Estate Clearance & Collectables

Our weekly auctions offer between 500 to 700 lots of fascinating colour and spectacle. Vintage, antique, mid-century and modern furnishings rub shoulders with bone china, crystal, silver plate, toys, rugs, art, jewellery, lighting, mirrors, etc. All the fun of the circus and a great introduction to the theatre of auction.

E003 - 0033

A taxidermied Huia,

the female bird with twelve tail feathers, standing in a naturalistic setting. Kept in storage in the dark for the last fifty years. Some restoration.

Realised: $60,000
D010 - 0208

A Patek Philippe 'Aquanaut' wristwatch, ref 5066A-001, movement no. 3634366

stainless steel 35mm rounded octagonal 'porthole' case, no.4302965, black 'grenade' dial, centre seconds, luminous hands and indexes, Arabic numerals, date aperture at 3, automatic 29 jewels, caliber 330/295 movement, sapphire crystal case back, screw in crown, on 'tropical' polymer strap with deployant clasp. With black leather case, cardboard box, original retailer's swing tag. c.2006 Provenance: Private Auckland estate collection An early collectable vintage Aquanaut, it is offered in remarkably well-preserved condition of both case and dial, in original unpolished condition. The reference 5066 is perhaps the archetypal and most desirable of the neo-vintage Aquanauts, it maintained the same size and movement as the previous generation but showcased the inner mechanics through a sapphire caseback, which the 5060 was previously lacking. Average online second hand price has increased by US$10,000 this year to around US$41K

Realised: $32,000
S0029 - 2001

A rare Māori kaitaka cloak with tāniko borders

collected by William Oldman* in England In the early 20thC, sold to the NZ Government Collection. Of aronui type with double paired weft twined muka body with taniko lower hem and side borders, of typical high density weaving to the unadorned body, evidence of feather decoration.. This style of cloak were extant in the late 17th century but succeeded by korowai styles from the mid-19th century. It may be therefore that this example dates to the first half of the 19th century. [Cf. R. A. Oliver (1811-1889) Portrait of Te Rangihaeata 1849, wearing a kaitaka beneath a kahu kuri]. Y.registered. Ref: Memoirs of the Polynesian Society Vol.14: The Oldman Collection of Maori Artifacts. Oldman, W. O., published by Thomas Avery & Sons, 1938. This kaitaka described and illustrated: 389D Small cloak. Coarser flax-work not so old as the first three. Bottom of cloak is wider and curved. Feathers have been stitched on surface in eleven rows, mostly now missing. Good design border but a small amount of coloured wool has been introduced in the design. Width (top) 1117mm, (bottom) 1270mm, sides 685mm. Taniko borders (remu hem) 142mm (sides) 19mm Provenance: William Ockleford Oldman (1879–1949) English collector and dealer, sold 1948 to the NZ Government Collection [overseen by Dr Roger Duff (1912–1978) ethnologist and director of the Canterbury Museum]; exchanged 1949 in a transaction between Duff and the current owners’ father for a number of items found at the Wairau Bar archaeological site between 1943 and 1948. Thence by bequest. Loan History: The Canterbury Museum Loan No.1702, 1995 - c.2012 * Oldman whilst amassing an extensive collection of Maori artefacts never visited the Pacific. His collection was formed from purchases from small British museum deaccessioning, auctions and private purchase. His primary collecting and trading activity was in the late 19thC and preceding WW1. Subsequently he maintained his Oceanic collection before selling a year before his death to the NZ Government, the transaction negotiated by Duff.

Realised: $30,000
D010 - 0195

Guy Ngan (1926-2017), sculpture No.9 from the Habitation series 1975

aluminium on ebonised base, impressed '9 GUY NGAN 1975', 240 X 190 X 490mm. Provenance: From the estate of the artist. Exhibited: The Dowse, Guy Ngan: Habitation. 18th May - 15th September 2019. Dunedin Public Art Gallery, Guy Ngan: Habitation. 20th March - 1st July 2021. The Dowse notes: Guy Ngan: Habitation considers how notions of place and belonging influenced his expansive practice, which was grounded in his Chinese heritage, his home in Te Moana nui a Kiwa (the Pacific), and his studies across Aotearoa New Zealand, the United Kingdom and Italy.

Realised: $28,000
E002 - 0138

Callum Innes (b.1962),

Exposed Painting series (2000), oil on canvas, signed, dated 00 and numbered on reverse 'CL 6700'?, 2105 x 2128mm. Condition report available. There are some marks and fly spotting on this work. Note: Innes was born in Edinburgh in 1962 and has emerged as one of the most significant international abstract painters of his generation. He studied drawing and painting at Gray's School of Art from 1980 to 1984 and then completed a post-graduate degree at Edinburgh College of Art, in 1985. He began exhibiting in the mid-to-late 1980's and in 1992 had two major exhibitions in public galleries, at the ICA, London and the Scottish National Gallery of Modern Art, Edinburgh. Innes was short-listed for the Turner and Jerwood Prizes in 1995, won the prestigious NatWest Prize for Painting in 1998, and in 2002 was awarded the Jerwood Prize for Painting. He has exhibited widely both nationally and internationally and his work is held in public collections worldwide including the Guggenheim, New York; National Gallery of Australia; TATE, London, and Scottish National Gallery of Modern Art. From Memory, a major exhibition of Callum Innes’ work over the past 15 years, was shown at The Fruitmarket Gallery, Edinburgh in 2007, and toured to Modern Art Oxford, and the Museum of Contemporary Art, Sydney.

Realised: $25,000
E004 - 0146

Peter McIntyre (1910-1995),

‘Purakunui, Towards the Head of Otago Harbour’, oil on board, signed, tag with details verso. 590 x 730mm. Provenance: The Estate of Jane and Roger Whyte, Waikato. Note: A similar work illustrated in 'Peter McIntyre's New Zealand', first published 1964, plate 46. With note by the artist ' I knew this landscape well too, as a young boy, and have often rowed my boat around the headland in the distance known as Goat Island....'. A 1989 copy of this book to accompanies this major work.

Realised: $24,000
E003 - 0195

A 14ct gold and diamond solitaire ring,

a 2.61ct round brilliant cut diamond (Colour M-N, Clarity SI1-SI2), claw set with eight small round brilliant cut diamonds to each shoulder, TDW 3.09ct, ring size M 1/2.

Realised: $22,000
E005 - 0038

A quality large Roy Cowan (CNZM MBE 1918-2006) salt glazed floor pot,

striking incised radiating circular and lineal decoration in dark cobalt blue/black and pale blue tones, the three dominant radiating circular motifs in an encircling band, tall ovoid form with rich caramel glaze to the narrow circular rim and interior. Provenance: Purchased by our vendor from a Wellington gallery c1990. Note: Cowan was a fulltime N.Z. potter, illustrator and print maker, educated at Wellington College then went to Teachers Training College in Wellington where he first met artist Roland Hipkins. Biographical details available. He was made a Companion of the N.Z. Order of Merit for Services to Pottery in the 2000 New Year Honours. H.930mm.

Realised: $20,000
D011 - 0249

A 9ct gold and emerald ring,

A 6.05ct oval mixed cut bluish green emerald (moderately included), in a rubover mount, tapered rounded shank. Valuation available for $62,000.

Realised: $19,000
D009 - 0230

A rare and important colonial Australian gold and opal brooch by Evan Jones of Sydney

the 15ct gold oval frame applied and sculpted with palm trees, emu, kangaroo and balga grass plant, framing the large oval polished quality opal panel of colours representing the water and sunset sky. Signed by the maker Evan Jones (1846-1917) a Sydney jeweller who later became an Alderman on the city council. L.47mm. Note: Jones, born in London 1846 arrived in Sydney about 1855 and was later apprenticed to a goldsmith in Hunter Street. Establishing his own business c.1873. He is noted as being the most prominent silversmith in Sydney during the second half of the 19thC winning many awards and at exhibitions in Sydney, Melbourne, Adelaide and Brisbane. He and his workshop are credited with making an inkstand for pope Pius IX, a salver made of Australian gold presented to (Saint) John Henry Newman and a gold crown for King George of Tonga. His works are held by the National Gallery of Australia. CONDITION REPORT: Tested as ~14ct so our assumption is 15ct colonial assay. Two colour gold, bright yellow mainly but rose coloured tree trunks. balga bush flower head and to the edge of the oval frame. 47 x 29mm. Frame depth 5.1mm. The balga bush stands about 1.8mm higher than the frame. The five decorative elements are individually applied to the framing bezel, each is crisply engraved or hand detailed. The opal displays some fire but more obviously has been chosen to display as a horizon land/sea scape. There is one minute surface abrasion (apparently from the original polishing of the stone) and light loupe visible crazing (as typically seen in opal). Verso: hinged pin, (no damage/ not bent), conforming oval glazed display cavity (for photo) currently has black material inset. Press fitted to the verso bezel. when removed the uniform flat opal potch back is revealed. The rear bezel has scratch engraved marks alpha numerical that may be pawn brokers (pricing?) (Xa /-/ E/-/-). The associated box has London jeweller's details inside lid.

Realised: $19,000