauaruhe fern down to extract the edible flesh from the fibres. This patu has a circular cross section that tapers up to where the handle terminates. Written in white ink on the handle is a 'B'. Length 28 cm, width 7 cm. Provenance: Private Collection, Aotearoa
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A patu paraoa whalebone club, Aotearoa. This short, one-handed striking weapon is of orthodox form with square suspension hole and bold rings to the base of the handle. Boasting a rich, warm patina consummate with age it is presented on a custom Museum grade stand., used as a weapon. This patu par_oa is carved from whalebone, it has a thin profile and a long form without shoulders. The club has a short handle with four carved ridges that form the knob at the top of the butt. There is some observable…
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A whalebone hair comb, Aotearoa, heru (whalebone comb). Early whalebone comb. Combs such as this were used predominantly to hold the top knot in place with whalebone being the most revered. Heru became generational taonga and were passed down families. Once broken, they were laid to rest in swamps or other bodies of water owing to their tapu nature with being in-contact with the head. This example is of fine proportions with 8 teeth and a well balanced body curving gently to the right as per stylistic…
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An Aurei whalebone cloak pin, Aotearoa, chiefly Aurei (marine ivory cloak pin). Aurei were fashioned from whalebone, whale teeth, greenstone and shell; whale teeth were the most prised. The term Au stems from the old Polynesian for needle and Rei refers to whale ivory from which the most prestigious were made (whilst 'Aurei' specifically names the whale teeth examples, it has become the colloquial term for all cloak pins). This fine and early example is presented in rich whale ivory with a deep aged patina…
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A pa kahawai fishing hook, Aotearoa. A contact period pakahawai (trawling lure) with fine twisted muka rope and binding. Paua shell inlaid into the native timber body terminating in a robust whalebone hook barb on a custom walnut wooden stand., used for trolling for fish. Made with a wooden body and a paua flashing inlaid to the body's interior curve. Featuring a bone barb that has been lashed into place with muka flax binding. A small line-plaited muka remains. Mounted on a wood and metal stand. Lure…
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A whakawae door jam, Aotearoa. An architectural piece used as an upright of a doorway. This whakawae depicts three full standing figures and a head at the bottom that has been lost. The figures are covered in notched carvings with spiral motifs on the buttocks, shoulders, and kneees. Each figure has three-fingered hands resting on their stomachs. The faces feature 'Beaked' mouths, prominent noses, and undecorated eyes. The back support panel sloaps away from and to the figures left side and is decorated…
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A pa kahawai fishing hook, Aotearoa, used for trolling for fish. A paua shell shank inlaid into the interior curve of a native timber and lashed with woven muka fibre. Paper label on the back reads 'Maori fish hook lined with haliotis shell (venus' ear) cord of native flax. Bone barb. R.H.S.S.' length 13.7 cm, width 2.4 cm, depth 1.3 cm. Provenance: Private Collection, New York. Previously of Robert Henry Soden Smith
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A kaheru handle, Aotearoa. The handle for a spade. Carved from light-weight wood. A long shaft with a circular cross-section. At the distal end has a flate beal. The top end terminates with a knob. Coloured with a darkbrown patina. This kaheru handle has recently been repaired as was it was broken into three pieces. Length 121.5 cm, width 5 cm. Provenance: Private Collection, Aotearoa
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A 19th century taiaha, Aotearoa, with a deeply carved arero with Pakati Haehae designs. The upoko features four intact paua shell eyes. With historical repairs to the blade end featuring old iron nails. Carved from a hardwood with a deep brown patina. Length 148.2 cm, width 7.3 cm. Provenance: Private Collection, Aotearoa. Brought back to Aotearoa from London in the 1970s
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A Ka stick, Aotearoa. The ka stick is used for digging garden beds. Made from a strong and durable wood this ka has a long shaft and a pointed blade end. With a blackened patina. Length 243 cm, width 5 cm. Provenance: Private Collection, Aotearoa
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A hammer stone, Aotearoa, made from a greywacke boulder. The stone has bruising across three end surfaces. Length 7.8 cm, width 6 cm, depth .4 cm. Provenance: Private Collection, Aotearoa
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An adze blade, Aotearoa, made from argillite with black veins running through its form. A wide quadrangular cross section. Un-tanged, with dull cutting edges, and a short, steep bevel. Length 9.5 cm, width 8 cm, depth 2 cm. Provenance: Private Collection, Aotearoa
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An adze blade fragment, Aotearoa, made from bruised greywacke stone. The fragment includes a tanged butt and handle. The cross section appears to have been quadrangular. Some sections have been polished. The fragment features a small White Label that reads 'Found in Mt. Albert garden digging 195x'. Length 17 cm, width 6.5 cm, depth 4.5 cm. Provenance: Private Collection, Aotearoa
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A tewhatewha, Aotearoa, 19th century. A two-handed weapon used in combat. Carved from a single piece of wood, this tewhatewha comprises a long shaft used as the handle and a striking end shaped like a broad axehead known as a rapa. Length 146.3 cm, width 21.1 cm, depth 2.7 cm. Provenance: Private Collection, New York. Previously of Robert Hales, London
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A walking stick, Aotearoa, superb Maori swagger stick. This swagger stick appears to have been made from an early tokotoko. With extremely fine and precise carvings cover the entire body with humanoid figure to the to top. The handle has been left uncarved. With a rich dark patina, and presented on a custom stand. Length 70.5 cm, width 3 cm, depth 10 cm, on stand height 98 cm. Registered as a walking stick. Provenance: Private Collection, Aotearoa
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A Whakairo Rakau, Aotearoa. This whakairo rakau consists of a smooth cylindrical body, fine carving and original lashings with carvings reminiscent of a Whakapakoko rakau or god stick. The top is decorated with a carving style known from the Te Arawa people. Moreover, we have the Takarangi (spiral) displayed with the pakati (notches) broken up into groups. This style has been observed on early Te Arawa whare, war canoes and other carvings. To the front of the rakau, a finely carved depiction of an atua…
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A taiaha, Aotearoa. A robust taiaha of fine form and balance. Carved with an extended arero (tongue) and well-formed upoko (head). Broad striking blade terminating in a flared and rounded base with geometric decoration to the head and tongue. Dark brown patina presented on a beautiful custom-made marble stand with fantastic engineering and weight. Height 157 cm, width 7.2 cm, depth 4 cm, on stand height 1640 cm. Registered as taiaha. Provenance: Formally held in private collections in Paris, Holland
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A waka hoe, Aotearoa, early waka paddle. This paddle adorned with early missionary script 'Narr Iiii' is of well balanced proportions. In the early contact years, many taonga were adorned with simple phrases or words as M_ori integrated their learnings from the missionaries into their taonga. The leaf-shaped blade flows seamlessly into the long, slender handle, terminating with a bulbous grip at the end. Rich dark patina commensurate with age, presented in a custom-made stand. Length 170 cm, width 14 cm,…
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A taiaha, Aotearoa. A superb taiaha of fine proportions. With an aggressively extended arero (tongue) and fine upoko (head), completely decorated with a series of double and triple haehae with dog-tooth notched spirals. The body extends to a bold flared striking handle making this taiaha fine example of contact-period weaponry. A rich dark patina highlights the extremities and helps show the intricate nature of the carving. Presented on a custom stand. Length 133.5 cm, width 6 cm, depth 3.5 cm, on stand…
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A carved post figure, Aotearoa, carved from a lightweight wood. The post features a figure standing atop of another figure that has been lost to damage, possibly fire. The upper figure has three-finger hands resting on the lower stomach. The upper figure's mouth is open with tounge protruding and top teeth visible. With circular eye socket insets of p_ua. With traces of old red paint. Length 92.1 cm, width 11.5 cm, depth 4.7 cm. Provenance: Private Collection, Aotearoa
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A pou Whakairo figure, Aotearoa. A rare free standing female figure hand-carved from wood. The figure displays a superb sculptural quality and bears similarities in form and materiality to the known 'Frum' figure. Featuring inlaid metal almond shaped eyes that are secured with pins. A wood topknot to the top of the head features dense horse hair that is secured with nails. With an incised ta moko facial tattoos around the slightly parted lips. The pou whakairo has three-finger hands resting at the stomach…
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A pou Whakairo, Aotearoa, early 20th century. A free-standing carved figure standing upon a carved head. With p_ua shell inlays to both the wheku head form and the manaia head. The three-fingered hands rest upon the stomach with elbows bent behind the body. Knees are slightly bent and feet are facing forward. Carved with intricate koru patterning with predominantly notch tooth patterns. Mounted on a black coated metal stand. Height 1080 (stand inclusive)mm, width 9 cm, depth 15 cm. Provenance: Private…
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A Chert toki, Aotearoa, shaped from a pale grey chert rock type. A quadrangular cross-section with sides that taper from the blade to the butt. The steep sides display flaking and hammer-dressing at the edges. The dorsal and ventral faces and the blade bevel are highly polished. With a straight cutting edge featuring small chips. Length 13 cm, width 4.6 cm, depth 2.5 cm. Provenance: Private Collection, Aotearoa
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A small toki, Aotearoa, possibly made from volcanic stone, a dark coloured stone with visible red oxidisation. Quadrangular cross-section, with sides that taper from the blade to the butt. The butt has a large flake removed. A steep bevel to the blunted and bruised blade edge. Length 11.5 cm, width 5 cm, depth 2.3 cm. Provenance: Private Collection, Aotearoa
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A small greywacke toki, Aotearoa, shaped from greywacke stone. A rectangular cross-section. With straight sides that taper from the blade to the butt. With a shallow sloping bevel to the cutting edge on the straight blade, with rounded corners. Some hammer -dressing marks on the hafting sites on the sides. Length 10 cm, width 4.5 cm, depth 1.6 cm. Provenance: Private Collection, Aotearoa
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A pounamu mere by Glenn Survenor, Hokitika, carved from a green, black, and white speckled pounamu. The blade tapers down to the grip and terminates with graduating ribbing. With a pierced hold at the grip. On a metal stand. Mere length 47 cm, width 10 cm, on stand height 11.8 cm. Provenance: Private Collection, Aotearoa
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Photographer unknown, a glass plate negative, glass plate negative depicting a waka huia, a Maori feather cloak, moa eggs, and other items, 8.2 x 8.2 cm, unframed. Provenance: Private Collection, Aotearoa
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A patu onewa, Aotearoa, carved from highly-polished greywacke stone. Featuring a flat and elongated blade with sharp striking edges. The butt of the handle has a pierced hole and remnants of the muka fibre cord. Length 38 cm, width 9.5 cm, depth 4 cm. Provenance: Private Collection, Aotearoa
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A wahaika, Aotearoa, circa late 19th century. A short-bladed striking weapon. Carved from a single piece of wood. Weke masked butt, carved human figure (marakihau) on incurve. Its body and head have been carved in a figure-of-eight shape, with an arched back, forward-facing head, and legs curved backwards and up so the feet meet the body. Length 39.3 cm, width 12.2 cm, depth 2.6 cm. Provenance: Private Collection, New York. Previously of mark Blackburn, Mauna Kea Galleries
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A carved staff, Aotearoa, 19th century. Carved from a single piece of wood. With a buldge-shaped protrusion to the middle with four human-like figures carved, one on each side of the staff. The figures are different on each side. Above the buldge, running spiral patterns are carved to each side of the staff. The top-most section of the staff is undecorated. Near the bottom of the staff there is a small carved inset of bone on with side, this appears to be carved in the form of a face. Label adhered to…
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A waka huia lid, Aotearoa, used as a lid on waka huia, treasure boxes. This lid is carved from a single piece of hardwood in an oval form. Intricately carved to the top of the lid are asymetrical spiral motifs. Length 40.4 cm, width 9.4 cm, depth 2.4 cm. Provenance: Private Collection, Aotearoa. Previously of a private collection, London
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A small toki, Aotearoa, made from greywacke stone and highly polished. A quadrangular form tapering to a dull blade. Length 6.5 cm, width 3.1 cm, depth 1 cm. Provenance: Private Collection, Aotearoa
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A fragment of a toki, Aotearoa, made from greywacke stone and polished with some bruising. The fragment is from the blade end of a toki. There is a sharp termination at the chipped blade tip. Length 8 cm, width 5.4 cm, depth 3.8 cm. Provenance: Private Collection, Aotearoa
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A pounamu flake tool, Aotearoa. A worked flake in a triangular form. With extensive bruising to the form. Length 10 cm, width 6 cm, depth 2.1 cm. Provenance: Private Collection, Aotearoa
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A rare and fine bible in Te Reo. A rare, late 19th century Maori translation of the New Testament bible. According to Darlow and Moule, in 1884 at the request of the BFBS, W Maunsell undertook a fresh revision of the whole bible, adding chapter-headings. It was issued in 1889. [This 1894 reissue] features additions of marginal references prepared by W. Leonard Williams, afterwards third Bishop of Waiapu., text in paragraphs, with chapter-headings, and marginal references and dates. (D&M 6656, 6657) the…
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A rare 19th century coin, Aotearoa. A rare 19th century (undated) bronze/copper penny coin/token. Reads 'Advance New Zealand'. Very good grade in uncleaned/undipped condition. This fine example is presented on a custom stand. Depth 3.8 cm, on stand height 7.5 cm. Provenance: Private Collection, Aotearoa. Formerly of a private collection, America
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Cook's voyages to the Pacific Ocean first Octavo edition, three of four volumes, being the first three., published August 13th, 1784 by J. Fielding Pater nofter row. A voyage to the Pacific Ocean; Undertaken by Command of his Majesty, for making Discoveries in the Northern Hemisphere: Performed under the Direction of Captains Cook, Clerke and Gore, in the years 1776, 1777, 1778, 1779 and 1780. Being a copius, comprehensive and satisfactory Abridgement of the voyage written by Captain James Cook, F.R.S. And…
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A wall hanging by Albert McCarthy, Aotearoa, McCarthy (1954-) is an artist with whakapapa to Muaapoko, Rangitaane and Raukawa. This work is made up of pieces of repurposed woods in a layering effect. Height 72 cm, width 89 cm. Provenance: Private Collection, Aotearoa
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Charles F. Goldie a good Joke, one of the highest quality examples of 'A good Joke' to ever come to market.. This high-quality chromolithograph is a reproduction of a painting by Charles Frederick Goldie, preeminent painter of Maori portraits in the early 20th century. 'A good Joke' is directly made from a portrait of one of Goldie's favourite sitters, Te Aho-o-te-Rangi Wharepu, ngati Mahuta. The original painting is in Dunedin public Art gallery collection. Printed in 1906, this is one of the finest…
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Cliff Whiting untitled, Cliff Whiting (1937-2017) of Te Whanau-a-Apanui iwi was an esteemed teacher and practitioner of Maori arts. Whiting was a leading figure in the design of Te Papa's Rongomaraeroa marae. This mask is a prototype designed by Whiting in the lead up to the production of Rongomaraeroa. The carving is made from MDF wood and depicts a face made up of koru spirals. The eyes are paua and the wood is coloured in vibrant tones of purple, red, and cream. The reverse has two rings and a cord for…
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Te Maniatutu untitled. This tekoteko free-standing figure is caved from a single piece of wood. It depicts a figure with hands at its stomach and feet apart, knees slightly bent. The figure has inlaid paua shell eyes, and the face has incised detailing of facial moko. The figure stands on a wood base that features manaia figures incised into the sides. Height 45.5 cm, width 26.5 cm, depth 15.5 cm. Provenance: Private Collection, Aotearoa
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A split Tatara Tauihu canoe prow, Aotearoa, Tauihu sit on the front of canoes above the water line. This prow is carved with the artistic qualities of the northland region, circa 1960. The prow is intricately carved with open-work spiral motifs. The tatara wood had been coloured red. On custom presentation stand. Height 37 cm, width 12 cm, length 80 cm. Provenance: Private Collection, Aotearoa
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Te Maniatutu Ruamoko. This tekoteko free-standing figure is caved from a single piece of wood. It depicts a figure with hands at its stomach and feet apart, knees slightly bent. The figure has inlaid paua shell eyes, and the face has incised detailing of facial moko. Marked on the reverse 'Ruamoko by Te Maniatutu Rotorua'. Height 55 cm, width 14 cm, depth 14 cm. Provenance: Private Collection, Aotearoa
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Te Maniatutu Tanenuiarangi. The poupou carved panel, is made from a single piece of wood. It depicts a standing figure with hands resting at the stomach. The figure has inlaid paua shell eyes and wears a heitiki around his neck. The figures face, arms, legs, and chest have incised designs reflecting body tattoo. Marked on the reverse 'Tanenuiarangi by Te Maniatutu, Rotorua'. Height 80 cm, width 28.5 cm. Provenance: Private Collection, Aotearoa
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A pou by master carver Norman Clark, Aotearoa, high relief carving with inlaid paua shell eyes. Signed 'N Clark New Zealand 1976' to back. Height 53 cm, width 20 cm, depth 5 cm. Provenance: Private Collection, Aotearoa
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Te Maniatutu Tanenui. This poupou carved panel, is made from a single piece of wood. It depicts a standing figure with hands resting at the stomach. The figure has inlaid paua shell eyes. The figures face, arms, legs, and chest have incised designs reflecting body tattoo. To the sides of the figure are manaia figures, also with paua shell eyes. Marked on the reverse 'Tanenui by Te Maniatutu, Rotorua'. Height 81 cm, width 29 cm. Provenance: Private Collection, Aotearoa
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A small folk art tobacco box, Aotearoa. A small box crafted from wood. Featuring hand-carved designs of figures to the top, front, and reverse, and flowers to the sides. Height 4.6 cm, width 11.2 cm, depth 7 cm. Provenance: Private Collection, Aotearoa
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Shaw Apteryx Australis, watercolour on paper. An early and finely executed watercolour identical to the image in William Yarrell's 'Description...of the Apteryx Australis of Shaw' published 1835. 58 x 48 cm
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A Manatunga travel rug by Mosgiel woollens in Dunedin, decorated with a step tukutuku panel pattern in orange, khaki, charcoal and natural. Original Woolmark label attached. 122 x 176 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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