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Oceanic & Indigenous Artefacts — Webb's

Auction House:Webb'sNumber of lots recorded:176
Sale Title:Oceanic & Indigenous ArtefactsLots with images:176
Auction Location:AucklandPrices available:126
Date:17-May-2021
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A Peter Chatsworth attributed Tukutuku panel. Entitled 'Awa. Tukutuku panels are an integral part of story telling for Maori and were designed to hold the attention of the viewer as the story unfolded. They were designed to add aesthetic beauty to the surroundings of the interiors of wharekai and meeting houses where they were held in conjunction with the carvings of the rafters and the pou and pare panels to add to ancestral stories. The traditional tukutuku panel is a lattice-like frame made up of…
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A contemporary waka hoe paddle. Carved from a single piece of wood with a dark brown patina. The handle of the paddle is a short cylindrical butt on a long shaft. The blade of the waka hoe is leaf shaped and has a raised medial line running central with raised relief of koru designs. Length 126 cm, width 16.5 cm
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A cast bronze tekoteko. Hands clasped to abdomen, traditional incised tattoo to body. Height 35 cm, width 10 cm, depth 7 cm
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A walking stick (tokotoko). Carved from wood, this walking stick has a design of a figure with paua shell eyes. The tokotoko has a brass femule and collar. Engraved in the collar are the letters 'H.L'. Length 86.5 cm, depth 2.5 cm
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A hand-chiselled pou by master carver Mel Manu. Te Rangitane O Manawatu. The art of whakairo or Maori wood carving is no better represented than in this carving of a pou, intricately hand chiselled in the Manawatu-Whanganui style. Carved during 2002 and 2003 by master carver Mel Manu, of Ngapuhi. The design is chisel carved from t?tara, a native New Zealand timber, which being straight grained, durable, and found virtually throughout the country, has been a favoured medium for Maori carvers. This carving…
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A tekoteko hand carved by master carver Mel Manu. This tekoteko was chisel carved by master carver Mel Manu. The tekoteko is carved representation of Maori warrior ancestors, heroes of great feats and bravery. Tekoteko are traditionally found in and around whare meeting houses. They are almost always shown holding a weapon which in turn demonstrates the ancestor's status in battle and prowess in war in hand-to-hand combat. The moko, facial tattoo, on the warrior tekoteko's face and body identifies him, his…
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A hand-chiselled pou by master carver Mel Manu. Carved from a single piece of wood and stained a light brown. A rectangular form with high relief carving depicting a figure holding a patu with a smaller figure between their legs. Paua shell inlaid eyes. Height 116.5 cm, width 45 cm, depth 8.5 cm
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A Mel Manu taiaha adorned with kiwi feathers. A weapon of hardwood with one end carved to represent a head with a protruding tongue, and other representing the body of a warrior. The upoko (head) and the arero (tongue) are heavily carved in the traditional manner with inlaid paua eyes. This taiaha has been chisel carved from one single slab of native t?tara timber. This weapon was used like a fighting staff. Exponents of the taiaha were, and are, highly skilled. They were able to move swiftly and elusively…
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A Mel Manu taiaha adorned with kiwi feathers. A weapon of hardwood with one end carved to represent a head with a protruding tongue, and other representing the body of a warrior. The upoko (head) and the arero (tongue) are heavily carved in the traditional manner with inlaid paua eyes. This taiaha has been chisel carved from one single slab of native t?tara timber. This weapon was used like a fighting staff. Exponents of the taiaha were, and are, highly skilled. They were able to move swiftly and elusively…
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A talking stick (tokotoko) chisel carved by master carver Mel Manu (Ngapuhi). The traditional design of this tokotoko or talking stick is ornately carved entirely by hand, using chisel tools. Tokotoko is fashioned in the form of a walking stick and from one single piece of treated t?tara. The tokotoko has come to be regarded as a symbol of authority, which shows the status of a speaker, and it tells of the history from which that authority comes. It is said that words should flow like the k?whaiwhai…
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A hand-chiselled pou ta moko. A freestanding human form carved from a single piece of wood. The figure is holding a patu in one hand and the other hand is held to the stomach. The figure wears ta moko and has paua shell inset eyes. The wood has been stained a light brown. Height 82.5 cm, width 15.5 cm, depth 14 cm
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An exceptional contemporary carved kauri bailer. Carved from a single piece of wood this bailer has a large hollowed scoop with a forward projecting handle. At the butt of the handle is a manaia figure a features intricate koru designs. A dark brown patina to the wood. Height 20 cm, width 43 cm, depth 25 cm
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A Maori carved pediment. Carved meticulously from a single piece of wood, depicting entangled manaia and other mythological figures. Provenance: from the collection of Keith St Cartmail. Height 113 cm, width 40 cm
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C.F. Goldie, his life & Painting' - Alister Taylor and Jan Glen. Published in 1977. Signed by Alister Taylor. A m ajor catalogue raisonne with biography of Goldie. Beautifully bound in quarter leather and linen binding and housed in a solander box. Height 40 cm, width 32 cm, depth 6.5 cm
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A hand-carved pare by master carver Mel Manu. Raised relief carved from a single piece of wood. This long pare depicts 5 manaia figures connected together like rolling waves. The manaia have paua shell inset eyes. The wood has a dark brown patina. Pare are slabs of wood that sit above entrance ways into buildings such as meeting houses. Height 40 cm, width 207 cm, depth 6.3 cm
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C.F. Goldie, prints, drawings, & Criticisms' - Alister Taylor and Jan Glen. Published in 1979. Signed by Alister Taylor. A Major catalogue raisonne with biography of Goldie. Beautifully bound in quarter leather and linen binding and housed in a solander box. Height 40 cm, width 32 cm, depth 6.3 cm
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Mazze clave della Nuova Zelanda' plate 27. Etching. Framed and mounted. Height 23.5 cm, width 18 cm
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Traditional Pacific Island tools, plate 9. Etching. Framed and mounted. Height 18.3 cm, width 22 cm
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Pahe-a-Range' - J. Sutcliffe. Lithograph, 1840. Framed and mounted. Height 36.2 cm, width 25.6 cm
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Mouillage D'Otago' - Louis Le Breton. Lithograph, 1846. Framed and mounted. Height 23.8 cm, width 36.2 cm
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Vue du cap Wangari' - Louis Auguste de Sainson. Lithograph, 1833. Framed and mounted. Height 26.1 cm, width 38 cm
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Cases de Naturels' - Louis Le Breton. Lithograph, 1840. Framed and mounted. Height 23 cm, width 34.1 cm
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Observatoire de L'astrolabe' - Louis Auguste de Sainson. Lithograph. Framed and mounted. Height 28.6 cm, width 37 cm
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Pirogue des Habitants de la Nouvelle-Zelande' - Ambroise Tardieu. Lithograph, 1826. Framed and mounted. Height 23.5 cm, width 33.1 cm
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'Etablissement des missionnaires anglais a Kidikidi, Nouvelle-Zelande.' - Antoine Chazel. Lithograph, 1826. Framed and mounted. Height 23.5 cm, width 32.1 cm
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The Reception of the Rev. J. Williams at Tanna in the south Seas, the day before He was Massacred' - George Baxter. Lithograph. 1841. Framed and mounted. Height 21 cm, width 31.3 cm
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The Landing of Captain cook at Tanna, one of the New Hebrides' - George William Anderson. Engraving, 1785. Framed and mounted. Height 21.4 cm, width 31.1 cm
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The Massacre of the Lamented Missionary, the Rev. J. Williams and Mr Harris' - George Baxter. Etching, 1841. Framed and mounted. Height 24.6 cm, width 34.6 cm
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A war canoe of New Zealand with a view of gable end Foreland' - Sydney Parkinson. Engraving. C.1770. This engraving was printed in the official British Admiralty sanctioned edition of the accounts of Cook's first voyage. Framed and mounted. Height 47.1 cm, width 50.6 cm
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Head of a New Zealander' - Sydney Parkinson. Engraving 1773, framed and mounted. This recording was sketched during Cook's first voyage around New Zealand, beginning in 1769. A copper plate etching was made from his original drawing. Sydney Parkinson was the official artist and assistant to Joseph Banks, Botanist and Naturalist aboard Captain Cook's first south Seas voyage of discovery aboard the ship Endeavour. He was a prolific and accurate artist and sketched 674 drawings and completed 269 paintings and…
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A Fortified town, or village, called Ahippah, built on a Perforated rock, at Tolaga in New Zealand' - Thomas Morris. Engraving. C.1769. Framed and mounted, height 59.6 cm, width 78 cm
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A view of a Fortified town or village called Ahippah built on a Perforated rock at Tolaga in New Zealand' - Sydney Parkinson and Martin Reynoldson. Engraving. Framed and mounted. Height 12.5 cm, width 20 cm
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View of the inside of a house on the island of Ulietea, with representation of a dance to the music of that Country' - Giovanni Battista Cipriani. Engraving. C.1770s. Framed and mounted. Height 22 cm, width 34.5 cm
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A Tumbuan dance costume, lower Sepik, Papua New Guinea. Many tumbuan masks represent actual or spiritual ancestors and are produced throughout the Sepik region. Worn by the secret Dukduk society during initiation ceremonies. Made of bark stretched over a wooden frame, decorated with a dramatic skirt of long rattan. The face is carved from wood, coloured with natural pigment and fringed with feathers. Purchased from Sotheby's Sydney 1996. Height 170 cm, depth 137 cm
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A middle Sepik mask, Papua New Guinea. Oblong face with domed forehead and extended nose pierced through the septum, cowrie inlaid eyes. The lower half of the face bordered by a fibre ruff, the upper half adorned with incised motifs and white and red pigments decorative highlights. Provenance: from the collection of Keith St Cartmail. Height 80 cm, width 46 cm
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A Malangan figure, New Ireland. Malangan ceremonies are typically performed to honour the dead. This figure depicts a person with arms extended outwards and pointing fingers. Birds are often depicted with Malangan carvings. The figure has eyes made of shells and plant fibre for hair. Height 72.7 cm, width 55 cm, depth 10 cm. Provenance: Previously Harold Gallasch collection
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A large and Remarkable lower Sepik mask. High and domed forehead overlooking a flat face structured by a large nose pierced through the septum, bulging concentric eyes and protruding mouth revealing teeth giving a threatening look to the visage. The entire face thoroughly painted with scroll and undulation motifs in white, black and red to represent the traditional scarifications. In this region, not many masks had the function of hiding the face. They were more often fastened on the frontage or the inside…
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A transitional crucifix, Papua New Guinea. Latmul people, Sepik River. An engaging example of the appropriation of one tradition by another in which iconic forms representing a prior world view become part of the new order. A rare example similar to one held in the collection of Auckland Museum. Height 72 cm, width 28 cm, depth 12 cm
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A Ramu River dance mask, Papua New Guinea. Made from bark stretched over a wooden frame, decorated with a mane of long rattan around its edges. The center of the mask is decorated with feathers in a line from the forehead to the tip of the long, trunk-like nose. Woven twigs form a dese border around the edges of the mouth, while thin strips of bark create patterns on the face. Alternating white and red pigment gives the face a tattooed appearance. Length 170 cm, width 76 cm, depth 50 cm
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A large shield, Papua New Guinea. Carved from wood, this long rectangular shield has raised designs of 'S' like shapes. The shield is coloured with white and brown pigment. At the top of the shield is a small carved head. Height 173 cm, width 37 cm
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A middle Sepik River ancestral Figure-Mask, Papua New Guinea. Squatting figure raised on a curvilinear triangle, elbows resting on the thighs, elongated nose reaches the base, imposing headdress, body shaped as another ancestral figure, rattan structure with a few remnant feathers on the backside aperture. The whole sculpture thoroughly incised with geometric motifs and carved with multiple ancestral figures, producing a striking optical effect in the tradition of Sepik arts: complex ancestral…
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A Yipwon figure, Sepik, Papua New Guinea. Sculpted from a single piece of timber, representing a yipwon spirit whose function was to help and protect men during hunting. Simplified shape of a body with a head, a leg and a foot, incorporating a series of opposed hooks. The eyes are cowrie inlaid and a tassel ornament is attached to the nostrils. The chevron motifs refer to the crocodile ancestor. Painted in traditional colours: red, yellow, black and white. Considered as very powerful figures, they would be…
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A 20th century middle Sepik River ancestral figure mask. Sepik Art is complex: ancestral representations destabilize and appear to be in constant transformation. This male figure with a long hooked nose, symbol of masculine strength, and imposing headdress terminating in carved faces, holds a body shaped as another ancestral figure. The ancestor appears everywhere under multiple forms and absorbs whoever gazes at them. Provenance: from the collection of Keith St Cartmail. Height 134 cm
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An ancestral figure, Sepik, Papua New Guinea. Carved from a single piece of wood. The figure is a male depiction and is coloured with black pigment and red, white, and yellow pigments. Cowrie shells for the eyes. The figure is mounted on a small metal base. Height 60 cm, width 14 cm, depth 16 cm
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A middle Sepik naturalistic mask, Papua New Guinea. Of flat ovoid form, naturalistic face in its center with domed forehead and tongue out, each facial feature highlighted with white pigment. Decorated with carved concentric circles and arrow-shaped designs painted in white. Diamond-shaped finial at the top. Provenance: from the collection of Keith St Cartmail. Height 80 cm, width 22 cm
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An Iatmul ancestral spirit figure, Sepik, Papua New Guinea. Female figure in slight squatting position, hands on the hips, with bulging abdomen, large face with cowrie inlaid eyes and crowned with feathers. Plaited fibres adorn the ears, nose, wrists, ankles and waist. The face and the abdomen are covered with the representation of scarifications. The sculpture is painted in black, red and white. Traditionally, such figures would be kept inside men's houses, each representing the ancestor of a social group…
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A Trobriand bowl with shell inlay. Carved from a single piece of wood, this bowl has a wide rim creating a rectangular shape. The rim is decorated with spiral designs with open work. Small inlays of shell around the rim. The bowl sits on a thin circular foot. Height 5 cm, width 41.5 cm, depth 24.1 cm
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A Sepik suspension hook, Papua New Guinea. Food and valuables are suspended from the hook in baskets and bags which was then suspended from the rafters of buildings. Carved from wood, the double pronged hook depicts a male figure holding two birds, one bird is a hornbill. Coloured black and white with natural pigments. The figure has cowrie shell eyes. Length 102 cm, width 28 cm, depth 4.5 cm
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A large Trobriand bowl, Papua New Guinea. Carved from a single piece of wood. The bowl has a wide flat rim that is carved with designs spiral designs and open work with shell inlays. Height 11.6 cm, depth 44 cm
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A double bird bowl, Massim, Papua New Guinea. Carved from a single piece of wood, this bowl has two oval dishes. The edges of the bowl have bird wings and each end of the bowl has a birds head holding a fish in it's mouth creating a small handle. Height 8 cm, width 65 cm, depth 20 cm
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A Dani Woman's Cache-Sexe skirt, Irian Jaya. Made from orchid fibre that has been coloured and braided. Made in the mid 20th century. These were worn low on the hips and fitted tightly. On a painted wooden stand. Length 31 cm, width 18 cm, depth 32 cm
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An upper Sepik yam sculpture. Carved wood representing two mirroring faces, with bulging eyes, domed forehead, long straight nose and heart-shaped mouth in high relief, joined together by a handle and painted in traditional hues of red, black and white. The reverse reveals another face in its center. In several areas of the upper Sepik River, peoples share an artistic tradition centered on an annual sequence of ceremonies devoted to the cultivation of yams, one of the essential foods of their diet. A man's…
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An impressive Sepik Triple-Visage sculpture. Long wooden sculpture carved into three ancestral visages on top of each other, with a high and domed forehead overlooking a flat face structured by a large nose pierced through the septum, bulging concentric eyes and heart-shaped mouth. The entire sculpture thoroughly painted with white polka dots. Provenance: from the collection of Keith St Cartmail. Height 190 cm, width 30 cm
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A walking stick, Papua New Guinea. Carved from wood, this walking stick depits an arching crocodile and a snake wrapped around the shaft of the stick. The wood is a deep brown-red patina. Shell inlays for the eyes. Height 87 cm, width 12.5 cm
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A Sepik skull rack, Papua New Guinea. Tradtionally used to display the skulls of slain enemies, but after the 1920s skulls of ancestors, over-modeled with clay, were hung with offerings such as betel nuts and shell money. These ritual maintained the connection with the spirits of one's ancestors and thus with the powers of the other world. The head is carved from wood and painted over with tattoo-like patterns, and has two shells for eyes. The body and arms are woven with rattan and adorned with knotted…
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An ancestral carving, Sepik River, Papua New Guinea. Carved from wood, the wooden bust has been painted black with the face detailed in a white/grey pigment. Cowrie shells for eyes and plant fibre cords at the ears and nose. Height 31.5 cm, width 15 cm
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A Mindja fertility figure, Kwoma people, Washkuk, Papua New Guinea. This figure is used in the yam harvest ceremony. Carved from wood and coloured with black, red, and white pigments. The figure has a teardrop form head with a concave face. The facial features of the eyes, nose and mouth are projecting and coloured white. The head of the Mindja figure sits on a medial shaft that is coloured with a contrasting black and white triangular design. Length 90.5 cm, width 22 cm, depth 14 cm
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A crocodile canoe prow, Papua New Guinea. Carved from a single piece of wood, this crocodile head would have been fixed to the front of a canoe. Remains of the original blue pigment. Height 9.2 cm, length 54 cm, width 27.5 cm
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An Asmat shield, Papua New Guinea. Mid 20th century. Carved from a single piece of wood, this shield is decorated with natural pigments and features a flying-fox motif. Height 155 cm, width 55 cm
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An antique figural carving, Vanuatu. Carved from soft wood. It depicts a woman with a child on her back. The figure stands on a small dome shaped base. Height 88 cm, width 26.5 cm, depth 27 cm
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A puppet head (Temes Nevimbur), Vanuatu. The head is made from bark and has over-moulded vegetable paste that has hardened for the facial features with black, red, and white pigment. The face has two large boar tusks curling away from the face. The head is moulded around a wooden handle. Length 111.5 cm, width 20.5 cm
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A Malekula dog figure, Vanuatu. Used in childrens puppet shows. Made from wood and dried palm leaf. Height 64 cm, width 20 cm, depth 56 cm
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A carved female figure, Vanuatu. Carved from a single piece of soft wood. The figure has a heavy brow and an arrow shaped nose. Hands are resting at the stomach and the feet of the figure form a square base. Height 62 cm, width 13 cm, depth 15 cm
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A puppet head (Temes Nevimbur), Vanuatu. The head is made from bark and has over-moulded vegetable paste that has hardened for the facial features with black, red, and white pigment. The face has two large boar tusks curling away from the face. The head is moulded around a wooden handle that has been coloured black. Length 105 cm, width 22 cm
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A puppet (Temes Nevimbur), Vanuatu. Used in traditional dances. The head is made from bark and has over-moulded vegetable paste that has hardened for the facial features with black and pigment. The face has two large boar tusks curling away from the face. The puppets body is made from bunches palm leaf that is wrapped around a wooden handle. Length 91.5 cm, width 55 cm
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A post figure carving, Ambryn Island, Vanuatu. Carved from single piece of soft wood, it depicts a face with pointed head, protruding brows, and circular nostrils. Coloured with red, white, and green pigments. Height 129.5 cm, width 18 cm, depth 20 cm
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A rare Nias sculpted bust, Sumatra, Indonesia. Delicately sculpted ancestral figure - adu - of high rank, highlighted by the insignias they wear: the torc around the neck, the large earring on the left ear, the high complex headdress evoking the gold ornaments worn by dignified individuals. Ancestor worship was at the core of Nias beliefs and specific rites would be performed to the sculpture to benefit from the ancestors' benevolence. Faults. Provenance, from the collection of Keith St Cartmail. Height 53…
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A Nias stool, Nias Island, Indonesia. Mid 20th c. Carved from a single log of wood with a natural ebonised finish. A circular seat with four curved legs on a circular base. Height 40 cm, depth 28 cm
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A Shipibo pot, Peruvian Rainforest. A large circular opening with a long neck. The neck has raised features of a face including eyes, nose, ears, and mouth. The pot has dropped shoulders and a waist, with a rounded base. The upper section of the pot his a cream colour with black and red line decorations of geometric lines, which represent patterns and order of the universe. The lower section of the pot is coloured red with geometric patterns in cream. Height 43 cm, depth 320 mm
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A large Shipibo pot, Peruvian Rainforest. A large circular opening dropped shoulders and a rounded body. The top half of the pot is a cream colour with geometric line designs in red and black, these lines represent patterns and order of the universe. The lower section of the pot is coloured brown. The neck of the pot has a face with raised features and red coloured lips. Height 62 cm, depth 63 cm
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A baby carrier, Tilmouth ell, Northern Territory. Carved from a single piece of bark in an oval shape with concave centre. Coloured with dot work patterning in polychrome. Length 60 cm, width 19 cm
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Spear from the Northern Territory. Carved from a single piece of wood and decorated with pigment in a gridded pattern. Length 210.5 cm, depth 3.5 cm
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A spear from the Northern Territory. Carved from a single piece of wood and coloured with a brown pigment, decorated with a gridded pattern in white, brown, and beige. Length 162 cm, depth 2.1 cm
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An Aboriginal boomerang. Light brown patina, adorned with incised Australian wildlife motifs, subtle curve tapering on one side, underside slightly flatter and darker wood hue. Approx. Length 64 cm
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An early 20th century Maori folk art mantle clock. With elaborate and traditional all over carving and paua border to the central quartz movement German clock. Height 25 cm, width 45 cm
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A Practice taiaha. Carved wood, long flat tapering shaft with spatulate blade tip. Signs of wear and use. Mau taiaha, an ancient form of staff fighting, is still taught and practised in New Zealand. During the training, such practice staffs are used to master the techniques of combat. Provenance: from the collection of Keith St Cartmail. Length 131 cm
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