A pair of rare old Huanghuali Chinese folding horseshoe-back armchairs
the backs with a wide splat, pierced and carved panel with stylised animal and clouds, the seat of each of woven fibre, restrained scroll detail to the arm support, pinned brass strapping and mounts. Provenance: Purchased November 12, 1994, from Lek Gallery, Bangkok, Thailand, Certificate of Authenticity included stating 'Style Ming Dynasty, China. Century A.D. late 18thC'. Arm width 735, height 1130.
Adele Mary Younghusband (1878-1969) Two Maori Wahine
oil on canvas, signed and dated 1928. 595 x 445. Exhibited: Adele Younghusband, Whangarei Art Museum, Whangarei, 2007 - 2008. Ferner Galleries, Auckland, 2007. Illustrated: Spring Catalogue, Ferner Galleries, 2007, p. 78-79. Described by some as a New Zealand surrealist, Adele Younghusband was a woman of strong beliefs who painted angels and Maori myths as well as conventional landscapes and still lifes. Adela Mary Roche was born at Ngaroto in the Waikato where Hungerford Roche, her Dublin-born father, was the first Pakeha to farm Her sister, Fanny Osborne, was a botanical artist. Learning her trade of photographic retouching from pictorialist Harry Gaze in Hamilton, she studied painting with Horace Moore-Jones before marrying Gisborne grocer Frank Younghusband in 1905 and bearing three children. Unmistakeably modern in her outlook, she divorced her husband in 1917 and moved to Whangarei to open her own photographic business, becoming famous there as the first woman to bob her hair. Daughter Joyce’s death precipitated a move to Dargaville in 1927 but, by 1930, she had returned to city life and opened a photographic studio in Devonport, Auckland. For a decade between 1926 and 1936, Maori subjects predominated in her work. This can be attributed to her time in Northland, with its large non-urbanised M?ori population. Unlike depictions of M?ori by such artists as Charles F. Goldie, Younghusband’s work demonstrated a connection to earlier women artists, such as Frances Hodgkins and Mina Arndt, who portrayed Maori in a more sympathetic, less anthropological vein. Five watercolours of Maori myths from 1936 are in the collection of the Waikato Museum of Art and History along with an oil painting entitled The Poi Dancer (1929). Other significant works with Maori subjects include a mural in Hamilton’s Anglican Chapel of St Anne, another in its Theosophical Society building and Tane, God of the Forests (1929), which was commissioned from the artist to hang in the newly constructed Mahinarangi Meeting House at Tarangawaewae. Works by Adele Younghusband are held in most institutional gallery collections in New Zealand, the largest group is made up of the 24 paintings she gifted to the Whangarei Art Museum in 1954. The collection now contains 130 works by the artist, including photographs, prints and drawings. Maori Wahine shows two women dressed in traditional korowai and prominently displaying precious pounamu hei tiki. The elder of the two is seated before woven baskets holding kamara for a hanga and behind is the open doorway of a wharenui, with a pataka (food store) and palisade beyond. In contrast to the images of smiling wahine from an earlier period, these women look wary, their gaze fixed on someone or something beyond the viewer. Standing proud and erect, the younger of the two holds a mere pounamu in her right hand. Rather than relics of a dying race, these women are represented as symbols of Maori strength and hope for the future. Linda Tyler
An ebonised spring clock by Sam Watson
London, c1700. Pull quarter repeat on two bells, five pillar movement, the backplate engraved with a tulip pattern and maker’s name. The verge escapement had been converted to a pivoted back cock with spring suspension, preserving the original escapement but causing the pendulum to swing wide. It has been restored to the original knife edge by a prominent UK restorer who commented: “This late 17th/early 18th Century Spring Timepiece with Pull Quarter Repeating work is without question one of the most original survivors of this important period of English clockmaking I have seen in nearly 50 years of benchwork.” Copy and details of work undertaken available. Samuel Watson was an important clockmaker and mathematician who is recorded in Brian Loomes, "The Early Clockmakers of Great Britain" as initially working in Coventry from around 1680 where he was Sheriff in 1686 before moving to London in around 1691; he was admitted to the Clockmakers’ Company as a free Brother in 1692. He was supposedly ‘Mathematician ordinary’ to Charles II for whom he made an astronomical clock in 1682 followed by another clock which he did not finish until after the King’s death. This clock was eventually sold to Queen Mary on its completion in 1690 and is preserved at Windsor Castle albeit in a later case. He also made two further complex astronomical clocks for Isaac Newton and invented five minute repeating for watches. In November 1712 Samuel Watson approached the Clockmakers’ Company with an instrument to ‘discover the houre of the day at sea and several other useful mathematical matters’ but to no avail.
An important anonymous month-going longcase regulator
c.1760. Seven pillar movement with break arch plates, deadbeat escapement, bolt and shutter maintaining power, barrel arbor with anti-friction rollers at each end. 1¼ seconds pendulum. ‘A’ shaped brass plate covering the pivots on the back plate of the movement, probably intended as a thrust plate in the manner of the regulators made by John Shelton for timing the Transit of Venus. Fully overhauled by UK restorer Laurence Harvey and has been running freely on an 8lb weight for the last five years. Dial engraved with lines adapted from Book Two of Edward Young’s Night Thoughts, a poetic meditation on time, virtue and death: Redeem the TIME! Its loss we dearly buy TIME the supreme – TIME is eternity Pregnant with all eternity can give! The case is in oak, with a long trunk door to conform to the extra length of the pendulum. The clock was made for an amateur astronomer living in Market Harborough, Leicestershire. Full details are contained in the article ‘The Rouse Regulator,’ Antiquarian Horology, April 2004 which comes with the clock. Also included is a copy of Georgian Harborough which contains information on the Rouse family which owned the clock.. Bought unrestored and unresearched from Dunbar Sloane (Auckland) for $17,800 in 2003.
An imposing Regency three train chiming bracket clock by Frodsham
Gracechurch St, London. Mahogany break arch case, massively constructed movement with ¼ inch thick plates, large diameter knopped pillars and chain fusees. Maker’s name engraved on back plate. Whittington chime on a nest of bells, Chime/Silent control in arch of dial. Overhauled several years ago and running well. A fine clock by a celebrated maker.
An 18ct. gold and diamond solitaire ring
the 1.40ct. brilliant cut diamond claw set, with upright white gold shoulders, colour I, clarity VS2. Old valuation available.
A unique chiming 30hr longcase by William Porthouse
Penrith, circa 1750. Oak case with typical Lake District mouldings, the casemaker’s initials CW incised in the back board. Simple Whittington chime on six bells chiming on the first three quarters, hour strike only on the fourth. Rack striking for the hours, chime barrel contains a spring wound every quarter by gearing from the motion work and controlled by count-wheel. This arrangement is entirely original and previously unheard of. 11” arched dial carrying the names of the first owners, Thomas and Mary Arnison. Thomas Arnison was born in 1703 at Alston. He married Mary Pattison in 1729. An indenture record supplied by a family member shows that Arnison was a carpenter who took an apprentice in 1741. This clock has been described in Brian Loomes’ Brass Dial Clocks and the 2nd edition of John Robey’s Longcase Clock Reference Book. The article William Porthouse’s Remontoire was published in Antiquarian Horology, December 2010. Copies of the above come with the clock. This clock was offered for sale by Kingston Antiques (UK) in a full-page advertisement in Antiquarian Horology, March 1971 and sold to a New Zealand buyer. The swan neck pediment was damaged on the trip to New Zealand and the illustration from the advertisement used as a guide in its restoration by the current owner.
A pair of late 19th/early 20thC Chinese rosewood Tai Shi armchairs and matching tea table
the open square back panels carved with bat above peaches longevity design within scrolls, open arms, panelled seat, the frieze with restrained scroll detail, stretchered square section legs. Provenance: The previous owner inherited from these from his great grandmother, she was born in Dunedin in 1872 and the chairs came into her possession in the mid-1890s. She lived in Dunedin her entire life and the chairs and table have been in their family ever since.
A watchmaker’s regulator long case clock
silvered 14” and engraved circular dial with minute hand at centre, prominent seconds circle above centre and curved aperture below centre showing hours on anti-clockwise turning dial slip-mounted on the barrel arbor and visible behind a fixed pointer. Blued steel hands. Dial elaborately signed 'Regulator, Mills’s Remontoire Esceapement [sic], Caerleon'. Finely figured mahogany case with architectural hood and glazed trunk door. Temperature compensated glass jar mercury pendulum with polished steel rod suspended from steel bracket mounted to case back, impulsed by opposing angled crutch sides tipped with adjustable ivory rollers. The weight line is led over a wooden guide pulley at the left side to a finely crossed-out weight pulley supporting a brass-cased weight of only 2.3kg. The winding square is an idler wheel which is pressed back by the winder to engage a wheel mounted on the end of the barrel opposite the great wheel and maintaining power wheel. Mills were a family of clockmakers working in Caerleon, Wales from 1822 to 1871 and makers of their patent deadbeat pendulums. (c.f. Clock and Watch Makers in Wales, Iorweth C. Peate, 1960, p.61). Height 2070. c.1840.
An Art Deco inspired bespoke made emerald and diamond cluster ring
18ct white gold set. The oval emerald of approximately 1.5ct claw set above a table of channel set baguette diamonds, further brilliant and baguette diamonds embellish the bezel, shoulders and sides of the ring. TDW approx 1.72ct. Valuation available.
A long case clock in fine solid mahogany case
double brass stringing inlaid on hood, trunk and plinth, pagoda hood with brass finials and fabric-backed arched wooden sound frets in sides and top, broken-arched brass dial with gilt spandrels, silvered and finely engraved chapter ring with seconds bit, strike/silent ring in arch and oval signature plaque, date ring visible through dial aperture, signed Thomas Gardner, London. Eight-day movement with anchor escapement and brass cased lead weights, ebony handled crank key. Height 2350. c.1740.
An Art Deco style platinum emerald and diamond ring
the 1.43ct. emerald cut emerald in an 18ct. yellow gold rub-over mount and surrounded by sixteen diamonds with a further three to each upright shoulder, TDW 0.47ct. Market valuation available.
An 18ct white gold
sapphire and diamond ring, the 1.00ct emerald cut diamond in a raised rub-over mount and surrounded by twelve fancy cut bright blue sapphires, TDW 1.20cts. Valuation available.
Two ships chronometers. Both two-day duration with Arnold type spring detent escapement and fusée and chain
silvered and engraved dials signed 'Thomas Mercer Ltd. St. Albans England', blued steel hands, two-part mahogany gimballed boxes with glazed top lids and outer padded protective carrying boxes with leather straps. With consecutive serial numbers 27598 and 25799, they were purchased together new in 1972 from Mercers in London by Union Steamship Company for the delivery voyage from Scotland to New Zealand of Interisland ferry M.V. Arahanga, and were thereafter unneeded. No. 27598 has original Mercers rate certificate and guarantee. Original ratchet safety winding keys. c. 1971.
A platinum emerald and diamond ring
the 3.22ct. emerald cut emerald claw set and twenty-two round brilliant cut and ten baguette cut diamonds in an open basket mount, upswept shoulders, TDW 1.25ct. Valuation available.
George Frederic Watts (1817-1904)
untitled figure study, oil on board. 345 x 270. Labelled to the reverse 'From the G.F. Watts Museum Sale, Sotheby's, Belgravia 1982. Lot 38', with other written detail and assorted numbers.
Olivier Megaton (Fontana) (France b.1965)
'You F**ked Up!! Bro'. ink and stencil collage on canvas board, signed lower centre. 800 x 790. Olivier Megaton, cinematographer (Transporter, Taken2, Taken3) worked initially as a graffiti artist with contemporaries Blek le rat, Jef Aérosol, et al, before turning to ink and stencil work. He continues producing in various media.
A ship’s chronometer
two-day duration with Arnold type spring detent escapement and fusée and chain movement in gimbals, silvered and engraved dial marked 'French, Royal Exchange, London, No.5156' (i.e. Santiago James Moore French), signature and serial number boldly repeated on back plate, bimetallic two-arm balance with helical blued steel balance spring and diamond endstone, wedge-shaped poising weights, blued steel hands. 90 mm diameter bezel with convex bevelled glass. Three-part brass-bound mahogany case, '5156' engraved and filled on inset ivory plaque in middle part. Ratchet winding key is mounted on winding arbor below bowl. c. 1830
untitled Garden Series, oil on board, signed. 860 x 600, original frame.
'Soul of Mairangi Bay', acrylic on canvas, signed. 600 x 1010.
After Andrea del Verrocchio (Ital. c.1435-1488)
19thC copy of the Equestrian statue of Bartolomeo Colleoni, bronze. Height 620.
A pair of Coalbrookdale cast iron hall chairs designed by Christopher Dresser c.1870 in the 'Lily' pattern
the decorative backs with a combination of fluted, fan and wrythen forms, conforming base, the cast iron seats with enamelled dark red brown button type upholstered finish. Registration diamond cast to the reverse. Height 1330.
An Art Deco style 18ct. gold diamond and pink sapphire ring
the 1.04ct. square step cut pink sapphire set to the centre of eight round brilliant cut diamonds, TDW 1.20ct., market valuation available.
A Georgian bracket clock
ebonised lancet shaped case with brass string inlays, lion mask side handles, plain white glazed enamel convex dial signed Thos. Moss, London No.222, double fusée movement with anchor escapement striking on a bell mounted on rear plate and pull cord hour repeat, engraved signed and shaped back plate, strike/silent lever behind cast brass bezel. Associated matching ebonised wall bracket and crank winding key. An identical clock is illustrated and described in The Georgian Bracket Clock, Richard C.R. Barder, pp. 199, 200. Height 350. bracket 200. c.1810.
A Chinese silver tea set and accompanying tray
the squat circular teapot, milk jug, sugar bowl ornately decorated with dragons; hallmarked 'HC' (Hung Chong, Shanghai 1860-1930). The oblong tray with canted corners and cast border decorated with equestrian warriors; presentation engraved: 'Chefoo (now Yantai) Races 1905, Hai Kwan Cup won by Deuteronomy', and bearing two struck hallmarks. Total weight approx. 2745gms.
An Art Deco style 18ct. white gold diamond and pink sapphire ring
the 0.73ct. emerald cut pink sapphire set to the centre and surrounded by twelve round brilliant cut diamonds with two baguette diamonds to each shoulder, TDW 0.42ct., market valuation available.
An Art Deco style 18ct. white gold diamond and aquamarine ring
the 1.63ct. oval mixed cut aquamarine set to the centre of ten round brilliant cut diamonds, TDW 1.12ct., market valuation available.
An Art Deco style 18ct. gold diamond and aquamarine ring
the 1.66ct oval cut aquamarine in a rub-over mount and surrounded by twelve round brilliant cut diamonds, TDW 0.86ct., market valuation available.
A large old good quality Persian Tekke Turkoman carpet
the field decorated with five rows of gul motifs, multiple narrow border guards with one wide central guard, typical colours of rich red, dark blue and ivory. 2700 x 390.
A Georgian bracket clock
dark mahogany case, the square door with a circular glazed aperture covering the plain square silvered brass dial, signed 'Ellicott, London' on dial and repeated on the well-engraved back plate, striking on bell mounted above the double fusée movement, anchor escapement expertly converted from original verge in about 1820, strike/silent lever in aperture at top right corner of dial. Height 500. c.1770.
An authentic pre-owned large Chanel handbag
in black caviar leather, black leather handles with a metal chain supported by four metal ring fittings, embossed Chanel logo to front with original authentication card and dust bag.
An 18ct. gold ruby and diamond ring
the 1.00ct. oval mixed cut ruby in a semi rub-over mount, with a 0.32ct. round brilliant cut diamond on either side, solid tapering band, valuation available.
A Royal Worcester vase
painted with Highland Cattle, signed H. Stinton, gilt embellishments, shape 1762. Height 210.
A modern silver King's pattern eight-place setting
heavy double-struck cutlery service, includes table forks, table knives, dessert forks, dessert spoons, entree knives, soup spoons and teaspoons together with three serving spoons. In canteen. London 1976 by Roberts & Dore Ltd. The silver weight excluding knives 2.653kgs.
A good Victorian burr walnut breakfront credenza
three glazed panel doors, thumb moulded edge to top and plinth base, the three glazed doors with shaped borders, a good example in original condition, dark blue purple velvet lined interior. 1710 x 430 x 1090.
Louis Sidoli (U.K.)
'Life on Mars' (David Bowie), ink jet on polished aluminium (blue/copper) colourway. 995 x 995.
A miniature early quarter repeating French carriage clock
engraved and gilt case with hinged glazed front door, engraved silvered dial and hidden fold-down handle on top. The hour and quarter hour are sounded by two hammers striking a coiled steel gong when the top push piece is fully depressed. The 30 hour fusee movement with verge escapement, gilt and engraved back plate signed 'G. LeRoy a Paris', gilt engraved and pierced balance bridge. Associated turned wooden base and glass dust cover and winding key. Height including handle 1030. c.1780.
Laurence Broderick (U.K. b.1935)
untitled female form, polished and rough Cornish sandstone, unique 1/1, signed and dated 1984. 260 x 135 x 200. Provenance: A gift from the sculptor to friends in New Zealand in 1984; thence by bequest and descent to our vendor. Laurence Broderick, MRBS, FRSA, is a British sculptor. His best known work is 'The Bull', a public sculpture erected in 2003 at the Bull Ring, Birmingham. His work consists largely of figurative carvings in stone and editions in bronze. The artist has advised our vendor that a similar work would now cost £5000 - £8000.
An exquisite small Japanese Komai
a small hexagonal box in silver and gold with lavish decoration of Mt Fuji, village scenes and floral designs, signed on base. 55gms. Width 336.
A desk in the manner of Èugene Vallin
influenced by the desk in the Musée Corbin. This bespoke Art Nouveau style desk was commissioned and based on the original from 1899, made over a number of years by Jim Murray, a master craftsman from Marton. Made of kauri with sinuous forms, relief carving and configured with two banks of drawers to either side of the generous knee-hole. 2000 x 1000 x 840.
A large pounamu boulder
one face polished showing even dark green tone. Other surfaces showing river worn finish. Weight approx. 77kgs.
William IV Scottish long case clock in attractive solid mahogany case with round hood surmounted by carvings and tapered trunk with bow front door
circular silver painted dial signed 'D. Duff, Paisley', with matching blued steel calendar and seconds hands, the eight-day movement with anchor escapement striking on a surmounted bell, early cast iron weights, crank handle key. Height 2110. c.1840
A heavy burr root timber desk
the top with flat areas for desk accessories. 1850 x 800 x 870.
A 19thC country fruitwood armoire
shaped panels to the single door, large iron hinges and lock, the interior with three shelves, some restoration to the pediment. 970 x 500 x 2140.
A quality Chinese rosewood display cabinet
the top with four small panelled sliding doors above a stepped open section including three doors and a drawer above the base with three further panelled drawers, restrained pierced carved gallery frieze detail, plain turned columns. Good dark tone. 1210 x 330 x 1245.
An Art Deco style 18ct. white gold and diamond ring
the 0.46ct early modern brilliant cut diamond bead set with a Swiss cut diamond set to each corner, TDW 0.70ct., market valuation available.
A Chinese black lacquer four-fold screen with hardstone and ivory decoration of figures
birds, prunus tree and buildings, the borders with detailed gilding, the reverse with restrained gilded designs of birds and flowers. Width of each panel 460, height 1840.
An impressive mid-20thC large carved Maori stylised figure panel
patu to right hand, a stylised child figure to the base, paua insert highlights. 1775 x 545 x 40.
A classical coloured marble fire surround
long rectangular form mantel, the supports with scroll detail and coloured panels. Width 1660, depth 300, height 1130.
An early George III mahogany drop leaf gate-leg dining table
the flaps raising to form an oval top, the tapered legs with shield form restrained carved knees and well detailed hoof feet. 1200 x 1350 x 760.