A Rangi Redman

Circa 1970s-80s. Rangi (Jack) Redman is a prominent carver who began his work in toi whakairo in the 1950s. Carved from wood in the traditional wahaika form with deeply carved notched patterns at the head. At the inner-side of the blade is a figure. The butt of the weapon features a wheku head with pāua shell inlaid eyes. With a suspension cord made from plaited plant fibre. L420 W150 D34mm est $500 — $1,000

68 CHRIS CHARTERIS untitled

1999, Aotearoa. Pounamu, gilt, and rope cord. Signed and dated to fastening. This breastplate comprises two pieces of pounamu in different shades of green, one an arched semicircle forming the back, and the other with long dancetté edge. The face is carved with geometric patterning filled with gilt paint, with two lines of seven triangular cutouts in the centre. Black woven cord attaches the two pieces of pounamu together on each side, extending to a loop fastening with a small piece of pounamu bearing the artist's signature and date. 110 x 300mm est $500 — $1,000

Adopted into a Pakeha family and told he was Māori (which led him to study traditional Māori carving), Charteris later discovered he was of Kiribati, Fijian and English descent. His sculptures reflect not only his own personal history and journey of identity. Charteris' works are in a number of public and private collections, including Museum of New Zealand Te Papa Tongarewa, The Dowse Art Museum, the British Museum, and the Cambridge University Museum of Archaeology and Anthropology.

1992. Cook Islands people worshipped many gods and deities. Tangaroa was considered the principal god of the sea and of creation. O'Neill has depicted Tangaroa in the medium of corduroy fabric and thread. H325 W230 D195mm est $300 — $600

70 A .577 Snider Enfield Rifle from the Land Wars Era

This land wars relic was recovered from the bank of the Waikato river in the 1960s. The rifle is now inoperable. The permanently cocked hammer points to a rifle that was in action when it was lost. With eroded wood and rusted metal fittings. The rifle offers a facinating snapshot into the early European settlement period of Aotearoa. Inoperable and unusable, this snider is presented in a museum grade archival frame. No firearms licence required. Gun H105 L1000 D65mm, frame 360 x 1247mm est $3,000 — $5,000

71 A Tokotoko Whaikorero, Rotorua

Mid-late 19th century. Tokotoko whaikorero were used by rangatira and kaumatua to create points of emphasis during whaikōrero (formal speeches) on marae. With extremely fine and precise carvings cover the entire body with humanoid figure to the top. The handle has been left uncarved. With a rich dark patina, and presented on a custom stand. L705 W30 D100mm, on stand H980mm est $2,500 — $3,500

72 A Rare Kahu Kiwi Cloak, Aotearoa

This kiwi feather cloak is made from muka fibre that has been painstakingly woven by hand in the single-pair twinning technique. The 30mm border to each side ends of this cloak features black and red wool threads woven in a diamond pattern. The upper edge of the cloak has a black and red wool twisted detail. The lower edge of the cloak has remnants of a black dyed muka tāniko pattern, possibly a niho taniwha design. The feathers have been woven individually in to the muka in rows approximately 10mm apart. There are some small sections of losses to the feathers, but an overall lush density remains intact. A later addition to the cloak is a rich purple brocade fabric sewn to the interior of the cloak. This is likely an addition by a previous custodian to protect the muka from stress. 1090 x 1300mm est $30,000 — $50,000

73 A Turtle Net Float, Solomon Islands

Carved from a soft wood (Alistonia Scholaris) that has been darkened with a mixture of charcoal and natural plant sap and bound with a volcanic rock with bamboo strips. Surmounted with a figure of a fish-headed spirit, Tararaman. L635 W115 D40mm est $300 — $500

74 An Early Mike Higgs Pounamu Hei Tiki

Carved from a mottled dark and light coloured pounamu. With head tilted, serrated edged pāua ring inset eyes, and an extended arero. With a pierced hole and plant fibre cord. L118 W67 D6mm est $1,500 — $1,800

75 A Canoe Prow, Yos Sudarso Bay, New Guinea

Carved from wood. Depicting a hornbill bird perched atop a head. With contrasting colours of white, black, and red. H275 W425 D35mm est $400 — $600

76 A New Authentic and Complete Collection of Voyages Round the World Undertaken and Performed by Royal Authority Captain Cooks First, Second, Third and Last Voyages est $5,000 — $10,000

By George William Anderson. One volume, 150 engravings. London, Alex Fogg, n.d. (1784-86). An important early compilation of Cook's three voyages, plus Byron, Wallace, Carteret, Mulgrave, Anson.

77 A Large and Impressive Storyboard, Papua New Guinea

Storyboards are used as tools for social memory; they record an event through their images. The storyboard depicts a village scene with many people and native flora and fauna. 1300 x 2585mm est $1,000 — $2,000

78 Signed Works of Arthur Conan Doyle Authors Edition

Signed Works of Arthur Conan Doyle Authors Edition The White Company (signed by Conan Doyle), The Adventures of Sherlock Holmes, The Great Shadow, Uncle Bernac, Rodney Stone, The Exploits of Brigadier Gerard, Tragedy of the Korosko, The Green Flag, Stark-Monro Letters, Round the Red Lamp, Micah Clarke, The Refugees, A Duet With an Occasional Chorus, The Memoirs of Sherlock Holmes, A Study in Scarlet and The Sign of Four est $10,000 — $20,000

12 Volumes, uncut, original cloth boards, Limited to 1000 copies, this being no.763, signed by Arthur Conan Doyle in the "The White Company".

79 An Ancient Gold Intaglio Ring, Rome

1st–2nd Century CE. Intaglio design in red carnelian, depicting a figure in profile. The intaglio design was used to push into hot wax or wet clay to create a sealing or signature of the owner. With intricate gold band. D19mm (ring size M 1/2) est $1,000 — $2,000

80 An Ancient Mesopotamian Ceramic Eye Idol

Circa 3300–3000 BCE. Carved from a white stone. An abstract and minimal form depicting a head with eyes. It is unknown if these idols represent a deity or worshippers of a deity. Repair to one of the eyes. H98 W62 D8mm est $400 — $800

81 A Gold and Amethyst Ring, Rome

1st–3rd century CE. A small gold Roman ring with ameythyst inlaid stone. With a wide collar around the stone with incised design. D22mm est $600 — $1,200

82 A Large and Finely Carved Contemporary Māripi by Rangi Redman

Carved in the traditional style with manaia forms with inset pāua shell eyes. The handle terminating in a wheku head. Complete with eleven shark teeth. L440 W160 D33mm est $500 — $700

83 A Toki Poutangata by Wikuki

Kingi

Wikuki Kingi is a master carver with over 40 years' experiences. Kingi's has created work for many recognisable landmarks such as the gateway to Grey Lynn Community Centre, the door lintel for Auckland Council Building, and the steel moko outside Tūrangawaewae House in Ngāruawāhia. This toki poutangata has a wood carved handle and butt. The butt features a figure on opposing sides. Lashed with dried harakeke is a highly polished black stone adze. A bundle of possibly guinea fowl feathers hangs from the flax lashings and a tuft of goat hide. L390 W50 D230mm est $300 — $600

84 A Whao Chisel by Wikuki Kingi

Wikuki Kingi is a master carver with over 40 years' experience. Kingi has created work for many recognisable landmarks such as the gateway to Grey Lynn Community Centre, the door lintel for Auckland Council Building, and the steel moko outside Tūrangawaewae House in Ngāruawāhia. This hafted chisel has has a wood carved handle and features a small highly polished black stone blade. The blade has been lashed to the handle with dried harakeke fibre. L192 D22mm est $200 — $400

85 A Fine Hei Tiki, Aotearoa

This tiki in dark green pounamu is a fine example of an early 19th century hei tiki. With red sealing wax extenuating the eyes and a finely formed body. With evenly polished surfacea. Some Māori believe the tiki to represent the first man created by the atua, Tāne. This example with countersunk suspension hole is presented on a museum grade stand. Tiki H65 W40 D7mm, on stand H95 D55mm est $5,000 — $10,000

This early tiki pendant is formed in a variant of light green pounamu. Possibly produced from bowenite from the Milford area that has been heated to create this light appearance. With a slightly angled head position. The lower legs are missing and appear to have been deliberately removed. Some Māori believe the tiki to represent the first man created by the atua Tāne. Well formed facial features and large countersunk suspension hole. Presented on a museum grade stand. Tiki H70 W50 D10, on stand H100 D50mm est $4,000 — $8,000

87 A Large Hei Tiki, Aotearoa

Superb early Māori pounamu tiki of chiefly proportions. This hei tiki displays a masterful level of workmanship, deep inset eyes, head tilted aggressively to the left and protruding ribcage. A matt-like patina envelops the taonga that has been worked from dark green pounamu. The style of this tiki suggests that it was constructed from an early adze that had probably reached the end of its working life with its straight sides and slight taper to legs. Some Māori believe the tiki to represent the first man created by the atua Tāne. This large rare example with well worn countersunk suspension hole is presented on a museum grade stand. Tiki H110 W60 D15mm, on stand H150mm est $18,000 — $28,000

88 A Tel Halaf Goddess Figure, Syria

Circa 5th Millennium BCE. Hand-moulded from terracotta in the form of a seated woman with large breasts and hips. Many scholars believe that these figures represented fertility due to their voluptuous forms. H78 W48 D47mm est $400 — $800

89 A Harappa Culture Figure, Indus Valley

Circa 2000 BCE. Made from terracotta. Depicting a seated woman with large breasts. The woman has large holes for eyes and an exaggerated nose starting above her eyes. Indus Valley is a Bronze Age civilisation that was located in the northwestern region of the Indian subcontinent, consisting of what is now mainly present-day Pakistan and Northwest India. At its peak, the Indus Civilisation may have had a population of well over five million people. L96 W27 D23mm est $400 — $800

90 A Tel Halaf Goddess Figure, Syria

4200 BCE. Hand-moulded from terracotta in the form of a seated woman with large breasts and hips. Many scholars believe that these figures represented fertility due to their voluptuous forms. 72 W47 D50mm est $400 — $800

91 An Early Toki, Aotearoa

This slender adze with well defined poll and thin crosssection has a high-grade polish to the body and blade. Fine, precise pecking to the poll section forms a reduced area to allow for lashing into a handle. The blade is sharp and intact. Presented on a museum grade stand. Toki L163 W51 D23mm, on stand 235mm est $600 — $900

92 An Aurei, Aotearoa

Fine aurei cloak pin fashioned from marine ivory. With a dry, weathered patina and countersunk suspension hole, this early cloak pin was used to fasten traditional Māori clothing. Often hung in clusters of several aurei, cloak pins formed an important status symbol with some chiefly examples embellished with fine decoration to the proximal end. Presented on a museum grade stand. Aurei L142 W10mm, on stand H213mm est $1,000 — $2,000

An early Māori chisel in argillite with fine polish and intact blade section. This chisel is likely from the earliest settlement period with comparative examples being recovered from moa hunter period camps and sites. Presented on a museum grade stand. Whao L90 W20 D20mm, on stand H170mm est $400 — $600

94 GUY NEEDHAM

Hadzabe Leader

2018. Lake Eyasi region, Tanzania. Photographic C-type print, archival. Signed edition 3 of 5. Framed 600 x 810mm est $1,500 — $2,000

The Hadzabe tribe is considered the last true huntergatherers in Africa, a tribe so old that National Geographic calls them "the closest living relatives of the humans who first left Africa to migrate to the rest of the world."

Their life has not changed much over the past millennia. The Hadzabe continue to live as subsistence nomads; they are the only tribe permitted to hunt in the Serengeti. They still speak the same Hadzane language – a throaty mixture of words and rhythmic clicks – and as the Hadzabe don't read or write, all traditions and teachings are passed on orally.

There is no chief of the Hadzabe; each group has a leader who is usually the most experienced hunter. The leader's responsibilities include maintaining the group's harmony. Because there is no hierarchy, any disputes are resolved by one party apologising. If a Hazda man does not admit fault despite evidence to the contrary, the most extreme punishment is taking away his bow.

In the dry season of 2018, the photographer spent time with a group of families in a boma (shelter under a rock ledge) observing them hunt, cook and live in their unforgiving environment.

The photographer, Guy Needham is noted for his work with indigenous tribes, primarily drawing on themes of identity and place within cultural narratives. His images have been exhibited in New York, London, Paris, Berlin, Barcelona and Tokyo, and have been seen on the pages of National Geographic Traveller, SUITCASE Magazine, and the Royal Photographic Society's Journal.

95 GUY NEEDHAM

Huli Sing Sing

2013. Southern Highlands, Papua New Guinea. Photographic C-Type print, archival. Signed edition 2 of 5. Frame 810 x 600mm est $1,500 — $2,500

The Huli of Papua New Guinea live in a land of rugged mountains, dense rainforests and fertile valleys. Uncontacted by Europeans until the 1930s, their way of life differs little from what the first missionaries encountered. They are one of the last remaining Papua New Guinean tribes that still wear traditional dress.

The Huli take great pride in their personal appearance and are known for their elaborately decorated hairpieces. The collection of hair for wigs starts at an early age, involving magical spells, ritualistic water sprinkles, and special wooden pillows. Once a young man's hair grows to a certain length, it is cut off to make a wig and the process is repeated.

One of the most important elements of Huli society is the sing-sing, a colourful celebration or gathering. The Huli often perform the Bird of Paradise dance in which men jump slightly off the ground in unison imitating the bird. Preparation for a sing-sing is a lengthy affair that often takes hours as ceremonial wigs are donned, feathers are added, hornbill necklaces are adjusted, and body makeup is smeared.

The photographer, Guy Needham is noted for his work with indigenous tribes, primarily drawing on themes of identity and place within cultural narratives. His images have been exhibited in New York, London, Paris, Berlin, Barcelona and Tokyo, and have been seen on the pages of National Geographic Traveller, SUITCASE Magazine, and the Royal Photographic Society's Journal.

96 GUY NEEDHAM

Hamar First Wife est $1,500 — $2,500

2015. Lower Valley of the Omo, Ethiopia. Photography C-type print, archival. Signed 3 of 5. Frame 600 x 810mm In Ethiopia lies the Lower Valley of the Omo, a great swathe of sweeping landscapes and native bush. It is here where the Hamar live, one of the most unique indigenous peoples in the world with a strong, vibrant culture. The Hamar, like many other subsistence tribes, still have traditional roles for men and women. The men protect and decide, while the women are the heavy lifters; carrying back-bending loads of firewood and sorghum. Hamar men may marry more than one woman and the first wife is pre-arranged, requiring payment of goats and cattle to the bride's family. Unique to first wives, such as the one pictured here, is a leather necklace with a metallic protrusion symbolising fertility. The photographer, Guy Needham is noted for his work with indigenous tribes, primarily drawing on themes of identity and place within cultural narratives. His images have been exhibited in New York, London, Paris, Berlin, Barcelona and Tokyo, and have been seen on the pages of National Geographic Traveller, SUITCASE Magazine, and the Royal Photographic Society's Journal.

A large whalebone patu in spatulate form. This patu, measuring at over half a metre, is formed with a broad striking point to the distal end. The proximal end has been left undecorated and unperforated, indicating that this piece may be in the final stages of production. The patu has a rich, varied patina. Uncovered in Oruru Valley, Taipa during the 1940s. Presented on custom museum stand. Patu parāoa H520 W110 D10, on stand H585 W170mm

Y16151

Provenance: Private collection, Aotearoa est $2,500 — $3,500

98 A Patu Okewa, Chatam Islands

A rare Moriori hand-club from Rēkohu, Chatham Islands. Made from coarse Rēkohu schist, this club in abstract avian form is a rare surviving example of Moriori weaponry. Interestingly, this club would have only been for hunting purposes due to Nunuku's law. Unique in Aotearoa to Rēkohu, Nunuku Whenua, a revered Moriori elder made a covenant of peace that sought to avoid all forms of warfare. Presented on custom museum stand. L250 W130mm est $2,000 — $3,000

99 Three Patui, Aotearoa Y16137/8/9

A rare set of large robust needles or weaving pegs in marine mammal bone. All three examples display a perforation hole to the proximal end and a long robust body that terminates in a blunt point. Y16139 has some damage to the distal point. Presented on a custom museum stand. Longest L256mm

Y16137

Y16138

Y16139

Provenance: Private collection, Aotearoa est $2,000 — $3,000

100 A Depiction of Christ on the Cross, Guatemala

A wooden box with painted interior. Christ features a metal headdress, and necklace. With a fabric loin cloth. H300 W227 D105mm est $200 — $400

101 A 19th Century Māori Dictionary, Aotearoa est $500 — $1,000

Published in 1852 by Williams and Norgate of London. This rare second edition has the original cloth cover with minimal foxing is a facinating example of early Māori to English translation. This dictionary is presented on a custom museum grade stand.

102 An 1837 New Testament Bible in Te Reo

A rare early missionary New Zealand printed bible. Teaching Māori to write began in 1816 and within two generations over 80% of Māori were literate in their own language. In 1834, under the direction of William Colenso, a printing press was setup at the mission in the Bay of Islands. Colenso began producing various biblical texts in Māori and by 1837 the entire New Testament was printed. This partial bound publication represents a rare surviving example from the early Mission Press at Paihia. Still bound in its coarse mission school cloth binding, this text contains the book of John, Acts and Romans. Some damage to pages 121/122, bookplate to frontage for Guy N. Morris. Presented on a museum grade stand. H210 W140, on stand H230mm est $1,000 — $1,500

103 A Patu Aruhe, Aotearoa

Large early fernroot beater. This patu aruhe is a fine example with a bulbous body, slender handle, and smaller bulb terminating at the base of the handle. Produced from hardwood, patu aruhe were employed to process the edible flesh from the rauaruhe or bracken fern. This example would have been stored in a swamp between use to prevent it from rotting or falling into enemy hands. Swamp storage has lead to a rich dark and varied patina that covers the entire piece. Presented on a museum grade stand. Pounder H330 W90mm, on stand H290 D100mm est $800 — $1,200

104 A Whakairo Fragment, Aotearoa

A large section of carved wood likely from a pare (lintel). Finely carved section depicting a manaia figure and koru design. The manaia is a guardian spirit that is said to ward off danger and protect against intruders. With its bird like beak and humanoid figure, the manaia was said to protect over both sky and earth. This carved section is likely from an early pare that would have hung over a decorated doorway into a whare. The piece is finely decorated to the front and adzed on the reverse. Presented on a museum grade stand. Whakairo H460 W75 D40mm, on stand H520mm est $1,000 — $2,000

105 A Tatā, Aotearoa

An extremely rare preEuropean waka bailer. A fine, swamp-recovered waka bailer in fragmented form. A rich, soft patina covers both the body and handle section which was broken in original use and potentially laid to rest in a swamp once it had reached the end of its serviceable life. Crafted from a single piece of wood, bailers were often produced with the handle inverted overtop of the scoop section to form a functional and compact tool. Presented on a museum grade stand. Body H35 W260 D65mm, handle H45 W75 D57mm, on stand H165 D245mm est $1,500 — $3,000

106 A Kāwawā Palisade Post for the Model Pā Whakarewarewa

Carved from a single piece of wood and shaped to create a spherical form to the top. Palisade posts for traditional Pā were used has defensive walls or boundary markers. These palisades would be secured around the perimiter of a Pā's boundaries, sometimes in singular or multiple rows.

H1865 W230 D220mm est $1,000 — $2,000

107 A Kāwawā Palisade Post for the Model Pā Whakarewarewa

Carved from a single piece of wood and shaped to create a spherical form to the top. Palisade posts for traditional Pā were used has defensive walls or boundary markers. These palisades would be seccured around the perimiter of a Pā's boundaries, sometimes in singular or multiple rows.

H290 W175 D180mm est $1,000 — $2,000

108 A Kāwawā Palisade Post for the Model Pā Whakarewarewa

Carved from a single piece of wood and shaped to create a spherical form to the top. Palisade posts for traditional Pā were used has defensive walls or boundary markers. These palisades would be seccured around the perimiter of a Pā's boundaries, sometimes in singular or multiple rows.

H1810 W245 D260mm est $1,000 — $2,000

109 A Byzantine Greek Fire Grenade

9th–11th century CE. Successfully used in both attack and defensive situations, this powerful weapon played a crucial role in the defence of the Byzantine Empire, ensuring its long survival. Made from a grey clay and has a short body with heavily rounded sides. L189 D110mm est $400 — $800

110 A Toki, Aotearoa

This adze has reached the final stage of crafting, deliberately left in its unpolished state.

With fine pecking to poll and sharp blade, this toki is presented on a museum grade stand. Toki L150 W60 D26mm, on stand H146mm est $400 — $600

111 An Aboriginal Cylcon, Australia

Cylcon are amongst the earlies of all recorded Aboriginal tools. The name is an abbreviation of 'cylindroconical stone'. First recorded in 1802, their function is still somewhat unknown. They are sometimes referred to as religious or spiritual items owing to the incisions that decorate some specimens. However more recent consensus would place them as utilitarian tools for food preparation. This example displays a coarse weathered patina in some form of conglomerate stone. Presented on a museum grade stand. Cylcon L270 D55mm, on stand H120mm est $500 — $1,000

112 An Ancient Roman Glass Bottle

1st century CE. A thin small bottle with polychrome glasses swirling up the body. Featuring small handles at the shoulders. H125 D23mm est $500 — $1,000

113 An Ancient Roman Glass Bottle

1st century CE. A glass bottle made from a transparent blue glass with slight iridescence. The bottle has a spherical base with a long thin neck, and flared opening. The bottle has earth inside the bottle, likely from the archaeology site it was dug up from. H157 D70mm est $500 — $1,000

114 An Ancient Roman Glass Bottle

1st century CE. Possibly a perfume bottle. This small bottle is made from moulded blue glass with iridescent tones. The vase has a spherical form with a long neck and flared opening. H110 D55mm est $500 — $1,000

115 A Patu Tuna, Aotearoa

A rare example of a patu tuna. Constructed from dense hardwood with a blackened patina, likely from traditional swamp storage, this club was used for dispatching eels and reputedly seals. A long, slender striking blade tapers to a well-formed handle section, with smooth carved surface throughout. Presented on custom museum stand. Patu tuna H60 W475 D15mm, on stand H130 D200mm est $2,500 — $5,500

116 A Whāriki, Aotearoa

Supurb surving example of an intricate whāriki (woven mat). Produced from kiekie and pīngao leaf, this mat features a stunning display of raranga patterns contrasted in dyed and natural fibres. This whāriki is reminiscent of works by the famed Te Arawa weavers of the 19th century held in institutional collections. Mounted to a steel frame with magnets. Whāriki 2700 x 1560mm est $3,000 — $5,000

117 A Pair of Arms from a Waka Tauihu, Aotearoa

Two arms of a waka tauihu figure. Featuring manaia figures with pāua inlay eyes, some losses. With haehae and pākati patterning, spiral motifs. Painted red with some wood chipping to the fingers and surface cracks. H135 W421 D105mm est $1,500 — $2,500

118 A Pair of Ancient Jasper Hair Rings, Egypt

New Kingdom, 15501070 BCE. Used as hair oranaments. D12mm est $150 — $300

119 An Ancient Beaded Necklace, Egypt

From the late period

664-332BCE. Made from delicate blue faience and clay beads. Restrung on cotton thread. L388mm est $250 — $500

120 A Pair of Ancient Gold Earrings, Rome

1st-2nd century CE. Made with green glass beads on a gold tassel with filigree work. L25 W6 D12mm est $600 — $1,200

121 A Worked Pounamu Fragment, Aotearoa

Early worked fragment of pounamu displaying a broad shallow scarf down one side. Polished faces with breaks to both ends. Likely broken during adze or pendant crafting and being reworked. Presented on a museum grade stand. Fragment L75 W50 D15mm, on stand H155mm est $200 — $400

122 A Mutu Kākā, Aotearoa

Early 19th century bird snare perch in orthodox form. Made from a single piece of wood, this robust example has been left largely undecorated. Mutu kākā were used primarily in hunting parrots which were an important food source to early Māori. Native birds, such as kererē, kākā, and tūī were greatly valued by the Māori as sources of food, bones for tools, feathers for prestigious ornaments such as cloaks, or pets, hence bird catching was considered as a revered activity. The mutu kākā, or bird snare perch, lured birds by way of a looped snare connected to the device, attached to a tree branch and baited with berries. When a bird alighted on the perch, the looped snare was tugged, trapping the bird against the upright and preventing it from flying away. H240 W45 D310mm, on stand H250mm est $1,000 — $2,000

123 A Large Toki, Aotearoa

Early adze of heavy proportions. A sharp blade tapers into a broad body with low-grade polish to laterals, heavily pecked poll reduction for lashing/fixing to handle. Presented on a museum grade stand. L209 W78 D35mm, on stand H252mm est $500 — $700

124 A Pair of Fang Byeri Figures, Gabon

In Fang society, each family would have a byeri (reliquary box) in which the bones of the ancestors were kept. These boxes were guarded by the patriarch esa, the oldest man in the family. The byeri were topped by figures which acted as protective guardians. These figures would be removed from the byeri for rituals and ceremonies, in order to be carried. This pair comprises a male and a female figure, each of similar proportions but distinguished by their faces, hair, and genitalia. Each carved from a single piece of wood and with rich brown lacquer, they are both in sitting positions. The female figure has open cupped hands, while the male holds a horn-like object. Each figure has deep cavities filled with waxy residue, possibly from offerings given to the byeri. Each figure has applied metal decoration to the wrists, shoulders, eyes, head, and male's navel. The metal is heavily oxidised around the bangles. H720 W180 D195mm est $1,300 — $2,000

125 A Fang Mask, Gabon

This mask is carved from a single piece of wood. The face has slim facial features with slit eyeholes and a perforated double arch above the eyebrows. Areas of carved scarification. White kaolin pigment covers the face with the front face of the nose left uncovered. Faint traces of red pigment to the mouth. H300 W190 D115mm est $700 — $1,000

126 An Important Songye Nkisi Community Power Figure, Democratic Republic of Congo

19th century. Songye power figures such as this 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 embellished with the addition of metals. Here the figure stands above an iron ring which, in addition to preventing encroachment by rodents, may also offer additional spiritual protective powers. Ritual specialists create two general types of power figure — small ones for an individual or family for household use, and larger more powerful ones used for the community at large. This figure is of the latter type, intended to be used publicly for the village. H1020 W270 D290mm est $30,000 — $50,000

127 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 practictioner in order to fully realise the figure's power. This figure depicts a woman, as denoted by the breasts and vulva. This figure has many typical features of Songye carvings, such a square jaw, almond-shaped eyes, hands resting on a large stomach, and a horn atop its head. The figure is wearing a woven grass skirt and has a lashed band sitting above the stomach with two horns dangling from it. On custom presentation stand. H690 W230 D200mm est $1,000 — $1,600

128 A Fang Figure, Gabon c. 1940s. In Fang society, each family would have a byeri (reliquary box) in which the bones of the ancestors are kept. These boxes were guarded by the patriarch esa, the oldest man in the family. The byeri were topped by figures which acted as protective guardians. These figures would be removed from the byeri for rituals and ceremonies, in order to be carried. This figure depicts four heads on a central neck, each face adorned with copper in different designs around the eyes and forehead. Signs of village repair by the way of staples to the neck. Visible patina of use and areas of textured build-up from offerings around the heads. You can see where this figure protruded from its byeri from the difference in colour at the neck. H440 W225 D240mm est $2,000 — $2,800

129 A Songye Power Figure, Democratic Republic of Congo

1960s. 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 practictioner in order to fully realise the figure's power. This figure depicts a man with an exagerated head and a square jaw. The figure is wearing a woven grass skirt with hardened textile bands around the stomach and on the head. As is typical with Songye power figures, the figure features large almond-shaped eyes and a square, open mouth with bared teeth. At the top of the head is a partial horn, a material considered magical by the Songye, which would have increased the power this figure holds. H370 W90 D95mm est $500 — $1,000

130 A Pounamu Hei Tiki by Stacy Gordine, Aotearoa

Stacy Gordine (b. 1970) of Ngāti Porou has works in the Collection of Te Papa Tongarewa. Depicting a male figure with feet touching and hands at the chest and thigh. The carving features pāua shell inlaid eyes. A braided suspension cord is secured above the head. H92 W54 D6mm, suspension cord 240mm est $500 — $1,000

131 A Bone Carved Hei Tiki by Stacy Gordine, Aotearoa

Stacy Gordine (b. 1970) of Ngāti Porou has works in the Collection of Te Papa Tongarewa. This hei tiki titled Porourangi after the eponymous ancestor of the Ngāti Porou. The hei tiki is carved from bone and depicts a male figure holding a tukutuku panel. This taonga is intricatedly carved with fine lines and also features pāua shell inlaid eyes. A muka flax suspension cord is secured to the form. L90 W42 D6mm, cord L310mm est $500 — $1,000

132 ne Carved Hei Tiki by Stacy Gordine, Aotearoa

Stacy Gordine (b. 1970) of Ngāti Porou has works in the Collection of Te Papa Tongarewa. Carved from a black stone, this hei tiki depicts a male figure with feet touching and a hand at the chest and one at the thigh. L97 W67 D11mm, suspension cord L235mm est $500 — $1,000

133 A Cassowary Bone Dagger, Papua New Guinea

A bone dagger is made out of the femur bone of the cassowary bird which is native to Papua New Guinea. The front side of the dagger has an carved motif of a person. Mounted on a metal stand. H395 W45 D50mm est $250 — $450

134 A 19th Century Toki Poutangata, Aotearoa

This ceremonial adze was rebladed sometime in the early 20th century. The original stone adze would have been made from a pounamu blade but was replace with a basalt blade, likely due to damage. The handle features a triple haehae decorative carving on the native hardwood form. Toki poutangata were not used for day-to-day work but rather for ceremonial purposes such as a leader making the initial blow for felling a tree. L472 W80 D300mm est $2,500 — $3,500

135 A Toki Poutangata by Rangi Redman, Aotearoa

Rangi (Jack) Redman is a prominent carver who began his work in toi whakairo in the 1950s. This toki poutangata, or hafted adze is carved from a native timber. At the head of the weapon is a carved figure with extended arero. The butt has a wheku head with suspension cord braided from plant fibre. Six pāua shell inlay eyes feature along the handle. The blade of the toki is made from highly-polished pounamu that is securred with a twisted muka fibre cord. L400 W54 D300mm est $1,000 — $2,000

Carved from wood, this mask has an oval shaped face with a pointed chin. The mask has pouting lips and thin slits for eyes. The wood has a rich dark patina. On custom presentation stand. H315 W130 D100mm est $500 — $800

137 A Kongo Nkisi N'Kondi Power Figure, Democratic Republic of Congo

Nkisi figures are used for a wide variety of reasons including health, settling disputes, and personal protection. This miniature figure is carved from a single piece of wood. It is a personal fetish that would have been held on the owner's person. Nkisii figures are collaborative pieces; after the artist carved the figure it would have been taken to a Nganga priest to add medicinal materials, generally held in packets or bundles affixed to the figure or tied around it. This figure has a chains around one arm, linking to a beaded string around the other arm, as well as two metal rings around the neck. The figure stands akimbo, leaning forward slightly with a protruding stomach. The figure is wearing a thin hide skirt that has been affixed with lacquer also covering the stomach and forming the hair. H175 W60 D70mm est $600 — $900

138 A Moba Tchitcheri Figure, Ghana/Togo

Tchicheri figures can only be carved by sons of diviners, due to their powerful spiritual charge. Used to represent ancestors and be placed as shrines to bring protection and prosperity. Depicting an abstract human form with a round head, an elongated torso and arms, and short legs. On custom presentation stand. Some splitting to each leg where they fit into the stand. H715 W160 D110mm est $400 — $800