Summers place auction may 2014 catalogue

Garden, Design & Natural History

Summers Place Auctions Ltd

20 & 21 May 2014

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Garden, Design & Natural History

SPECIALISTS AND AUCTION ENQUIRIES James Rylands Specialist Tel +44 (0)1403 331334 james.rylands@summersplaceauctions.com

Live Auction

Sale No GS034 & EL040

Tuesday 20th May 2014 at 1.30 pm

Rupert van der Werff Specialist Tel +44 (0)1403 331333

Viewing

rupert.werff@summersplaceauctions.com

Friday 16th to Monday 19th May and on the day of the sale 10 am to 4 pm

Errol Fuller

or by appointment

Curator for Natural History errol.fuller@summersplaceauctions.com

Sealed Bid Auction

Sale No GE035

Bids opened on Thursday 22nd May 2014 Bids should be with us by 5pm BST 21st May 2014

Sale Administrators Letty Stiles letty.stiles@summersplaceauctions.com

Viewing

Tel +44 (0)1403 331336

Friday 16th to Tuesday 20th May 10 am to 4 pm

Katharine Diment kate.diment@summersplaceauctions.com

Cost of catalogue £10 at the gallery; £15 by mail; £20 overseas

Bidding on line available at The saleroom.com with an additional fee of 3%.

Tel +44 (0)1403 331335

Lindsay Hoadley lindsay.hoadley@summersplaceauctions.com Tel +44 (0)1403 331337

Follow us at facebook.com/SummersPlaceAuctions

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MAP OF SUMMERS PLACE AUCTIONS, GARDENS AND GALLERY, enclosed in 6 acres of landscaped grounds including our new 5,000ft gallery.

Completed in 2012 it has recently won Best Small Commercial Building in the Southern Local Authority Building Control Awards and was shortlisted in the Innovation and Environmental Design category for the Royal Institute of Chartered Surveyors (RICS).

Artwork by Bill Donohoe

(MAP NOT TO SCALE)

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IMPORTANT NOTICE

IMPORTANT CONDITIONS RELATING TO THIS SALE

Condition of Lots Condition is only noted in the catalogue where an item is severely distressed. Prospective purchasers making commission or telephone bids without viewing the sale can be given condition reports on any lot on request.

It is essential for buyers to satisfy themselves as to the condition of lots prior to the sale and to arrange their own insurance cover against loss and damage immediately after the sale.

Please refer to the Conditions of Business for Buyers.

Bidding in Person To bid at auction you must register with us beforehand with photographic identification and proof of address to obtain a bidding number. Registration will be available throughout the auction.

If you cannot attend the auction, there are other ways in which you can make your bid. Please refer to the Buyers conditions of business at the back of this catalogue for details.

Payment of Purchases Payment is due in sterling immediately after the sale and before purchases can be released. Payments in person can be made in the saleroom on the day of the auction and thereafter. Payments may also be made by post, card transactions by telephone or electronic transfer to our bank. Cash will not be accepted. For further details please see Buyers conditions of business in the back of the catalogue.

Collection and Storage On receipt of cleared funds, lots can be collected from the Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. Collection of lots by appointment. If Lots have not been collected within 35 days of the auction date then storage charges may be applied at a rate of £20 per Lot per week. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, Summers Place Auctions accept no responsibility for any

damage which may occur, even in the event of Summers Place Auction staff assisting carriers during collection.

Shipping and Transport Summers Place Auctions have extensive experience dealing with both UK carriers and international shippers. We would be happy to obtain quotations and facilitate transport and shipping.

Payment for purchases is due in Pounds Sterling, however the equivalent amount in any other currency will be accepted at the rate prevailing on the day that payment is received in cleared funds.

Settlement is made to vendors in the currency in which the sale is conducted, or in another currency on request at the rate prevailing on the day that payment is made by Summers Place Auctions Ltd

practicable. Nevertheless, should you handle any items on view at our premises, you do so at your own risk.

Some items can be large and/or heavy and can be dangerous if mishandled.

Should you wish to view or inspect any items more closely please ask for assistance from a member of Summers Place Auctions staff to ensure your safety and the safety of the property on view. Some items on view may be labelled “PLEASE DO NOT TOUCH”.

Should you wish to view these items you must ask for assistance, from a member of Summers Place Auctions staff, who will be pleased to assist you.

Thank you for your co-operation.

Safety at Summers Place Auctions Summers Place Auctions is concerned for your safety while you are on our premises and we endeavour to display items safely so far as is reasonably

Summers Place Auctions are located 1 mile north of Billingshurst on the A29

Important notice Please note that all lots are sold subject to our Conditions of Business for Buyers and Authenticity Guarantee, which are set forth at the back of this catalogue and Conditions of Business for Sellers, which are available from Summers Place Auctions office on request.

For all lots marked with a †, ‡, α or Ω please refer to the VAT information pages at the back of the catalogue.

For all lots marked with ▲ and ♠ please refer to the Guide for Prospective Buyers.

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1 An unusual harlequin set of four carved bathstone staddlestones the largest 76cm.; 30ins high by 70cm.; 27½ins diameter An unusual harlequin set of four carved bath stone staddlestones Virtually unchanged in design for hundreds of years, staddlestones were originally used to raise tithe barns and granaries off the ground to prevent rats and vermin from getting in. Always carved from local stone, very few still support granaries, but are used to flank driveways or increasingly simply in groups as sculptural garden features. £1200-1800

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2 A large carved Portland stone cylindrical trough 74cm.; 29ins high by 124cm.; 49ins diameter ÂŁ3000-5000

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3 An unusual carved gritstone cistern North Country, 18th/19th century 66cm.; 26ins high by 131cm.; 52ins long by 95cm.; 37ins deep Most watering troughs made from medieval times onwards are of plain rectangular form and often roughly hewn in local stone.

The relative sophistication of the ogee section and free standing baluster corners in this example would suggest that this was made for the stable courtyard of a fairly substantial house somewhere in the North of England, where gritstone, a particularly hard and difficult to carve stone is prevalent. £5000-8000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 5

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4 A large rectangular carved lava stone trough 66cm.; 26ins high by 190cm.; 75ins long by 100cm.; 39ins deep ÂŁ4000-6000

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5 A pair of substantial wrought iron boot scrapers early 19th century mounted on York stone bases 61cm.; 24ins high by 73cm.; 29ins wide £1500-2500

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6 A large terracotta oil storage jar Southern Mediterranean, late 19th/early 20th century on later iron cradle 274cm.; 108ins high ÂŁ2000-3000

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7 A similar oil storage jar in wrought iron stand 280cm.; 100ins long ÂŁ2000-3000

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8 A carved Ham stone sundial 19th century with later 9in bronze dial on plinth base 153cm.; 60ins high ÂŁ2500-4000

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9 A pair of rare carved Bath stone armorial hounds 17th/18th century 106cm.; 42ins high These would have originally been commissioned as family armorial crestings to stand on gate piers at the entrance to the family estate. ÂŁ6000-10,000

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10 A carved Bath stone seat late 19th century 308cm.; 120ins wide £4000-6000

11 A carved Portland stone urn late 19th century 85cm.; 34ins high £2500-4000

12 A carved Bath stone seat late 19th century 300cm.; 118ins long £6000-10,000

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13 A carved white marble Roman style sarcophagus early 20th century 47cm.; 18½ins high by 200cm.; 79ins long by 56cm.; 22ins deep In the funeral and burial practices of ancient Rome, elaborately carved marble and limestone sarcophagi were characteristic of the social elite from the 2nd to the 4th centuries AD. At least 10,000 Roman sarcophagi survive, with fragments possibly

representing as many as 20,000. Although mythological scenes have been mostly widely studied, carved sarcophagus reliefs have been called the richest single source of Roman iconography, and may also depict the deceased's occupation or life course, military scenes, and other subject matter.

From the 17th century onwards it became fashionable for the British aristocracy to return from their Grand Tours of Italy

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with ancient Roman and Greek sculpture reaching its nadir in second half of the 18th century.

Sir William Hamilton, British Ambassador to the Kingdom of Naples from 1764 to 1800 amassed a large collection of vases and antiquities, some of which were subsequently acquired by the British Museum. Likewise Italian sculptors and designers such as Giovanni Battista Piranesi and Bartolomeo Cavaceppi were restoring and in some cases faking ancient sculpture

to satisfy the growing English market. By the end of the 19th century demand was considerably outstripping supply and a number of Italian sculptors were carving copies from scratch, as in this example, often distressing them to give the appearance of great antiquity. Some were sold as copies of Roman marble originals, whilst others were passed off as the real thing. £8000-12,000

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14 An unusual carved Rosso Verona marble planter possibly 17th/18th century 110cm.; 43ins high by 152cm.; 60ins long

The unusual form for this with later fixing holes and scooped out planting/water recesses would suggest that this has been adapted at some stage to form part of an architectural scheme, or as a form of wellhead which would have had wrought iron overthrows. ÂŁ2000-4000

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15 A carved veined marble bowl on stand Portuguese, 17th/18th century 110cm.; 43ins high ÂŁ2000-3000

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16 A carved limestone figure of Mercury early 20th century 178cm.; 70ins high ÂŁ4000-6000

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17 A massive marble bust of the Roman Emperor Nero Italian, early 19th century 96cm.; 37¾ins high by 77cm.; 30¼ins wide by 38cm.; 15ins deep Provenance: Ex Private Collection of the late Christopher Clarke; Ex Private English collection Nero was the fifth and final Roman Emperor of the JulioClaudian dynasty. Adopted by his great Uncle Claudius to become heir to the throne he succeeded as Nero Claudius Caesar Augustus Germanicus on October 13th 54 AD at the young age of 16 following the death of Claudius. Ruling from 54 AD to 68 AD he focused his attention on diplomacy, trade an increasing the cultural capital of the Empire.

His rule is often associated with tyranny and extravagance. He is known as the Emperor who ‘fiddled while Rome burned’, for executing his mother and his adoptive brother amongst others and as an early persecutor of Christians. This view is based mainly on the surviving historical sources of Tacitus and Suetonis, which paint Nero in an unfavourable light. Other sources including Cassius Dio portray him as an Emperor who was popular with the Roman people. Over the course of his reign he was criticised as being obsessed with popularity as he regularly made rulings that pleased the lower classes. He built theatres, promoted athletic games, enormous gladiatorial shows were held and he established a five yearly festival which, included poetry, theatres and games. There was a general belief that theatre was for the lower classes and led to immorality and laziness and so some questioned the large public expenditure on entertainment.

In 64 AD Rome burned and Nero enacted a public relief effort as well as significant reconstruction. Ancient historians have written that these projects exacerbated the drain on the state’s budget and that it was believed they were overly extravagant, that Nero left Italy ‘thoroughly exhausted by contributions of money’ with ‘the provinces ruined’.

During his reign Nero successfully went to war and negotiated peace with the Parthian Empire, improved relations with Greece and suppressed the British revolt, but economic unrest caused a military coup in 68 AD which drove Nero from the throne.

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18 An unusual white marble seat made-up using 18th and 19th century architectural components 236cm.; 93in long ÂŁ4000-6000

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19 A carved white marble bench late 19th century 240cm.; 96ins long ÂŁ1500-2500

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20 A pair of carved marble benches Italian, 18th century 130cm.; 51ins long ÂŁ2000-3000

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21 After the Antique: A carved white marble figure of the Crouching Venus Italian, 1st half 19th century 65cm.; 25½ins high £2500-4000

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22 Emile Aldebert: A carved white marble figure of Galatea French, late 19th century signed E. Aldebert 74cm.; 29ins high, on Portaro marble pedestal 155cm.; 65ins high overall Emile Aldebert exhibited in various Paris Salons and received honourable mentions in 1883 & 1886. ÂŁ4000-6000

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23 A small Georgian lead cistern with the initials EHH and dated 1782 81cm.; 32ins high by 84cm.; 33ins wide by 53cm.; 21ins deep £3000-5000 24 A rare lead figure of a putto holding a basket of fruit mid 18th century on associated carved sandstone pedestal the figure 73cm.; 28½ins high; 163cm.; 64ins high overall £3000-5000

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25

26

A Regency reeded wrought iron seat

A rare Regency reeded wrought iron tree seat

early 19th century

early 19th century

155cm.; 61ins long

160cm.; 63ins wide, internal measurements 42cm.; 16½ins

£1200-1800

£4000-6000

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27 A large carved Bath stone seat circa 1900 335cm.; 132ins wide £5000-8000

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28 An impressive gilded bronze mask of Hermes last quarter 20th century 105cm.; 41ins high £8000-12,000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 9

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29 A rare Blanchard stoneware armorial lion circa 1870 stamped Blanchard, terra cotta 96cm.; 38ins high Mark Henry Blanchard served his apprenticeship with the Coade Company and around 1839 established his own manufactory in London. It is believed that in 1883 he moved his workshops to Bishops Waltham, to be nearer to the source of clay that he used. By the middle of the Century he had emerged as the leading manufacturer of terracotta in Britain, he was awarded prizes for his exhibit at the Great Exhibition of 1851. Amongst the many properties where his produce can be seen is the South Kensington Museum (now the Natural History Museum).

This would have almost certainly originally formed the left hand side of a Royal armorial with a unicorn on the right hand side flanking the royal coat of arms, these were in great demand in Georgian and Victorian times for businesses for which have received a Royal warrant to supply some commodity or service such firms were and still are entitled to display the Royal arms on their premises. ÂŁ1800-2500

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30 After the Antique: A rare Coadestone Townley vase the rim and foot stamped Coade’s Lambeth and dated 1840 92cm.; 36ins high by 54cm.; 21ins wide Eleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769, and appointed the sculptor John Bacon as its manager two years later. She was employed by all the leading late 18th Century architects. From about 1777 she began her engraved designs, which were published in 1784 in a catalogue of over 700 items entitled A Descriptive Catalogue of Coade’s Artificial Stone Manufactory. Then in 1799, the year she entered into partnership with her cousin John Sealy, she issued a handbook of her Pedlar’s Lane exhibition Gallery.

The firm became Coade and Sealey from this date and following Sealey’s death in 1813, it reverted to Coade and in 1821 with the death of the younger Eleanor Coade, control of the firm passed to William Croggan, who died in 1835, following bankruptcy. Coade’s manufactures resembling a fine-grained natural stone, have always been famed for their durability (see A. Kelly Mrs Coade’s Stone, London 1980).

The original is a large Roman marble vase of the 2nd century AD, discovered in 1773 by the Scottish antiquarian and dealer in antiquities Gavin Hamilton in excavating a Roman villa southeast of Rome. The ovoid vase has volute handles in the manner of a pottery krater.

It is carved with a deep frieze in bas-relief, occupying most of the body, illustrating a Bacchanalian procession. Its name comes from the English collector Charles Townley, who purchased it from Hamilton in 1774 for £250.

Townley’s collection, long on display in his London house in Park Street, was bought for the British Museum after his death in 1805.

In the 19th century it was often imagined that Keats’ Ode on a Grecian Urn (1819) was inspired by the Townley Vase, though modern critics suggest instead that the inspiration was more generic, and may have also owed something to scenes portrayed on William Hamilton’s collection of Greek vases which entered the BM collection at around the same time.

Copies of the Townley Vase have subsequently been made in a number of mediums including bronze, iron and lead. £8000-12,000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 3 1

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31 A rare pair of Blashfield stoneware rounded rectangular planters circa 1860 stamped Blashfield, Patent Pottery John Marriott Blashfield, remarked in his essay Account of the History and Manufacture of Ancient and Modern Terracotta (1855) that he had been inspired to make a kind of artificial stoneware by seeing the kind of pieces for which Mark Blanchard had been awarded prizes at the Great Exhibition of 1851. He obtained Letters Patent in 1854 for “Improvements in the Manufacture of China, Pottery, Bricks” and other articles, made for the most part from clay and again in 1860 for “improvements in burning pottery and china ware”. He had a manufactory in Millwall, Poplar with a sales outlet at No. 1 Praed Street, Edgware Road, London, but moved to Stamford, Lincolnshire in 1859, to be nearer the clay-beds. He won medals for Terra Cotta, in the glass and pottery and architectural objects classes at the International Exhibition in 1862 and a silver medal at the Paris International Exhibition of 1867. One of the most important commissions with which he was involved was supplying architectural terracotta for the decoration of the new Museum of Fine Arts in Boston, but this

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undertaking stretched his resources too far and by 1874 the Stamford Terracotta Company works, machinery as well as models and moulds were for sale; it finally closed in 1875.

This “ flowertray” is illustrated no. 335 from a selection of vases, statue, busts from Terra-Cotta’s by J M Blashfields, London published by John Weil, 58 High Holborn 1857. see engraving £1800-2500

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32 A rare pair of Blashfield stoneware basket planters circa 1860 rim stamped J M Blashfield 33cm.; 13ins high by 42cm.; 16½ins wide see footnote to lot 31. £2000-3000

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33 A Blashfield stoneware urn circa 1860 the rim stamped manufactured

by J M Blashfield Millwall Poplar, sold at no. 1a Praed Street, Paddington Basin and with insized workmans no.

181 94cm.; 37ins high see footnote to lot 31 This urn is illustrated no. 181 from a selection of vases, statue, busts from TerraCotta’s by J M Blashfields, London published by John Weil, 58 High Holborn 1857. see engraving £2000-3000

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34 A rare Compton stoneware sundial early 20th century with bronze gnomon 122cm.; 48ins high The Compton Potters Art Guild was started by Mary Watts, the wife of G.F. Watts the Victorian allegorical painter. In 1895 work began on the Watts Mortuary Chapel. Designed by Mary Watts, it was to be built from local clay by the villagers of Compton, near Godalming, Surrey. Mr and Mrs Watts were dedicated supporters of the growing Home Arts and Industries Association, a voluntary movement launched by Earl Brownlow in 1885 to revive the dying art of handicraft among the working classes. The idea was that young uneducated artisans should have their eyes opened to the wonders of art. They would be rescued from idleness, gambling and drinking -so the notion ran- during long winter evenings. Uplifted and taught how to use their hands with skill they would acquire a hobby to be proud of and develop this hitherto unknown talent, where possible to professional standards. The Pottery Art Guild continued from strength to strength, winning medals at the Royal Botanical Society and the Home Arts' highest award, the gold cross. Liberty's sold their garden ornaments as well as hand tufted Donegal carpets designed by Mrs Watts. They received architectural commissions from Lutyens, Clough William-Ellis and Goodhart Rendel. Recommended

by Jekyll, they made miniature versions of their pots for the garden of Queen Mary's dollshouse in the early 1920's. The Guild became a limited company run by George Aubertin and continued to produce works based on Mrs Watts' designs until after her death in 1938.

Literature: The Watts Chapel, An Arts and Crafts Memorial by Veronica Franklin Gould, Arrow Press, Farnham, Surrey ÂŁ2500-4000

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35 Two cast iron figures of Egyptian boys French, circa 1860 on a pair of associated zinc and cast iron pedestals 215cm.; 84½ins high £6000-10,000

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36 A pair rare of Val d’Osne foundry cast iron term figures of a boy and girl circa 1870 160cm.; 63ins high by 25cm.; 10ins diameter A Herm was originally a representation of the head of Hermes rising from a pedestal. In gardens the word is used loosely to signify any head on a pedestal which is either rectangular or tapers downwards. It is often interchangeable with the word Term which originally represented the Roman god Terminus, used in classical times to mark boundaries. Herms/Terms are often found opposite each other in rows such as the Kentian ones at Chatsworth and Chiswick.

The Val d’Osne foundry was established by J.P.Andre in 1835 and based at the Val d’Osne, in the Haute-Marne region of France. Over the coming decades the company took over rival firms such as Barbezat, J.J. Ducel and Durenne, becoming far and away the largest manufacturer of cast iron in France The company exhibited at the Great Exhibitions of 1851 and 1862 as well as the Chicago Great Exhibition of 1893.

In 1889 the Societe Anonyme des Hauts Fourneaux and Fonderes du Val d‘Osne published a mammoth 3 volume catalogue of engravings illustrating thousands of cast iron pieces across a huge spectrum, from railings and lampposts to sculpture urns and fountains. This extremely rare pair of herm figures are illustrated on plate 626, Nos 214 & 215. See engraving £6000-10,000

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37 A substantial cast iron urn 2nd half 19th century on later composition stone pedestal 127cm.; 50ins high overall by 104cm.; 41ins diameter ÂŁ2000-3000

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38 A pair of rare cast iron braziers mid 19th century each leg with diamond registration stamp and with maker’s stamp registered W Adis, Leicester Street, Leicester Square, London 135cm.; 53ins high A number of these braziers originally lined London Bridge and are illustrated in a painting celebrating the arrival on 7th March 1863, of Princess Alexandra of Denmark in England for her marriage to the Prince of Wales, later Edward VII. Included in this lot is a photocopy taken from the Times newspaper describing the occasion and stating that "on London Bridge the decorators had broken out into ravens, elephants, tripods burning incense and figures of huge Danish Warriors." £6000-10,000

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39 An impressive Ducel foundry cast iron fountain French, 2nd half 19th century the base stamped J J Ducel & Fils 260cm.; 102ins high by 110cm.; 43ins diameter see footnote to lot 42 ÂŁ9000-12,000

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40 An impressive Ducel Foundry cast iron fountain French, 2nd half 19th century 247cm.; 97ins high see footnote to lot 42 ÂŁ9000-12,000

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41 A pair of cast iron tazza urns on pedestal 2nd half 19th century 107cm.; 42ins high by 74cm.; 29ins diameter

The crispness of casting and paint finish would suggest that these have been kept indoors for the majority of their lives since the paint would appear to be, if not original, of some age. ÂŁ1200-1800

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42 A Ducel Foundry cast iron fountain French, circa 1860 conch shell drilled for water the base stamped J J Ducel Md de forges Paris 129cm.; 51ins high A similar fountain is illustrated in the catalogue of the Societe Anonyme des Hauts-Fourneaux & du ValD’Osne Fonderies circa 1900, Plate 175 no 9200 (see engraving). The firm of J.J. Ducel was started in 1810 at Poce in the Pas-de-Calais.

One of the leading manufacturers specializing in architectural fittings as well as urns and statues. Following the death of Monsieur Ducel in 1878 the Val d’Osne foundry purchased the firm’s patterns. The output of cast iron in France at this time was enormous offering a huge range of architectural and decorative pieces which could be selected from lavishly illustrated catalogues. £2500-4000

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43 A Handyside cast iron fountain circa 1860 117cm.; 46ins high Andrew Handyside started the foundry in 1806 and by 1851 the firm had expanded and operated out of the Britannia Iron Works, Derby. At the Great Exhibition they exhibited Medici vases, bacchanalian vase and a bronzed vase decorated with busts of Peel, Nelson, Watt, Wellington, Stephenson, Scott, Shakespeare and Milton, and a fountain. At the time, the foundry was described as being “from the magnitude of its operations is second to none in England”.

They produced two catalogues in 1848 and 1874.

A similar model is illustrated in the 1848 Catalogue no 15. £1500-2500

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44 A Coalbrookdale cast iron fountain circa 1870 135cm.; 53ins high This design is registered in the 1875 Coalbrookdale catalogue Section III, page 277, No 18 £2500-4000

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45 A Coalbrookdale Nasturtium pattern cast iron seat circa 1870 fully stamped 183cm.; 72ins long This design, number 1958629 was registered and patented at the Public Records Office by Coalbrookdale on the 1st of March 1866 and is seat number 44 in their 1875 catalogue of castings. ÂŁ3000-5000

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46 A rare Coalbrookdale Fern and Blackberry pattern cast iron seat

The original design, number 113617, was registered and patented at the Public Records

the back stamped CBDale & Co. and with registration number

Office on the 30th of April 1858

by Coalbrookdale and is seat number 29A in the castings catalogue of 1875, Section III page 254.

150cm.; 59ins wide

ÂŁ1500-2500

circa 1870

It is very rare for the smaller size seat to be seen with an apron

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47 A pair of rare Coalbrookdale cast iron seats circa 1870 the backs and end supports fully stamped CBdale and Co with pattern number 26 and registration number 104751 and diamond registration stamp 188cm.; 74ins long The double sided version of this seat is illustrated in the 1875 Coalbrookdale catalogue, section III, page 265 ÂŁ2500-4000

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48 A rare pair of Coalbrookdale Passion Flower pattern cast iron seats fully stamped Coalbrookdale and with pattern number 74-6F and registration number 190cm.; 75ins wide The design numbered 149230 was registered and patented at the public records office on the 8th February 1862 by Coalbrookdale and is seat number 32 in the Coalbrookdale section III catalogue of 1875 £10,000-15,000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 5 1

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49 A rare pair of Coalbrookdale Horse Chestnut pattern cast iron seats fully stamped Coalbrookdale Co and registration stamp 217568 and with diamond registration stamps.

The design of this seat, number 217568, was registered and patented by the Coalbrookdale Iron Foundry at The Public Record Office on 23rd March 1868, and is number 46 in their 1875 Castings Catalogue, Section III, page 256 (see engraving). ÂŁ10,000-15,000

190cm.; 75ins long

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50 A Coalbrookdale Horse Chestnut pattern cast iron seat fully stamped Coalbrookdale Co and registration stamp 217568 and with diamond registration stamps.

190cm.; 75ins long The design of this seat, number 217568, was registered and patented by the Coalbrookdale Iron Foundry at The Public Record Office on 23rd March 1868, and is number 46 in their 1875 Castings Catalogue, Section III, page 256 (see engraving). £3000-5000 5 4 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y L I V E A U C T I O N 2 0 T H M AY 2 0 1 4

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51 A rare pair of Coalbrookdale cast iron tables circa 1860 52cm., 20½ins diameter This design is number 50 in the 1875 Coalbrookdale castings catalogue section II page 199. A similar table was sold at Christies, South Kensington The Country Seat 22nd June 2000 lot 126 £2000-3000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 5 5

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52 A Coalbrookdale Lily of the Valley pattern cast iron seat circa 1870 marks probably obscured by multiple layers of paint 186cm.; 73ins wide This design, number 171578 was registered and patented at the Public Records Office on the 8th February 1864 by Coalbrookdale and was seat number 36 in their castings catalogue of 1875 ÂŁ3000-4000

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53 A Coalbrookdale Medallion pattern cast iron seat circa 1870 layers of paint obscuring potential marks 166cm.; 65ins long This design, number 149934, was registered and patented at the Public Records Office by Coalbrookdale on 13th March 1862, and is seat no. 35 in their 1875 Coalbrookdale Castings Catalogue, Section III page 259 (see engraving) ÂŁ3000-5000

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54 A rare Coalbrookdale Sunflower pattern cast iron seat late 19th century the back rail stamped Coalbrookdale and the end supports fully stamped with registration number 397749 and with diamond registration stamp 148cm. 58ins wide This design no. 897749 was patented and registered by Coalbrookdale foundry at the Public Records office on 5th May 1883 and featured in the Coalbrookdale castings catalogue No. 76 (see engraving) £2000-3000 5 8 • S C U L P T U R E & D E S I G N F O R T H E H O U S E & G A R D E N L I V E A U C T I O N 2 0 T H M AY 2 0 1 4

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55 A Coalbrookdale foundry cast iron seat late 19th century the back with diamond registration stamps, registration number 397749 and pattern number 72 193cm.; 76ins long This design number 897749 was patented and registered by the Coalbrookdale Iron Foundry at the Public Record Office on 5th May 1883 and featured in the Coalbrookdale Illustrated Catalogue of Garden and Park Furniture 1907. £3000-5000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 5 9

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56 A pair of very rare and unusual plant stands 2nd half 19th century arranged on three tiers 198cm.; 78ins high by 107cm.; 43ins wide This hitherto unknown design incorporates a number of eclectic Victorian styles from the Regency style reeded basketwork upper flower bowl through to the the stiff leaf decoration and scrolling foliate bases. ÂŁ5000-8000

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57 A similar plant stand 2nd half 19th century arranged on three tiers 198cm.; 78ins high by 107cm.; 43ins wide ÂŁ2000-3000

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58 A pair of large composition stone winged sphinxes Northern Europe, 1930 234cm.; 92ins high by 146cm.; 57ins long ÂŁ6000-10,000

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59

Provenance:

A pair of impressive grey marble Dogs of Fo

Reputedly removed from Whiteley's department store, Bayswater, London. When the present building was opened in 1912, it was one of the largest department stores in the country and originally had a roof garden which is where these were most likely situated before being moved to the ground floor next to the main staircase before finally being removed when the complex was recently refurbished.

Chinese late 19th/early 20th century 142cm.; 56ins high by 82cm.; 32ins long by 62cm.; 24ins deep

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60 ▲ A granite and wrought iron table attributed to Robert Mallet-Stevens 1920’s 182cm.; 72ins long by 96cm.; 38ins wide Robert Mallet-Stevens (March 24, 1886, Paris February 8, 1945) was a French architect and designer.

Along with Le Corbusier he is widely regarded as the most influential figure in French architecture in the period between the two World Wars.

In addition to designing shops, factories, a fire station in Paris, apartment buildings, private homes, and interiors, he was one of the first architects to show an interest in cinema. He designed film

sets and his design for Marcel L’Herbier’s silent film L’Inhumaine (1924) is considered a masterpiece.

During his career he assembled a team of artisans and craftspeople who worked with him: interior designers, sculptors, master glaziers, lighting specialists, and ironsmiths.

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Mallet-Stevens ordered that his archives be destroyed upon his death. His wishes were honored and his memory fell into obscurity.

A French exhibit of his drawings, models, and actual works at the Centre Pompidou in 2005 sparked public interest in his contributions. £2500-4000

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61 A rare Simmons company faux wood painted sheet metal Windsor chair American, 1930s the underside with maker’s roundel and stenciled “property of U.S” In 1933, the Simmons Company of Chicago, IL exhibited a steel bedroom ensemble at the Century of Progress World’s Fair. The ensemble, originally designed in 1929 by Norman Bel Geddes, featured a streamlined enamelled steel vanity, dresser, and bed frame with sleek chrome-finished accents. The Simmons Company enjoyed a reputation as the leading seller of steel bedroom furniture at the time of the exhibition, having introduced the first metal bedroom ensemble in the world in 1923 followed by a successful advertising campaign marketed towards the upper middle-class market. With sales exceeding $50 million during the height of their popularity, it is tempting to translate the company’s success into the eager adoption of streamlined steel furniture by a wealthy middle-class during the interwar period.

The Simmons Company produced a wide range of furniture, from the Bel Geddes designs frequently showcased in museum collections, to the forgotten but more popular steel reproductions of Chippendale, and Sheraton styles. They were enamelled in colour finishes or in wood-imitating enamel in Mahogany, Chestnut, American Walnut, or Maple. Although chests of drawers and bedroom furniture were produced in relatively large numbers, chairs are relatively scarce. The paint finish on this example has worn to a wonderful warm patina and only a very close inspection shows that it is made of metal rather than wood. Paradoxically, the cost of making this in metal would be far more than in wood. The stencil “Property of US”, would suggest that it has come from a government institution. £2500-4000

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62 A substantial copper cheese making vat late 19th/early 20th century 74cm.; 29ins high by 173cm.; 68ins wide ÂŁ3000-5000

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63 A bronze fountain group of dolphins mid 20th century mouths plumbed for water, variegated green patination 183cm.; 72ins high ÂŁ4000-6000

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The Crowther Collection

The display garden at H. Crowther and Son, 5 The High Road, Chiswick The name of Crowthers is synonymous with all areas of garden ornament and architectural fittings and fireplaces, throughout the 20th century When I held my first sale of Garden Statuary here at Summers Place under Sotheby’s auspices back in 1986, there were three branches of the Crowther family all plying their trade in London.

All were descended from John and Mary Crowther who arrived in London in the 1860’s with two sons and four daughters. By 1901 one of the sons, Thomas had moved to 282 Northend Road in Fulham selling fireplaces, garden ornament and architectural fittings before closing their doors in 1992.

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of the residue of their stock with us in 2002.

This just leaves the venerable firm of H.Crowther and son, established by Henry “Mash” Crowther in 1908 at the same premises they still occupy in Chiswick High Road, London. From the beginning Mash specialised in making lead garden ornaments, a skill he had learnt from his father Tommy, who, at the fairly advanced age of 60, took a stand at the Chelsea Flower Show in 1914 displaying lead ornament and wrought iron gates, which earned him a gold cup. It says something for the continuity of this branch of the family, that Mash’s grandson, Paul Crowther, the present proprietor of H.Crowther and Son, also exhibited his lead wares at the Chelsea Flower Show in 2007-2009, winning commendations as well as supplying the leadwork to Chris Beardshaw’s gold medal winning garden.

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seen for years including many of the plaster originals from which the moulds were made with which to cast the lead pieces.

Paul Crowther remarked; “I decided it was time to rationalize our family business which has been going in the same premises here in Chiswick for over 100 years. As a family, we no longer use the main house and vaults, which have become a treasure trove of old lead models and plaster moulds. We also felt that the pieces in our display garden, many of which have been here for up to 100 years and which have achieved a wonderful patina, were no longer representative of the new pieces we sell.

In order to continue expanding our business, I need to concentrate on developing our workshops adjacent to the garden” We are delighted to be offering Paul’s family collection of sculpture and leadwork, spread over both this sale and the next sale in October with estimates often considerably below the retail price, which represents not just great value but the chance to acquire pieces with genuine history.

James Rylands

The Founder of H. Crowther and Son; Henry “Mash” Crowther in the display garden of 5 Chiswick High Road

Throughout the twentieth century, the company’s collection played an important role for garden designers to draw upon. As Gertrude Jekyll, the outstanding Edwardian garden designer remarked; “There can scarcely be a doubt that the happiest material for our garden sculpture and ornament is lead' and it was Crowthers who supplied lead statuary and ornament to the newly created Jekyll gardens at Hestercombe, Sissinghurst Castle and Hidcote Manor, to name but a few. Crowthers also supplied pieces to many fine 18th century gardens being restored; indeed it’s said that there are very few important gardens where you cannot find at least one example of Crowther’s work.

Paul wants to develop the workshops at the back of the garden and no longer needs the main house, since no family members are living in it, necessitating the emptying of the vaults and stores, bringing to light a number of pieces which haven’t been

One of the store rooms in Chiswick showing the original plaster models from which the lead moulds were made.

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64 † A lead figure of Punch early 20th century on later composition stone pedestal with applied lead crescent moon 185cm.; 73ins high £2000-3000

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65 † A substantial lead fountain cistern 2nd half 20th century the circular cistern with strapwork decoration bearing the date 1707 surmounted by four lead figures of Seasons and central bull rushes, plumbed for water 170cm.; 67ins high This originally formed one of the centrepieces of the Crowthers display in Chiswick and incorporated a number of pieces in their range. £5000-8000

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66 † A lead fountain cistern mid 20th century dolphin mouth plumbed for water 101cm.; 40ins high by 94cm.; 37ins wide by 74cm.; 29ins deep £2500-4000

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68 †

67 † After Giambologna: A lead figure of Mercury early 20th century on earlier Portland stone plinth with oval surround

230cm.; 90ins high

A lead fountain

The lead surround for this group was made for the 2009 Chelsea Flower Show.

early 20th century

£4500-7000

the centre portion in the form of a kneeling Moor, plumbed for water, on Bath stone base 153cm.; 60ins high £3000-5000

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69 † After the Antique: A lead figure of the dancing faun by John Cheere mid 18th century on associated Portland stone base 153cm.; 60ins high John Cheere was first in partnership with his brother Sir Henry Cheere, but took over John Nost’s yard and his moulds for lead figures in about 1739. Until his death in 1787 he was the leading producer of lead statuary as well as working in plaster.

Contemporary accounts of his yard, which was situated on Hyde Park Corner indicate that his oeuvre was very varied and included rustic figures as well as classical statues and busts from antiquity. A similar 18th century lead faun exists at Castle Hill in Devon, which also has a number of other lead and plaster busts which are known to be identical to the stock products of Cheere’s yard. Another example is at Castle Howard supplied by Cheere at an unknown date for £17.17s.

The original dancing faun in marble is recorded in 1688 as being in the Tribuna of the Uffizi in Florence. Universally admired since its discovery it is quite often paired with the Venus de Medici, also in the Uffizi. £15,000-25,000

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70 † A rare Georgian lead putto 2nd half 18th century now seated on a later Bath stone pedestal 73cm.; 29ins high £1500-2500

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71 † After the Antique: A composition stone figure of the Uffizi boar 2nd half 20th century 142cm.; 56ins high The Uffizi or Calydonian boar is also called “Il Porcinellino”.

The Roman marble original was discovered in Rome in the 1550’s by the Ponti family. By 1568 the statue was in Florence and its fame began to spread. Originally the statue was grouped with other animals and a figure of a peasant or soldier assumed to be Meleager, however by the end of the 18th Century it was more commonly depicted by itself. The piece now stands in the Uffizzi, museum in Florence. It has been reproduced in a large variety of materials including bronze, terracotta, ceramic and in this instance, composition stone.

This piece originally stood in the small front garden of H.Crowthers premises in Chiswick High Road, where for many years it was a much loved local landmark. £2500-4000

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72 † After John Francis: A pair of lead standing greyhounds mid 20th century 81cm.; 32ins by 96cm.; 38ins long Copies made from the 19th century originals sculpted by John Francis 1780-1861. This was originally modelled on Eos one of Queen Victoria’s favourite dogs given to Prince Albert, the original model stands in the Italian gardens of Osborne House Isle of Wight and another example is at Windsor Castle. £2000-3000

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73 † A lead fountain 20th century surmounted by a lead figure of a boy and fish after Verrocio, fish mouth plumbed for water 200cm.; 79ins high by 94cm.; 37ins diameter The entwined dolphins are based on a 19th century original in composition stone made by Austin and Seeley. £4500-7000

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74 † Erdmann Theodor Kalide: A rare Geiss foundry zinc model of the Boy with swan mid 19th century on Portland stone base, swan neck plumbed for water 130cm.; 51ins high by 137cm.; 54ins wide Erdmann Theodor Kalide (18011863) was a German sculptor who studied under Johann Gottfried Schadow and Christian Daniel Rauch. Kalide’s first independent work; Boy with Swan was commissioned by Frederick William III in bronze for the Charlottenburg Palace garden and exhibited at the Berlin Academy in 1834. The use of zinc in casting statuary was championed by Moritz Geiss (18051875) at his manufactory in Berlin.

This model was exhibited by Geiss at the Great Exhibition of 1851 and an example was acquired by Queen Victoria and Prince Albert for Osborne House on the Isle of Wight, where it still resides today.

This antique example would have been purchased by Crowthers in the early 20th century and used as the original mould for the boy and swan, which was one of the most elaborate and complicated of all the lead models produced by Crowthers.

A detailed account of the casting in lead of this group in the Crowthers workshops is illustrated on pages 316-320 in John Davis’s seminal book Antique Garden Ornament, published in 1991 by the Antique Collectors Club. £10,000-15,000 For the rest of the Crowther Collection in this sale see lots 563-644

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75 ▲ Nicola Godden (b1959) Crouching woman Bronze mid green patination Edition of 9 76cm.; 30ins high by 56cm.; 22ins wide by 54cm.; 21¼ deep Born in 1960 in Germany to a British Army family, Godden studied sculpture at West Surrey College of Art and Design. She was given her first commission through the landscape garden designer Roddy Lewellyn.

Other large commissioned works include: The twice life sized Hammersmith Man figure which was unveiled by George Melly in 1987.

The Peter Scott memorial sculpture for The Wildfowl and Wetlands site at Barnes which was unveiled by David Attenborough in 2000.

She has also been commissioned to produce works for numerous private clients and public sector bodies, together with many significant pieces for large corporate clients. Work in collections include; The Vincent Fergusson Collection. The Eric and Jean Cass Collection and the Nene Collection. £4000-6000

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76 Helen Sinclair, Born 1954 Who is Sylvia Bronze Signed and Numbered 4 from an edition of 9 160cm.; 63ins high by 57cm.; 22½ins wide Helen Sinclair was born in South Wales in 1954, and studied sculpture at Wimbledon School of Art (1972-76), after teaching for twelve years, she has been a full-time sculptor since 1988. The main body of her work is figuratively based, and her primary inspiration is the human body, in movement, at rest, clothed or nude. She exhibits widely throughout the UK, and is held in private collections throughout Europe, the USA, Australasia and the Middle East. £10,000-15,000

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77 Frederic Chevarin ARBS, Born France 1971 Baleine Blanche Carrara Marble Signed Unique 178cm.; 70ins high by 114cm.; 45ins wide by 22cm.; 8½ins thick Frederic Chevarin is a self-taught stone sculptor of French origin, now based in Oxfordshire, UK, who carves marble, limestone and alabaster. An Associate member of the Royal British Society of Sculptors since 2008, he has mentored with Helaine Blumenfeld FRBS and is a member of the Oxford Art Society.

Frederic has exhibited widely in the UK including London, Woburn Abbey, Royal West of Art in Bristol and has been commissioned to create a sculpture for the garden designer Jo Thompson for the Chelsea Flower Show 2014 £15,000-20,000

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78 Frederic Chevarin Enlaced Carrara Marble Signed Unique 200cm.; 79ins high by 80cm.; 31½ins wide by 55cm.; 21½ins deep £20,000-30,000

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79 Mark Reed Fork in Pollen Marine grade Resin 1 of 6 400cm.; 157½ins high by 135cm.; 53ins wide by 135cm.; 53ins deep Mark Reed's practice is deeply rooted in themes of nature, science and the passage of time. With a background in biology and engineering, he is intrigued by the mechanics of natural forms and the way they contribute to the aesthetic appearance of a plant or animal. It is with this understanding that in Reed's hands, trees become tables, and natural shapes are harnessed for a function in bronze or forged steel.

In Fork in Pollen, the pollen grain is a male gamete and a vector for the transference of male DNA, as a hay fever sufferer Mark is only too aware of the negative effects of the pollen grain, and is also a signifier of our irritable patriarchal society, the fork protruding in an erect state.

Reed's work is held in several private collections in the UK, Europe, Middle East and the USA. ÂŁ8000-10,000

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80 Mark Reed Arbour Metallium Forged and Stainless Steel Unique 290cm.; 114ins high by 410cm.; 161½ins wide by 300cm.; 118ins deep The cycle of life is given further attention in his winter trees, which illustrate the duality inherent in growth - a living tree needs to be cut and "repressed" in order to allow it to grow healthy and strong. The Arbour Metallum is a protector, from the heat of the sun, creating a dappled shade, as nature protects and nourishes us.

See also footnote to lot 79 £20,000-30,000

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81 † ▲ Kan Yasuda b.1945 Myomu (Key to a Dream) Carrara marble 320cm.; 126ins by 233cm.; 91¾ins by 90cm.; 35½ins Executed in 1998 Unique Provenance Acquired from the artist by the present owner.

Beyond Limits: Sotheby’s at Chatsworth - A Private Sale Offering 2008 Kan Yasuda was born in the city of Bibai on Japan’s northern-most island Hobbaido. After completing a master’s degree in sculpture at the Tokyo National University of Fine Arts and Music, Yasuda left Japan for Italy in 1970. Upon the completion of his studies at the Academy of Fine Arts in Rome, he set up a studio in Pietrasanta, the northern Italian region famous for its marble quarries.

Kan Yasuda’s works are created by a process of

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reduction; he gradually whittles away huge stones to achieve the soft, almost malleable surface of his finished sculptures. His work vacillates between the rounded forms and more geometric works, but behind all of his oeuvre is the desire to reveal the pure form within stone. The simplified shapes of this work exude a Zen-like air of calm and balance, and have been exhibited in public spaces around the world, most recently this year with “Kan Yasuda. Toccare il tempo”installed in Rome’s historic Trajan’s Market.

Other examples of the present Myomu, with variations in size and finish, can be found in the main station at Sapporo (seen daily by 80,000 people); in the entrance hall of Jean Nouvel’s Dentsu building in Tokyo’s Shiodome district and at the station plaza in Pietrasanta.

Two versions in bronze are installed in Benetton Group’s headquarters at the Villa Minelli in Treviso and in Tokyo’s midtown station. £25,000-40,000

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82 Charles Bran Man Made Signed Unique Bronze, Corten Steel, Stainless Steel, Galvanised Steel, Zinc, Copper, Brass, Lead, Aluminium 240cm.; 94½ins high by 135cm.; 53ins wide by 138cm.; 54½ins deep Bran has been surrounded with art from the start of his formative years, his father is a well renowned and successful sculptor and art dealer. Growing up in this environment, he worked his weekends and summers at a nearby sculpture park, and the early seeds had been sown.

After completing his education, he spent some time travelling and working abroad, in Australia, India, Thailand, Cambodia, and West Africa, before returing to work at the sculpture park, during which he was able to study the sculptural traditions of other countries, as well as analysing the work of other contemporary sculptors.

Man Made is not a religious piece but a work focusing more on the complexity of man’s creations and intellect with an underlying analysis that the world on a whole is in our hands and that the crucifix is an indication that all religion which has heavily influenced most of the population and history to date is also man-made.

This piece has been ingeniously designed and constructed using a large variety of metals and alloys further emphasing the dichotomy between the traditional crucifix and this modern man made piece of art design.

The maquette for this piece was exhibited at Chelsea Flower Show 2013. £15,000-20,000

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83 Eleanor Swan Isabel, Louis, Michel Bronze Signed and Numbered 3 of 9 the largest 47cm.; 18½ins high by 31cm.; 12ins wide by 35cm.; 14ins deep Her work is mainly sculptural and based on the human form although she also makes her own distinct fine porcelain vessels. She completed her BA in Ceramics at NCAD in 2006 and an MA in Ceramic Design in 2010. She has exhibited widely Ireland and the USA and her work is in many public and private collections including the OPW (Office of Public Works, Dublin), The National Museum of Ireland, Collins Barracks, the Porcelain Museum, Riga, Latvia and the International Ceramic Museum, Jingdzehn, China. £24,000-30,000

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84 Alun Heslop Kre Bronze 1 of 9 145cm.; 57ins high by 92cm.; 36ins wide by 85cm.; 33½ins deep Heslop studied at Rochester (KIAD 1988-1990), gaining a B-TEC National Diploma in Spatial (Interior) Design, and then went on to Brighton (1991-1994), graduating in Fine Art. Alun rapidly developed an interest in the art & craft of chair making, primarily with the use of green wood working practice, and established himself as an artist/craftsman in 1997.

During time abroad in Switzerland, Alun developed a further ongoing interest in seating ergonomics and refinement in chair design & performance. Returning from Switzerland in early 2006, Alun set up a workshop in the grounds of The Belmont Park Estate, Faversham, Kent, creating ever more unique & time invested sculptural chair works.

Alun has produced work for both public spaces and private clients, including seating installations for The Royal Horticultural Society, Royal Botanic Gardens & the North Downs Way national trail (KCC). Recent public works include the exterior and interior gallery seating for the Marks Barfield designed Lightbox Gallery, winner of the 2008 Art Fund Prize and Hedgehog Here & the Cricketer’s Bench for the Belmont Estate. £20,000-30,000

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85 Nigel Ross Contour Oak Unique 382cm.; 150¼ins long Born in Hertfordshire, Nigel’s family subsequently moved to the Isle of Arran in Scotland, where his stepfather, sculptor David Gilbert opened his eyes to art, sculpture and carving wood.

Following his love of the outdoors, he worked in various forestry related employment and eventually ran his own fencing dyking and forestry business on Arran.

His art is developed from this background, with the rhythms and energy of nature being an inspiration and by the midnineties he was working fulltime as a sculptor and maker.

He sculpts from lengths of fallen trees, creating abstract forms sometimes with a functional element. The sculpture, sculptural benches and furniture, bridges etc are situated in woodlands, parks, gardens, schools, hospitals, gardens, and new developments across Britain, Europe and USA. £4000-6000

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86 Won Lee A Reclining Girl Bronze Signed 2 of 8 55cm.; 21½ins high by 70cm.; 27½ins wide by 35cm.; 14ins deep Won Lee studied for a Batchelor of Fine Arts degree at Pepperdine University, Los Angeles, before being awarded a Masters in Fine Art at Johnson State College, in Vermont, USA. He has exhibited widely in Toronto, Canada as well as Mexico and the United States. £4000-6000

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87 Jacek Wankowski Reef 22 Mild Steel Unique 240cm.; 94½ins high by 390cm.; 153½ins wide by 150cm.; 59ins deep

Jacek Wańkowski is based in Sydney and the New South Wales Hunter Valley. He originally trained and worked internationally as a marine biologist, is a keen SCUBA diver and international traveller and draws upon these experiences to inform his practice. Since graduating in 2006 from the National Art School in Sydney, he has exhibited his large scale outdoor sculptures and smaller, intimate indoor pieces internationally in 63 group and 4 solo exhibitions in London and Sydney, throughout the UK and in NSW, Queensland and Victoria. His work is in private collections in Australia and the UK.

£12000-18000

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88 Andy Burgess Oak Hand Bench Solid Oak Unique 51cm.; 20ins high by 275cm.; 108ins wide by 61cm.; 24ins deep

Andy Burgess is a Wood Sculptor based in Cheshire. Working primarily with chainsaws and power tools, he transforms tree trunks, stumps and logs into a wide range of sculptures. His sculptures give a new lease of life to wood that may otherwise have been disposed of or destroyed, and can range in size from small carvings, to those over 20 feet high, weighing several tonnes.

Andy works closely with Councils and Landscape Architects to provide Public Artwork in the North West of England. He has also completed numerous sculptural installations for the Nando’s Restaurant chain throughout the UK, where he works closely with Interior designers on both architectural and internal furniture commissions.

Andy was the first chainsaw Wood Sculptor to exhibit at The RHS Chelsea Flower Show. £4000-6000

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89 Lynn Warren Thought Through Bronze on Oak Plinth Signed and Numbered 1 of 9 175cm.; 69ins high by 19cm.; 7½ins wide by 17cm.; 6½ins deep £3500-4500

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90 Lata Upadhyaya In Memoriam Lacquered Steel and Image Transfer 32cm.; 12½ins high by 101cm.; 40ins wide by 90cm.; 35½ins deep Born and raised in India, Lata currently lives and works in the UK. Lata is a visual artist that specialises in contemporary sculpture and has completed masters in Fine Art in both India and London. Her work is held in private collections throughout Europe, India and Korea and she travels extensively and participates in International artists residencies throughout the world. The circular motif in both the pieces in this sale represents how things where, how they changed and how they have returned to natural states of what they were, before Lata’s transitional journeys to the west. £2000-3000

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91 William Shakspeare Low Tide Pools Unique Glass, 65cm.; 25½ins high by 75cm.; 29½ins wide by 9cm.; 3½ins deep £4000-6000

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92 † Wilfred Pritchard The Black Death Bronze Signed, from an edition of 3 250cm.; 98½ins high by 240cm.; 94½ins wide by 185cm.; 73ins deep Wilfred Pritchard is the pseudonym for Eddie Powell, the owner and curator of The Sculpture Park, in Churt, Surrey. Born and brought up in South Wales he graduated from Guildford College of Art with a 1st class Honours degree in Photography and Sculpture in 1978, culminating in being given the rare opportunity of a one man exhibition at the Photographers Gallery in London’s West End, entitled “Captivity”. Since then he has combined commercial careers as varied as a hotelier, interior designer, metal and ceramics manufacturer, with his love and passion of photography and most particularly, sculpture.

His bronze of a skeleton vaulting over a horse “Backflip” was chosen to be one of a select group of sculptures exhibited in the Athletes Village during a 2012 Olympic and Paralympic games. Other works are now in public collections, both in this country and abroad. £15,000-20,000

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93 † Wilfred Pritchard I Beg Your Pardon Bronze and Steel Unique 190cm.; 75ins high by 330cm.; 130ins wide by 120cm.; 47½ins deep £8,000-£12,000

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94 ▲ William Mitchell: A GRP mural of the London to Brighton Veteran Car Run depicting a vintage car race 1970’s in four sections each panel measures 167cm.; 66in high by 122cm.; 48ins wide, overall width 488cm.; 192ins Divided into four panels modelled in high relief with various well known landmarks on the London to Brighton Veteran car Run, including St Pauls Cathedral, Nelsons column, the newly built Post Office Tower, opened in 1965, The Albert Memorial, and Brighton Pavilion, together with various vintage cars.

William George Mitchell (b1925) is an English sculptor, artist and designer. From the 1950s, Mitchell produced work for a wide variety of clients. His initial appointment at the London County Council (LCC) allowed him to set up his own company in the early 1960s, a company which at one point employed over 40 skilled craftsmen and artists. Mitchell’s interest in experimentation, during the 1960’s and 70’s resulted in a wide range of projects including the use of contemporary construction materials such as GRP (Glass reinforced plastic) and GRC (Glass reinforced concrete) to create large scale panelled installations as in this example.

Families designing and building both the Qatar Zoo and the extensive Doha Corniche waterfront promenade. He also worked for the BART (Bay Area Rapid Transit) in San Francisco, USA where he was responsible for designing and constructing many of the decorative panelling and sculptural installations at a number of stations across the system. The 1980s also saw Mitchell in Honolulu, Hawaii where he created the modelled surroundings of the Civic Square.

Mitchell spent many years as artistic design adviser to Mohammed Al Fayed and was responsible for the overall design and for the carving and modelling of the panels for the Egyptian Hall and the Egyptian escalator at Harrods.

Mitchell has been a member of the Design Advisory Board, Hammersmith College of Art, Trent Polytechnic, Formwork Advisory Committee and the Concrete Society, and is a regular on the construction lecture circuit, both in his home country and abroad (especially the USA), being described as a “Doyen of British muralists” at a presentation he gave in 2007 to the Tile and Ceramics Society.

After long years of neglect, many of William Mitchell’s remaining works in the United Kingdom are now being recognised for their artistic merit and contemporary historic value, and many have been granted protected listed status. £8000-12,000

In the 1980s Mitchell went to work in Qatar for the Royal

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95 Jørgen Høvelskøv The Harp Chair Ebonised wood Authentic, Designed in 1966 130cm.; 51ins high by 110cm.; 43½ins wide by 100cm.; 39½ins deep The harp chair design is based on a Viking ships bow section. The configuration of the flag hayard gives a powerful optical quality to the design. £800-1200

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Beverly Pepper, born in 1922 is an American sculptor known for her monumental outdoor works.

She began her career as a painter, but after a trip to Angkor Wat, Cambodia in 1960, she was so awed by the temple ruins surviving beneath the jungle growth that she turned to sculpture. She made her debut in 1962 with an exhibit of carved tree trunks at a gallery in Rome.

She was one of ten artists (including David Smith and Alexander Calder) who were invited by the Italian government to create new works for the Spoleto festival in 1962, where they were given access to materials, tools, and assistants allowing for large-scale sculptures, Pepper began a lifelong engagement with such industrial processes – one of the few female artists of her generation to do so. However, despite the mechanized and industrial associations of her materials, her work is often inspired by organic forms and prehistoric cultures, as in the case of her cast-iron Manhattan Sentinels (1993 – 1996), an enormous site-specific work in New York's Federal Plaza that takes the form of three massive totems.

Furthering her vocabulary in steel, throughout this time period she used Corten steel, relishing in the exposed rusted surfaces, she made pieces like Dallas Land Canal, 1971-75 and was one of the first artists to incorporate Corten steel into sculpture.

96 † ▲ Beverly Pepper Untitled Black/rust Zimbabwe marble Executed in 1997 Unique 300cm.; 118ins by 160cm.; 63ins £25,000-40,000 Provenance: Acquired from the artist by the present owner Beyond limits: Sotheby’s at Chatsworth – A Private Sale Offering 2008

This untitled piece, is typical of her more recent work, constructed from large slabs of stone. The triangular hole in the stone both reveals the inherent character of the stone and creates a triangular ‘altar’ at the heart of the stone monolith giving the work the feel of a primitive totem. The Zimbabwe stone with its rust coloured surface is a natural progression from the rusty patina of Corten steel and reinforces her progressive affinity with both organic material and prehistoric cultures.

Since 1951 she has divided her time between homes and studios in New York City and Todi, Italy. Her work has been a the subject of one person exhibitions at The Metropolitan Museum of Art and the Brooklyn Museum of Art, and is wellrepresented in major public and private collections worldwide.

In 2013 she was awarded the prestigious Lifetime Achievement Award by the International Sculpture Center.

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97 Sally Arnup Laying Whippet Bronze Signed Arnup Numbered 6 of 10 19cm.; 7½ins high by 64cm.; 25ins wide by 44cm.; 17½ins deep Sally Arnup was raised up in Surrey, before going on to study at the Royal College of Art. She has works on public display, held in private and corporate collections and has exhibited widely in the UK, Europe and the USA. Her sculpture ‘Silver Leopard’ was given to HM the Queen in 1981 by the City of York. £4000-6000

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98 Paul Mount (1922-2009) Untitled Steel and Stainless Steel base Unique 61cm.; 24ins high by 58cm.; 23ins wide by 37cm.; 14½ins deep Mount was born in Devon in 1922. He studied art at Paignton School of Art, then at the Royal College of Art between 1940-41 and 194648, having been called up for war service in the intervening years.

He taught drawing and painting at Winchester School of Art, before settling in Nigeria in 1955, to set up and run the art department at Yaba College of Technology.

While there he was introduced to architectural sculpture and began to develop his sculptural idiom, of robust works around a vacant airy space. On his return to England in 1962 he set up home and studio in Cornwall, and became a member of the local Artists circles, showing works with artists such as Hepworth. He has exhibited widely in Europe and the USA and is represented in numerous private and corporate collections. £4000-6000

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99 Martyn Barratt, born 1965 Glass Leaf Seat Glass and Stainless steel Unique 80cm.; 31½ins high by 180cm.; 71ins wide by 42cm.; 16½ins deep Martyn Barratt works across multiple mediums, often developing a similar idea in different materials, as in the case of the benches in this sale made of marble wood and glass.

His glass works are abstract pieces that work highly with colour and light, the colour is applied in streaks or lines that allow the piece to be translucent in part which causes a distortion when the audience views from the front. see also footnote to lot 102 £3000-4000 100 Martyn Barratt, born 1965 Marble Leaf Seat III Marble and Stainless Steel Unique 70cm.; 27½ins high by 180cm.; 71ins wide by 45cm.; 17½ins deep £4000-6000 101 Martyn Barratt, born 1965 Wood Leaf Seat Chinese Laurel and Stainless Steel Unique 180cm.; 71ins wide 1 0 6 • S C U L P T U R E & D E S I G N F O R T H E H O U S E & G A R D E N L I V E A U C T I O N 2 0 T H M AY 2 0 1 4

£2,000-£3,000

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102 Martyn Barratt, born 1965 Planet Suite Kiln Formed Glass Unique 100cm.; 39½ins high by 85cm.; 33½ins wide by 20cm.; 8ins deep Barratt studied wood and stone carving and gilding at London Art School, and an MA in architecture at East London University.

Much of his work is contemporary in concept and content, and his practice owes much to the skills he learnt in his early trades as a carver and restorer. He works in a number of mediums, including studio glass, wood and marble. His work has been exhibited internationally, and has completed commissions for many prestigious clients including the BBC and the Palace of Westminster. He was elected to the Royal Society of British Sculptors in 1993, and director for the Burghley Sculpture Garden in 1997. £2000-3000

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103 Martyn Barratt, born 1965 Untitled Kiln Formed Glass Unique 95cm.; 37½ins high by 45cm.; 17½ins wide by 10cm.; 4ins deep See footnote to lot 99 & 102 £2000-3000

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104 Martyn Barratt Trio Chinese Laurel Unique 50cm.; 20ins high by 60cm.; 23½ins deep by 280cm.; 110ins wide See footnote to lot 99 £3000-4000

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The following four lots are being offered on behalf of the CASS Sculpture Foundation, Goodwood, West Sussex

105 † Helaine Blumenfeld Spirit of Life bench, 2007 Carrara marble 54cm.; 21ins by 56cm.; 22ins by 165cm.; 65ins Helaine Blumenfeld was born in 1942. She studied sculpture in Paris at the Ecole de la Grande Chaumière 1962-63, before going on to gain a doctorate in Philosophy at Columbia University in 1964.

Blumenfeld’s work is an investigation into the emotional life of the individual. Her work is characterised by her ability to turn solid, complex units into light and delicate forms. Working with onyx and marble, Blumenfeld’s technical virtuosity means that she consistently brings light into her work as a fourth dimension, a visual metaphor for transparency, which the artist regards as the essence of relationships.

In Britain, Blumenfeld’s work has been exhibited widely, including at Kettle’s Yard, The Sainsbury Centre and the Royal British Society of Sculptors. International exhibitions of her work have been held

in Vienna, Paris, New York, Oslo, Singapore, Athens and Pietrasanta. Blumenfeld has created many commissions for public, corporate and private clients, including the US Federal Government, British Petroleum and the Royal Caribbean Cruise Line.

In 2006, Blumenfeld was the first female recipient of the Premio Pietrasanta e la Versilia nel Mondo, an international award for sculpture. In 2004, she was elected to the office of Vice-President of the Royal British Society of Sculptors, a position that she retained, with distinction, until 2009.

In 2011, in acknowledgement of her services to the Arts, Helaine Blumenfeld was awarded an honorary OBE

by Her Majesty, Queen Elizabeth II. Helaine Blumenfeld lives and works between her studios in Cambridge and Pietrasanta, Italy.

The ‘Spirit of Life’ bench is inspired by a large-scale work currently on display outside London’s Dorchester hotel.

For Blumenfeld, this sculpture is about the healing power of beauty, of hope and of creation and, above all, about the spirit of life. £15,000-25,000

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106 † Julian Mayor A pair of Contour chairs 2000 Steel 76cm.; 30ins by 76cm.; 30ins by 61cm.; 24ins Julian Mayor is an artist and designer based in East London.

After graduating from the Royal College of Art in 2000 he moved to California where he became as a designer for IDEO Design Consultancy. In 2002, he returned to London where he worked for Pentagram and various other design studios whilst starting to exhibit his own work.

Currently, he lectures at the London College of Communication whilst continuing his exploration of the role of the computer in the creation of the sculptural form.

In 2000 Julian Mayor’s first piece for the Cass Sculpture Foundation was commissioned: Contour Chair.

This piece of furniture, made from forged and welded steel is typical of Mayor’s strong sense of design and practicality. In 2006 he went on to complete a series of sculptural benches for a park behind the Tate Britain gallery in London and in 2007, a commission ‘Burnout’ for a collector in East London.

His work has been exhibited at the V&A London, Rossana Orlandi Milan, FAT Galerie Paris and twentytwentyfirst New York. £1500-2500 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 1 1

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glass or other materials Morgan creates a finely balanced hole in the surface of the water at his chosen location, whether it be in a puddle, pond or tidal region, apparently subverting physical laws. This work may be cyclic or transitory, depending on the stability of the water or the tide. Morgan records these as photographs or videos "I am fascinated by the explanations we build around ourselves to account for our own existence and by the interaction of our genetic and cultural inheritance with our own individual experience."

Whilst at the Royal College, Morgan was commissioned by the Contemporary Art Society and 'Economist' magazine to make a sculpture for the Economist Plaza. Since graduating he has been a visiting lecturer at Surrey Institute of Art and Design, University College, Farnham. Morgan's work has been selected for the prestigious Bombay Sapphire Blue Room Exhibition and, in association with architects Terry Farrell and Partners, was selected in creating a sculpture for the redevelopment of Lots Road Power Station, Fulham.

In 2007, Morgan took part in the Chelsea Flower Show collaborating with gold medal award winning garden designer Phil Nash to design sculpture for the show garden, 'Elevations'. In 2011, Morgan opened his new design studio and exhibition space in London.

107 † Tim Morgan Vein, 2006 Glass, steel Five from an edition of 40 330cm.; 130ins by 11cm.; 4¼ins by 9cm.; 3½ins Tim Morgan was born in Kent in 1970 and studied at Ravensbourne College of Design and Communication from 198990; Edinburgh College of Art, as both undergraduate and postgraduate, from 1990-91 and 1996-98 and the Royal College of Art, London from 1999-2000. He was awarded the Andrew Grant Postgraduate Scholarship at Edinburgh College of Art in 1998 and the Royal College and Borders Group Prize in 2001.

Through his work Morgan explores various physical phenomena, such as the surface tension of water, or the quality of light passing through glass. As well as small and large-scale glass sculptures, he also makes work as interventions in the landscape. Through his use of 1 1 2 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y L I V E A U C T I O N 2 0 T H M AY 2 0 1 4

Morgan describes his sculptures as "environmental interventions, objects that aim to reveal the boundaries that exist in our world, philosophically and scientifically." The properties of the glass mean Morgan's sculpture does just this, by interacting with its surroundings to produce diverse and beautiful effects, which change in symbiosis with any subtle changes in light or weather.

Tall and elegant, each 'Vein' is constructed from glass rods, held in compression between two steel blades. By binding a stack of rods to create a whole, Morgan creates a unique and intricate texture in his work, a variation on the effects of a plain sheet of glass, which may bubble during the fabrication process.

Standing in a group, the structures are set at varying angles so as to catch the light at different times of day. This use of the physical properties of light and the way it interacts with glass demonstrates an interest in reflection, diffraction and the movement and manipulation of light that has been present in Morgan's recent work.

The sculpture changes throughout the day, its elements in constant play with nature. The changing qualities of light form subtle differences in pattern and colour. When viewed from certain angles, the light caught by the glass renders the steel blades invisible, creating the impression of a glowing needle suspended in the air. £10,000-15,000

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108 † Douglas White Icarus Palm, 2005 Tyres, steel From an edition of 6 500cm.; 197ins by 400cm.; 157½ins by 400cm.; 157½ins Douglas White was born in 1977 in Guildford. Between 1997 and 2000 he read Fine Art at the Ruskin School of Drawing and Fine Art and graduated with an MA in Sculpture at Royal College of Art in 2005.

White’s work is mostly constructed using found objects; from blownout tyres to burnt basketballs and rotten trees. He assembles these into unlikely forms and juxtapositions, creating totemic works that pulse with energy.

In 2005, White was awarded the Deutsche Bank Pyramid Award and a Mann Drawing Prize. He was also shortlisted for the Jerwood Sculpture Prize and the Jerwood Drawing Prize. In 1996, he received the Southsquare Art Scholarship and in 2004 the Margaret Pollock Scholarship. White’s work was selected for the ‘New Contemporaries’ exhibition in 2004 and 2006.

His first solo show was held in October 2006 at Paradise Row, London.

White has continued to exhibit at Paradise Row with ‘Elephant Totem Song’ in 2008 and ‘New Skin For An Old Ceremony’ in 2011.

Using two tonnes of tyres, White describes in an interview with ‘Dazed & Confused’ magazine (September 2005) how this work was realised “I persuaded Fyffes to ship them here for me and the whole thing became like some demented colonial mission, mirroring the journeys of Victorian botanists who bought the first Para Rubber Tree over to England in 1876”.

The title ‘Icarus Palm’ leads us directly back to the allegorical Greek myth of Icarus, the flying apprentice. Allusions abound when we look at this flayed tree, the fronds resembling burnt wings with their gnarled and frayed edges. From a distance, it looks dead, a burnt out carcass, all life vanquished, sad almost.

Post apocalyptic, otherworldly, it isn’t a tree one recognises as such, but yet one is familiar with its form. Its portent seems one of death and destruction and with climate change such a prescient issue, White could be suggesting that the future is not so bright.

This lot is being offered as an in situ lot and may be viewed by appointment at the Cass Sculpture Foundation, Goodwood, West Sussex £12,000-18,000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 1 3

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Exploration, Natural History and Travel

109 A mammoth tusk Tamyr peninsular, Siberia Ice Age outside curve 115cm.; 45ins long, on iron stand ÂŁ4000-6000

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110 An Ichthyosaur Holzmaden, Germany, Jurassic the specimen 111cm.; 44ins; overall 57cm.; 22ins high by 127cm.; 50ins wide

Label on back of frame

This historically important ichthyosaur (genus Stenopterygius) comes from the famous fossil locality at Holzmaden, Germany.

The Jurassic deposits here are around 180 million years old (some 20 million years younger than similar deposits at Lyme Regis) and are known for the exquisite state of preservation of the fossils that occur there. This particular ichthyosaur is a remarkable example, and was painstakingly uncovered from the surrounding matrix by the world-renowned preparator Bernard Hauff (1912-1990). The Hauff family were famous for the production of fossils and their work can be seen in the Urwelt-Museum Hauff, Holzmaden. ÂŁ20,000-30,000

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111

112

A near matched pair of Petrified Stools

An unusual Labradorite freeform

Fossilised Wood

Madagascar

Approx 20 million years old

20cm.; 8ins high

48cm.; 19ins high by 50cm.; 19½ins wide by 45cm.; 17½ins deep

£1500-2500

£3000-5000

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113 A rare spa box containing black zinc ore, quartz and fluorspar 19th cenury 47cm.; 18½ins by 54cm.; 21ins wide Spa boxes and towers were made by miners from the various crystals and other rock formations that they found during the course of their work. A selection of such boxes can be seen in the Killhope Lead Mining Museum in Upper Wearside, Nr. Newcastle, England £2500-3500 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 1 7

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116

114 114

A pair rare of painted Whales ear bones early 19th century painted to heighten their resemblance to human faces 15cm.; 6ins high £1000-2000 115 A collection of five whales teeth mainly Sperm whale 19th century the largest 15cm.; 6ins 115

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117

£200-300

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116 A carved Sperm whale tooth circa 1840 the scrimshaw depicting a whale hunt 13cm.; 5ins high £250-350 117 An unusual Icelandic silver mounted inscribed Sperm whale tooth early 20th century 13cm.; 5ins £100-200 118 A highly important Narwhal Sailors’ Cane with silver mounting and walrus ivory top that unscrews to form a small container for holding snuff etc the silver collar is inscribed: ‘Brought home in the Fox by Geo. Edwards’ and ‘Sent out by Lady Franklin 1859’ 90cm.; 35½ins It is unlikely that any other narwhal stick will have a provenance as romantic as this one, nor will it have such historical importance.

This example is connected with the famous Franklin expedition. In 1845 Rear Admiral Sir John Franklin (1786-1847) set off from England to locate and chart

the elusive Northwest Passage. A veteran of the Battle of Copenhagen and the Battle of Trafalgar, neither he nor any of his crew of 129 men ever returned. The disappearance became one of the great mysteries of nineteenth century Britain.

Two expeditions were launched to find traces of the original voyage but nothing of significance was located.

From stories told by Inuits, however, rumours circulated that Franklin’s ships, the Erebus and Terror had become icebound, the men had attempted to march overland and many had succumbed to

the cold. Some, however, had resorted to cannibalism. This caused a scandal in Victorian Britain and in a final attempt to resolve the issue and the controversy, Lady Franklin herself sponsored a new search in a vessel called The Fox. After many hair raising adventures the ship became frozen in the Arctic Ice and the crew undertook overland marches in search of Franklin and his men. They finally discovered a cairn at Victory Point, Canada and a note that stated that Franklin had died on June 11th 1847. £9000-12,000

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119 A fine novelty ebonised Malacca cane with glass eye inset in ivory silver mounted handle with London marks for 1901 92cm.; 36ins high £400-600 120 A fine novelty compass Malacca cane silver and enamelled mount with Birmingham marks for 1901 with Malacca cane 92cm.; 36ins high £200-400 121 A rare novelty watch cane circa 900 enamelled dial decorated with flowers and with “patent” in white metal mount, the movement with lever escapement and unusual bezel twist wind 94cm.; 34ins high £800-1200

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122 A silver handled yew wood stick with embossed silver mount with a dog retrieving a pheasant Hallmarks for Birmingham 1982 92cm.; 36ins high £100-200 123 A walking stick Continental, 19th century with bone and ebony bands 87cm.; 34ins high £100-200 124 A walrus tooth handled silver mounted ebonised Malacca walking stick

122 123

124

125

126

127

128

129

130

with London marks for 1896

126

128

130

89cm.; 35ins high

A horn topped, vertebra cane

An ivory handled ebonised Malacca walking cane

A fine whalebone stick

late Victorian

late Victorian

125

82cm.; 32ins high

89cm.; 35ins high

with later antler handle and ferrule

A horn and marine ivory topped vertebra cane

£150-250

£100-200

86cm.; 34ins high

late Victorian

127

129

82cm.; 32ins high

A horn handled bulls pizzle stick

A fine wooden cane, the silver handle in the form of a hound chasing a fox

£150-250

£150-250

19th century or earlier

£500-700

late 19th century with silver ferrule, marks rubbed with owners name “Eves”

probably Continental, 19th century

85cm.; 33ins high

87cm.; 34ins high

£150-250

£250-400

with owners initials

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137 A large vertebrae cane 19th century with applied ivory knop 92cm.; 36ins £150-250 138 An attractive white metal mounted rosewood walking cane Continental, 19th century 90cm.; 35ins high £120-180 139 A silver topped ebonised Malacca walking cane 132

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134

135

136

138

139

131

133

135

A novelty bamboo stick with concealed briarwood tobacco pipe

An ivory handled horn tipped vertebra walking stick

A horn walking stick

late Victorian

Victorian

cane and briarwood

81cm.; 32ins high

92cm.; 36ins high

£100-200

£150-250 134 132 An ivory handled malacca walking stick 19th century

131

137

An engraved silver topped ebonised Malacca walking cane

with belt shaped ferrule with owners initials RH Flack

with London marks for 1919 and owners monogram

89cm.; 35ins

91cm.; 35ins high

£200-300

£60-100

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Colonial, 19th century 86cm.; 34ins high £200-400

with applied whales tooth handle, London marks for 1905 92cm.; 36ins high £80-120 140 A silver mounted Malacca horse measuring stick

136

with London marks for 1959

A horn handled gilt metal mounted ebonised Malacca walking stick

93cm.; 36½ins high

late Victorian

141

with makers initials WH and owners initials WW

A fine ivory walking stick

90cm.; 35ins high £100-200

£150-250

Indian, late 19th century 91cm.; 36ins high £400-600

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142 A novelty malacca cane Edwardian with hidden smoking pipe 90cm.; 35ins high £120-180 143 An ivory walking stick Indian, circa 1900 the handle carved with lion and elephant, the cane as simulated bamboo 89cm.; 35ins high £400-600 144 A whale bone and horn handled ivory topped walking cane 19th century 86cm.; 34ins high £500-700 140

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142

143

144

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145 A fine carved ivory parasol Indian, 2nd half 19th Century 66cm.; 26ins long £300-500 146 An carved Ivory parasol Indian, 2nd half 19th century 63cm.; 25ins long £250-400

145

146

147 A oak Swaine and Adeney whip rack early 20th Century stamped Swaine & Adeney 49cm.; 19ins high by 38cm.; 15ins wide £500-800 148 A mahogany tusk gong stand by van Ingen of Mysore early 20th century with brass bell shaped gong 28cm.; 11ins high by 30cm.; 12ins wide £150-250

147

148

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149

151

A turtle shell mounted as a firescreen

An Indian elephant ivory gong stand with copper gong

circa 1910 86cm.; 34ins high by 51cm.; 20ins wide together with a smaller turtle shell 38cm.; 15ins by 33cm.; 13ins £300-500 150

circa 1880 and colonial silver mounts 50cm.; 20ins high by 66cm.; 26ins wide, tusk measurements 52cm.; 21ins on outside of curve. £600-1000

A group of photographs of big game hunting scenes Indian early 20th century various sizes the largest 52cm.; 20ins high by 68cm.; 27ins wide with inscription to rear and dated 1906 £300-500 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 2 5

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152

154

153

156

152

153

An elephants foot mounted in the form of a wastepaper basket

A large Elephants foot mounted as a wastepaper basket with well appointed interior

late 19th/early 20th century

155

30cm.; 12ins high by 36cm.; 13ins wide £100-200

early 20th century 35cm.; 14ins high by 48cm.; 19ins wide £300-500

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154 An Elephants foot mounted as a stool late 19th century 35cm.; 14ins high by 44cm.; 17ins wide £200-300 155 A mounted Tigers head inscribed “Siroor Nilgir Hills December 1901” the shield 53cm.; 21ins high by 40cm.; 16ins wide £1000-1500 156 An Elephants foot mounted as a childs stool late 19th century 28cm.; 11ins high by 33cm.; 13ins wide £200-300 157 A Leopard skin with mounted head early 20th century by W Wilson of Itarsi 216cm.; 85ins long by 145cm.; 57ins wide £600-1000 158 A Leopard Skin early 20th century 218cm.; 86ins long 127cm; 50ins wide £400-600 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 2 7

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159 A Lion skin with superbly mounted head early 20th century with impressive mane 289cm.; 114ins long by 210cm.; 83ins £1500-2500

160 A Himalayan black bear skull 19th century 15cm.; 6ins.high by 28cm.; 11ins long £100-150 1 2 8 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y L I V E A U C T I O N 2 0 T H M AY 2 0 1 4

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163

162 The following four lots are watercolours of exotic animals from Australia and the Pacific.

These pictures are of a scientific nature and are likely to have been carried out on one of the French expeditions to these areas during the middle of the nineteenth century. These expeditions inspired a number of publications about the people and animals in these faraway places. These particular pictures may well be associated with Jules Dumont d’Urville who carried out two expeditions encompassing the Pacific, Australia, New Zealand and Antarctica during the first half of the nineteenth century.

Following his return from the first of these expeditions his great masterpiece Voyage au Pole Sud dans la corvettes l’Astrolabe et la Zelee was begun. It was published between 1841 and 1854 in 31 volumes and contained plates of the animals, scenes and peoples of the diverse areas he visited.

163

161

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163

164

A red Lemur

A red rumped chevrotain from Fernando Po Island

A pair of pictures showing marsupials

A pair of pictures showing two different species of squirrels

titled The Black Rumped Gueuei.

Cephalophus.

Fernando Po and dated 1859,

titled with species Hypsiprymnus Brunii½ and 1.

Hylogalea Murina 2.

Hylomys Suillus 3.

Phascogalea Melas and dated 1849

Watercolour titled with species Red Macauco -Lemur Rufus and dated 1850 51cm.; 20ins high by 38cm.; 15ins wide, in ebonised frame

36cm.; 14ins high by 58cm.; 23ins wide in ebonised frame. £1200-1500

Watercolours

30cm.; 12ins high by 45cm.; 18ins wide, in ebonised frame.

titled with species 1.

Sciurus Caticaudatus 2. Sciurus Exilis and Pteromys Elegans 2/3 and dated1849 47cm.;17ins high by 29cm.; 11½ins wide, in ebonised frames £800-1200

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166

167

A collection of four wooden boomerangs

70cm.; 27½ins

A Samoan wooden club of broad tapering form, carved on the upper section, the leading edge cut with a robust pattern of pyramidical nodules

£800-1200

19th century

early 20th century one with incised decoration and indistinctly signed and dated 165 An important North Queensland Rain Forest Wooden shield late 19th/early 20th century 61cm.; 24ins high £1500-2500

Provenance: Milton R. Macintosh, Rhode Island, acquired December 1970; John Woodman Higgins Armoury Collection, inventory no.3627 72cm.; 28½ns long £150-250

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168

170 167 169 169 A Maori carved wood Patou 168

early 20th century

A ceremonial feather headdress, containing cassowary feathers and cowrie shells from Irian Jaya, once the western half of New Guinea, contained in a glass-fronted box for wall hanging

36cm.; 14ins long £50-80 171 170 A shell necklace Papua New Guinea, 2nd half 20th century

1st half 20th century

2nd half 20th century

52cm.; 20½ins high by 73cm.; 29ins wide

£200-300

£500-600

171 A woven fibre peasant outfit Japanese 19th century 107cm.; 40ins high £200-300 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 3 1

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172

174 172

173

A Dayak skull with boar's tusks

A Dayak carved Orang Utan skull

on ebonised base 26cm., 10ins long

Borneo/South East Asian, early 20th century

Borneo/South East Asian, early 20th century

23cm.; 9ins long

Dayak peoples were once famous as head hunters and it was common practice to carve designs onto skulls that were obtained. In addition to human skulls, those of orangs and bears were often used for this purpose.

173

£900-1200

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£1200-1500 174 An Asmat ancestor skull with feather headdress and nose piece New Guinea, early 20th century on ebonised base 33cm.; 13ins high £1500-2000

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176

175

175

176

An Asmat ancestor skull with feather headdress and coconut shell nose-piece

A finely carved Dayak skull Borneo/South East Asian, early 20th century

1917

New Guinea, early 20th century

on ebonised base

A Dayak carved Sun Bear skull

on ebonised base 33cm.; 13ins high £1500-2000

33cm.; 13ins high £1200-1500

Borneo/South East Asian, early 20th century on ebonised metal stand 29cm.; 11½ins high £600-800

177 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 3 3

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178

180

A male wooden figure with a chimpanzee skull

A Tetela ceremonial axe made with crocodile and snake skin binding

Congo, 2nd half 20th century

42cm.; 16½ins by 20cm.; 8ins wide

75cm.; 29½ins high

Congo, 19th century £800-1000

£1000-1200

179 A carved and glass bead inlaid Orangutan skull

181 An Ngwagba butterfly mask, Congo, circa 1950

Indonesian, early 20th century

30cm.; 12ins

18cm.; 7½ins long

So called because the marks surrounding the eyes resemble the wings of a butterfly

£500-600

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182 A Kuba pounder/pestle shaped from ivory and stained Congo, 1st half 20th century 64cm.; 25ins long £400-600 183 An important Mangwetu maternity figure carved in ivory Congo, circa 1940 36cm.; 14ins high £8000-10,000

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184 A Kaniok carved wooden Ancestor Doll Congo, circa 1940 78cm.; 30½ins high £2000-3000 185 A Pende chiefs wooden walking stick made in the form of a rifle and an umbrella Congo, late 19th century 96cm.; 38ins £600-800 186 A Kuba prestige knife Congo, 1st half 20th century 46cm.; 18ins £800-1200 187 A Gourd water carrier from the Cameroon Mounted with animal bones, horns and shells 38cm.; 15ins high by 33cm.; 13ins A similar example can be seen at the Quai Branly, Paris. £200-300

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190 A Songye/Tetela community or village carved wood female figure Congo, 2nd half 20th century 62cm.; 24½ins high £3000-4000

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189

188

189

A Lega necklace made with stained ivory

A Lega necklace made with boars teeth

Congo, circa 1960

Congo, circa 1960

approximately 20cm.; 8ins diameter

approximately 20cm.; 8ins diameter

£500-600

£300-400

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194 192

192 191 A rare Suku carved wood group for protection against thunder This unusual piece dates from around 1960 and comes from the Congo

A Chokwe carved wood circumcision mask with feather surround, used before, during and after the ceremony Congo, circa 1950 58cm.; 23ins high £800-1000

76cm.; 30ins high

191

193

The body of this piece has a hinged door. Charms were kept within and at times of thunder the door was opened to release the power of the charms and allow them to do their protective work. The spirits would then fly to meet the thunder and counteract it.

193

£1000-2000

A pair of ivory figures carved in Benin style showing an oba and his favourite

A Kuba metal alloy prestige knife Congo, 1st half 20th century 39cm.; 15ins long £800-1200 194

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£300-400

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195 195 A large Vili carved wood fetish in the form of a two-headed dog Congo, circa 1930 76cm.; 30ins long £4000-5000 196 A carved wooden fertility figure Ivory Coast, 1st half 20th century 193cm.; 76ins high £1500-2500 197 A Central African Republic Tobo carved wood figure of a man circa 1960 30cm.; 12ins high £500-600 198 A Luba carved wood maternal figure 198

Congo, 1st half 20th century 66cm.; 26ins £400-600

196

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199 Two mummified dogs and a cat English each case 43cm.; 17ins high by 59cm.; 23ins wide In medieval times, creatures like this were sometimes walled up in buildings to bring good fortune, at other times they are the remains of animals that climbed into recesses in chimneys. They often did this seeking warmth and quiet due to illness, and subsequently died. Then, due to dryness and heat they became naturally mummified. £2000-3000 200 An Egyptian mummified hand B.C. in later glass dome the dome 23cm.; 9ins high by 33cm.; 13ins. wide, the specimen, 18cm.; 7ins long £2000-3000

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201 A mummified Human head reputedly Egyptian, Ptolemaic the case 48cm.; 19ins high square £1000-2000 202 A Felons skull early 19th Century in antique glass dome the skull inscribed John Parker hanged for robbing Henbury Church and De Boudrie’s school the skull has been partially cut away to serve as an anatomical specimen, the dome 30cm.; 12ins high by 30cm.; 12ins wide

sold together with a photocopied newspaper cutting detailing the execution.

“Execution - On Saturday John Parker, aged 36, and Thomas Rodway, aged 30, were executed at the drop, on the top of the lodge at Glocester Gaol, pursuant to the sentence at the late Assized, for a burglary in the dwelling-house of Mrs Grey, at Clifton, near Bristol.

Although obdurate at first, they at last became more sensible of their awful situation, and died with due penitence. Parker was born in the parish of Langley, near Chippenham”. £2000-3000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 4 1

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203 A set of carved antler fragments Pacific North West with purchase invoice from the 49 Steps Gallery Los Angeles dated 3rd Feb 1971 identifying the pieces as Wiskram Indian in wooden frame 21cm.; 8ins.; by 32cm.; 13ins £1000-1500 204 A pair of White tailed deer antlers decorated in the late 19th century by native peoples of the Pacific North West 42cm.; 16½ins high £100-200 203 205 A rare pair of Pere David deer antlers early 20th century 60cm.; 24ins by 33cm.; 13ins £600-1000

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206

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206

207

A magnificent set of fallow deer antlers with skull from the famous collection of Sir Edmund Loder (1849-1920)

Bellin, Jacques Nicolas (1703-1772) A French World Map - Du Globe Terrestre

£200-300

1784 edition (revised from 1755) published Paris 1784 with early map of Australia, later coloured framed and glazed 53cm.; 21ins high by 81cm.; 32ins wide This map is particularly interesting as it is one of the earliest depictions of Australia where the outline of the country is reasonably accurately delineated. It was produced at a time when the French were tryting to vie with British global domination. £300-500

208 A pencil drawing of a Micmac Indian entitled “Louis Julian, Micmac Indian of Miramachi” attributed to Major General O’Halloran circa 1840 23cm.; 9ins high by 19cm.; 7½ins wide O’Halloran studied the language and customs of the Micmac.

He made many notes and drawings of individual members of the tribe, all of which are similar in style and execution to this example. £600-800

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209

211

Antarctic interest a collection of 17 glass slides

An exceptionally rare set of catalogues issued by the celebrated ethnographical dealers W. O. Oldman of Brixton Hill London circa 1915

one dated 1910 some with printed titles 8cm.; 3¼ins square £300-400 210 An album containing topographical watercolours and sketches in 19th century binding

containing descriptions of the Oldman stock and including a large number of original photographs depicting the items Mr. Oldman was offering for sale. The catalogues are loosely bound into an album

including some of the Cape colony. Five watercolours on paper entitled,'A Hottentot Warrior'; 'A Hottentot'; 'a Yahoo'; and two Hottentot Women. Two oval watercolours: A view of Table Bay and A View of Cape Town together with numerous poems, prints, ink and pencil drawings, a watercolour of Vesuvius, two watercolours of Scotland and sundry other miscellanea

25cm.; 10ins. high

24cm.; 9½ins high by 20cm.; 8ins wide

probably Peterborough, early 19th century

£800-1200

painted on glass with figures and landscapes, together with another lid

At one time these catalogues were issued monthly but, as with all such ephemera, examples are virtually impossible to find. £800-1200 212 A rare Napoleonic prisoner of war bone and wood domino box

22cm.; 8½ins wide £500-600

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211

212

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213

215

A mounted Rough-legged and Common Buzzard by W A Macleay & Son

A mounted Goshawk

in a case with glass front and sides 69cm.; 27ins high by 69cm.; 27ins wide by 25cm.; 10ins deep £800-1200

77cm.; 30½ins high by 70cm.; 27½ins wide by 33cm.; 13ins deep

214

£800-1200

A wall display case containing a decorative arrangement of shells early 20th century 46cm.; 18ins by 62cm.; 24ins £200-300

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with internal trade label for Farjalla 1989 (DoE number 087504), naturalistically mounted, this bird has the appropriate article 10 licence required by law

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218

219

A Wild Boar Piglet

A blue Monkey (Cercopithecus Mitis Elgonis) naturalistically mounted by Rowland Ward

A mounted Bittern by Cox of Liverpool

mounted on naturalistic base 27cm.; 10½ins high by 35cm.; 13½ins wide by 15cm.; 6ins deep £300-500 217 A mounted Marlin head

1st half 20th century with label to bottom 71cm.; 28ins high by 64cm.; 25ins wide £600-1000

in a glass case with external trade label on the underside, 1950 64cm.; 25ins high by 50cm.; 19½ins wide by 30cm.; 12ins deep £800-1200

circa 1950 the shield 38cm.; 15ins £200-300 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 4 7

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220 Two mounted Roe deer trophies both with ivorine labels one inscribed “Ian Fleming Stelshaw 13th August 1952” the other “EMF Stelshaw November1950” both mounted by Peter Spicer Leamington Spa, shield 35cm.; 14ins by 18cm.; 7½ins £800-1200 It is unknown whether these specimens relate to the James Bond author, Ian Fleming 221 A set of five birds of prey mid 19th century on turned French stands £600-1000 1 4 8 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y L I V E A U C T I O N 2 0 T H M AY 2 0 1 4

222 A mounted Great Grey Owl in a glass case with lead bead, this bird has the appropriate article 10 licence required by law 73cm.; 28½ins high by 45cm.; 17½ins wide by 43cm.; 17ins deep £800-1200

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223 A set of four wall hanging Insect display cases first half 20th century assembled in a didactic style 39cm.; 15ins high by 50cm.; 20ins wide £600-1000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 4 9

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224

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225

224 224

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225

Lord Scone’s ‘Cabinet of Curiosities’

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An interesting and curious collection that came from Scone Palace, Perthshire (the ancient site of the ‘Stone of Scone’) and was assembled between 1840 and 1900. This fascinating collection comprises the following objects: a grape shot mounted

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on a circular marble base labelled‘ marble from the chimney piece of the Governor’s house in Sevastopol‘; a fragment of wood labelled, ‘a piece of wood dug up near the Malakoff (Crimea)‘; a piece of marble from Maupika (Crimea); a pen rest made of two stags horns with three quill pens; a meerschaum pipe in the form of a bird’s head, the case labelled P. Edwards and Co.; a Victorian infants silk glove with a label saying, ‘glove worn by Margaret Macgregor (afterwards Countess Mansfield) when a baby‘; an Australian aboriginal stone hand axe and an Australian aboriginal grinding stone both with labels, ‘found in a mound at Wangery District of Victoria, 1891, Warambool Public Museum‘, together with a letter from Hawksdale dated 30th December 1891 describing where the objects were found; an interesting paper scroll on which is the rare photographic record of Lord Scone’s late nineteenth century expedition to the North Pole with a printed label reading,’ I have just returned from the North Pole and I send a bit of it with my photographs‘.

This collection was auctioned at Christies King Street in May 2007 by permission of the 7th Earl of Mansfield. £1500-2000

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226

A set of three silver gelatin prints

Three Soda glass specimen tanks

taken from 19th century positive glass slides produced for the British Museum of Natural History. One shows the skull of a porcupine, another the skull of a dolphin and the third shows the exoskeleton of an armadillo

19th century

the largest 66cm.; 26ins high by 70cm.; 27½ins wide

By repute from the Natural History Museum

119cm.; 47ins high by 87cm.; 34ins wide

£600-1000

£200-300

£1800-2500

30cm.; 12ins by 61cm.; 24ins by 30cm.; 12ins These were used for bringing back natural history specimens from expeditions abroad

227 A Mahogany 36 drawer double ranked collectors cabinet circa 1880

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228 A Georgian, mahogany 22 drawer double rank collector’s cabinet 19th century each drawer containing Tropical Butterflies and Moths, all in excellent condition 94cm.; 37ins high by 84cm.; 33ins wide £2000-3000

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The following 37 lots are from a private English collection and the proceeds are being donated to the Sue Ryder Foundation Thorpe Hall restoration fund.

229 A Lanner Falcon (Falco biarmicus) by Rowland Ward with label to rear of case 68cm.; 27ins high by 52cm.; 20ins wide ÂŁ800-1200

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230

232 230

231

A pair of Gray Partridge (Perdix perdix)

A Snowy Owl (Bubo Scandiacus) by Anthony Armistead

early 20th century possibly by Spicer as there is a stove in the case with indistinct writing on it.

39cm.; 15ins high by 57cm.; 27ins wide £200-300 231 1 5 4 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y L I V E A U C T I O N 2 0 T H M AY 2 0 1 4

with label dated 1997 73cm.; 29ins high by 57cm.; 22ins wide £500-800

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232 A Long Eared Owl (Asio otus) by Murray & Son of Carnforth 20th century with old collection labels to back of case including one from Kendall Museum.

56cm.; 22ins high by 41cm.; 16ins wide £300-500 233 A Buzzard (Buteo buteo) by Rowland Ward with Rowland Ward trade label to back of case 72cm.; 28ins high by 52cm.; 20ins wide £400-600

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235

234 A Peter Spicer mounted Roe Deer Trophy mid 20th century the shield 27cm.; 11ins by 20cm.; 8ins £100-200 236 235 Two Woodcock (Scolopax)

by Anthony Armistead in wall mounted glass case, with label and dated 2010 234

51cm.; 20ins high by 63cm.; 25ins wide £250-400

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236 A pair of Barn Owls (Tyto alba) by Anthony Armistead in wall mounted case, with label dated 2010 84cm.; 33ins high by 58cm.; 23ins wide £500-800

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238

A pair of Merlins (Falco columbarius)

A Long Eared Owl (Asio otus)

mounted under a glass dome with small indistinctly inscribed stone possibly indicating they were mounted by Spicer

in a Victorian glass dome 54cm.; 21ins high £300-500

42cm.; 16ins high £600-1000

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239

241 239

241

An unusual part horn mounted on a shield, probably Bongo

A pair of mounted hippopotamus tusks

together with a lions tooth necklace, Kenya, early 20th century, and a Polar Bear partial skull (Ursus maritimus) 0536 and OC099, 15cm.; 6ins high £150-250 240 A Himalayan Bear (Ursus thibeticus) skin late 19th/early 20th century 240

165cm.; 65ins long £300-500

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the bases inscribed Mara.R DD11th 3rd 1891 25cm.; 10ins high by 33cm.; 13ins wide £100-150

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The following 15 skulls were given to the vendor by Mr Lewicki’s widow. Roman Lewicki was once chief taxidermist at Rowland Wards London headquarters and used the skulls for reference when mounting mammals. All of these skulls are of antique origin and presumably came to Rowland Ward’s along with skins that were to be preserved.

The reference numbers are the original Rowland Ward inventory numbers.

243

242

242

245

Wild Boar (Scandinavian) (sus scrofa) OB0019

A juvenile horse or zebra skull OA0044

36cm.; 14ins long

34cm.; 13½ins high

£100-200

£100-200

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246

A Leopard skull (adult male) C008

A water buck skull with Rowland Ward label

28cm.; 11ins high, and another Cheetah skull (adult female) (Aciinonyx jubatus) P1001, 24cm.; 9½ins high £200-300

244

38cm.; 15ins together with a Nilgai skull, 245

£000-000

244 A Wolf skull (Russian male) (Canis lupus lupos) OA0021 27cm.; 10¾ins high, and a Coyote (European male) (Canis latrans) OA0022, 26cm.; 10¾ins high £100-200

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247

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A possible record Lion skull (Panthera leo)

A Tiger skull (Indonesian) (Panthera tigris) TI004

mentioned in the Rowland Ward archive as being the largest skull known to them An002

32cm.; 12½ins high

42cm.; 16½ins high

250

£500-700

A Jarvan Tiger skull (Panthera tigris) TI003

248 A juvenile American Black Bear (Ursus Americanus) Skull OA0026 27cm.; 10¾ins high £200-300

£400-600

31cm.; 12¼ins high £400-600 251 A Lion skull (Panthera leo) OA038 28cm.; 22ins high

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£300-500

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250 252 A Leopard (Persian male) (Panthera pardus) L1008

251

27cm.; 10¾ins high £200-300 253 A Puma skull (Puma concolor) C009 25cm.; 10ins high £100-200

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253

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254 A sea trout (salmom trutta) possibly by Hardy mid 20th century 39cm.; 15½ins high by 86cm.; 34ins wide £150-250 255 A glass case of two brown trout (salmo trutta) early 20th century 36cm.; 14ins high by 56cm.; 22ins wide £300-500

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256 A Salmon (Salmo salar) in the style of Malloch of Perth the case with inscription “Taken from the spey by H MacMillan July 1909”, weight 37lbs 130cm.; 51ins wide £2000-3000 257 A cased Crucian Carp (Carassius carassius) early 20th century 30cm.; 12ins high by 50cm.; 20ins wide £200-300

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258

260

A Pike (Essox lucius) probably by Hardy

A Pike (Essox lucius) probably by Hardy

early 20th century

late 19th century

23lbs

9lbs

42cm.; 16ins high by 119cm.; 47ins wide

48cm.; 19ins high by 99cm.; 39ins wide £500-800

£500-800 261 259 A mounted Ruffe (Gymnocephalus cernuus) recased with inscription to rear that reads “I confirm that this tiny fish was stuffed by Mr Cooper”

A Perch (Perca) with J Cooper label late 19th century in bow fronted glass case 29cm.; 12ins high by 49cm.; 19ins wide £400-600

18cm.; 7ins square

262

£300-500

A Perch (Perca) by Spicer early 20th century with typical signed stone in the case 36cm.; 14ins high by 55cm.; 22ins long £400-600

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Rowland Ward (1848-1912) the most celebrated of all taxidermists, operated from premises in Piccadilly. Here, he catered to Dukes and Duchesses, the rich and famous, and sportsmen the world over. He was so successful, and his reputation so great, that following his own death in 1912, the company he founded stayed in business for another 60 years, despite the general decline in interest in taxidermy through the twentieth century. During this period, the firm employed hundreds of workers, and was always renowned for the high quality of the work produced and the top quality standards maintained by its employees.

Ward himself made many innovations in terms of taxidermy, and always maintained that a good taxidermist was not simply a craftsman but an artist and that he or she should be regarded as nothing less.

263 An extremely rare clouded leopard (Neofelis nebulosa) by Rowland Ward on naturalistic base, pre 1968 with Article 10 Certificate 122cm.; 48ins high by 137cm.; 54ins long £6000-10,000 see also inside back cover 264 A Puma (Panthera) mounted by Rowland Ward on naturalistic base pre 1968 with Article 10 Certificate 140cm.; 55ins high by 148cm.; 58ins long £3000-5000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 6 7

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265 A Sloth Bear (Melursus ursinus) naturalistically mounted by Rowland Ward pre 1968 185cm.; 73ins high ÂŁ3000-5000

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GLOSSARY OF TERMS

The following are examples of the terminology used in this catalogue.

Any statement as to authorship, attribution, origin, date, age provenance and condition is a statement of opinion and is not to be taken as a statement of fact.

Please read carefully the terms of the Authenticity Guarantee and the Conditions of Business for Buyers set out in this catalogue.

Antonio Canova In our opinion a work by the artist. In the case of 19th century sculpture this indicates that the work was made in our opinion either by the artist or by a foundry or editor who had the rights to reproduce the artist’s original model either during the artist’s lifetime or for a defined posthumous period. (When the artist’s forenames are not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not , indicates that in our opinion the work is by the artist named).

Attributed to Antonio Canova In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category.

Manner of Antonio Canova

In renaissance style In our opinion a work executed in the style of the renaissance but not necessarily of that period.

The term signed and /or dated and/or inscribed means that in our opinion the signature and/or date and/ or inscription are original to the model or authorized by the sculptor’s studio or editor but not necessarily from the hand of the artist.

The term bearing the signature and/or date and /or inscription means that in our opinion the signature and/or date and/ or inscription have been added at a later date.

Dimensions are given height before width Condition of lots Condition is only noted in the catalogue where an item is severely distressed. Prospective purchasers making commission bids without viewing the sale can be given condition reports on any lot on request.

It is essential for buyers to satisfy themselves as to the condition of lots prior to the sale and to arrange their own insurance cover against loss and damage immediately after the sale. Please refer to the Conditions of Business for Buyers.

In our opinion a work in the style of the artist and of a later date After Antonio Canova In our opinion a copy at a later date of a known work by the artist. In the 19th century this indicates that in our opinion the work was made by a foundry or editor at a later date and apparently without exclusive rights.

Italian 18th century In our opinion a work from that region and of that date.

Probably Italian 18th century In our opinion a work that is likely to be from that region and/or of that date but less certainty as to the region and/or date than is expressed in the preceding category.

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SUMMERS PLACE AUCTIONS AUTHENTICITY GUARANTEE If Summers Place Auctions Ltd sells an item which subsequently is shown to be a "counterfeit", subject to the terms below Summers Place Auctions Ltd will set aside the sale and refund to the Buyer the total amount paid by the Buyer to Summers Place Auctions Ltd for the item, in the currency of the original sale.

(iii)

For these purposes, "counterfeit" means a lot that in Summers Place Auctions Ltd reasonable opinion is an imitation created to deceive as to authorship, origin, date, age, period, culture or source, where the correct description of such matters is not reflected by the description in the catalogue (taking into account any Glossary of Terms). No lot shall be considered a counterfeit by reason only of any damage and/or restoration and/or modification work of any kind (including repainting or over-painting).

(i)

notify Summers Place Auctions Ltd in writing within three (3) months of receiving any information that causes the Buyer to question the authenticity or attribution of the item, specifying the lot number, date of the auction at which it was purchased and the reasons why it is thought to be counterfeit; and

(ii)

return the item to Summers Place Auctions Ltd in the same condition as at the date of sale to the Buyer and be able to transfer good title in the item, free from any third party claims arising after the date of the sale.

Please note that this Guarantee does not apply if either:(i)

the catalogue description was in accordance with the generally accepted opinion(s) of scholar(s) and expert(s) at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or

(ii)

the only method of establishing at the date of the sale that the item was a counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical to use; or likely to have caused damage to the lot or likely (in Summers Place Auctions Ltd reasonable opinion) to have caused loss of value to the lot; or

170

there has been no material loss in value of the lot from its value had it been in accordance with its description.

This Guarantee is provided for a period of five (5) years after the date of the relevant auction, is solely for the benefit of the Buyer and may not be transferred to any third party. To be able to claim under this Guarantee, the Buyer must:-

Summers Place Auctions Ltd has discretion to waive any of the above requirements. Summers Place Auctions Ltd may require the Buyer to obtain at the Buyer's cost the reports of two independent and recognised experts in the field, mutually acceptable to Summers Place Auctions Ltd and the Buyer. Summers Place Auctions Ltd shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event Summers Place Auctions Ltd decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports.

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GUIDE FOR PROSPECTIVE BUYERS 1. Buyer’s Premium Rates The buyer’s premium payable by the buyer of each lot is at a rate of 25% on the first £50,000, then 20% up to £250,000 and 12% on the amount by which the hammer price exceeds £250,000, plus an amount in respect of VAT thereon (see below).

2. VAT on Hammer Price and Buyer’s Premium and VAT Symbols in the Catalogue Property with no VAT symbol Where there is no VAT symbol, Summers Place Auctions Ltd are able to use the Auctioneer’s Margin Scheme and VAT will not normally be charged on the hammer price. Summers Place Auctions Ltd must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at 20% on this premium, which will not be shown separately on the invoice.

Property with a † symbol These items will be sold under the normal UK VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premium.

Property with a α symbol It is assumed that items sold to buyers whose address is in the European Union (EU) will be remaining in the EU. The property will be invoiced as if it had no VAT symbol.

It is assumed that items sold to buyers whose address is outside the EU, will be exported from the EU. The property will be invoiced under the normal VAT rules (see ‘Property with a † symbol above).

Property sold with a ‡ or Ω symbol These items have been imported from outside the EU to be sold at auction under temporary importation. When Summers Place Auctions Ltd release such property to buyers in the UK, the buyer will become the importer and must pay Summers Place Auctions Ltd import VAT at the following rates on the hammer price: ‡ @ 5% Ω @ 20% Summers Place Auctions Ltd must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at 20% on this premium, which will not be shown separately on the invoice.

VAT Refunds VAT may be cancelled or refunded on export if strict conditions are met. For advice, please contact Letty Stiles on 01403 331 336

items to certain states of the USA). Buyers should obtain their own advice in this regard.

Artist’s Resale Right Purchase of lots marked with the following symbol ▲ will be subject to payment of the Artist’s Resale Right, at a percentage of the hammer price calculated as follows: Portion of the hammer price (in €) Royalty Rate From 0 to 50,000 4% From 50,000.01 to 200,000 3% From 200,000.01 to 350,000 1% From 350,000.01 to 500,000 0.5% Exceeding 500,000 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to a maximum royalty payable of €12,500 for any single work each time it is sold. The maximum royalty payable of €12,500 applies to works sold for €2 million and above. Calculation of the artist’s resale right will be based on the Pounds Sterling / Euro reference exchange rate quoted on the date of the sale by the European Central Bank.

Property with a ♠ symbol.

Some of these items require specialist dismantling and may not be available for immediate collection after the sale. Intending purchasers should check the status of these lots before the sale.

3. Before the Auction Pre-sale Estimates Pre-sale estimates are intended as a guide for prospective buyers but all lots can realise prices above or below the pre-sale estimates. Seller’s confidential reserves are set no higher than the low pre-sale estimates, except in the rare circumstance in which the reserve has been set in a foreign currency and the exchange rate has fluctuated.

It is advisable to consult us nearer the time of sale as estimates can be subject to revision. The estimates printed in the auction catalogue do not include the buyer’s premium or VAT. Provenance In certain circumstances, Summers Place Auctions Ltd may print in the catalogue the history of ownership of a work of art if such information contributes to scholarship or is otherwise well known and assists in distinguishing the work of art. However, the identity of the seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded to accommodate a seller's request for confidentiality or because the identity of prior owners is unknown given the age of the work of art.

Sales and Uses Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of items following purchase (for example, the Use Tax payable on import of purchased 171

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Condition of Lots All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 3 of the Conditions of Business for Buyers.

Electrical and Mechanical Goods All electrical and mechanical goods are sold on the basis of their artistic and decorative value only, and should not be assumed to be operative. It is essential that any electrical system is checked and approved by a suitably qualified electrician, prior to use.

4. The Auction Auction speeds vary, and generally average between 50 and 120 lots per hour. The auctioneer will commence and advance the bidding at levels and in increments he considers appropriate (generally in increments of approximately 10% of the previous bid) and is entitled to place a bid or series of bids on behalf of the seller up to the reserve on the lots, without indicating he is doing so and whether or not other bids are placed.

Please note Conditions 5 and 6 of the Conditions of Business for Buyers contain additional information on bidding.

Bidding in Person To bid at auction you must register with us to obtain a bidding number. Before the auction, fill in the form at the registration desk, provide proof of identity, and you may be given a paddle showing your bidding number. This paddle should be used for bidding. The auctioneer will note this number when you purchase a lot Live Auctions Our live auction are on view 5 days before the sale. Viewing prior to this may be possible by private appointment. The auction takes place in the gallery with each lot displayed on a plasma screen as it is sold.

Prospective purchasers are encouraged to attend the sale and must register their details with us beforehand. Bidding is by numbered paddle.

Our sales offer buyers the facility to bid live on line for no additional fee. Prospective bidders must register and be approved by The Saleroom.com at least 2 hours before the start of the sale.

Absentee Bids If you cannot attend the auction we will be happy to execute written bids on your behalf, so long as you have registered your details with us beforehand. A bidding form may be downloaded from www.summersplaceauctions.com website. A bidding form is also printed in the back of the catalogue. This service is confidential. Lots will always be bought as cheaply as is consistent with other bids, the reserves and other commission bids. To avoid confusion, the sale date,

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lot number and a brief description should be filled in and signed.

Commission bids by email without a signature will not be accepted. In the event of identical bids, the earliest received will take precedence.

Always indicate a top limit, i.e. the highest price you would bid if you were attending the auction. Don’t forget that buyers premium and any VAT applicable will also be added onto your bid if you are successful.

“Buy” and unlimited bids will not be accepted. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues. To ensure a satisfactory service please ensure that we receive your bids at least 24 hours beforehand. The fax number for absentee bids is 00 44 (0)1403 331340.

Telephone bids If you cannot attend the auction, it is usually possible to bid on the telephone on lots with a minimum low estimate of £1,000. You will need to have registered your details with us 5 days before the auction.

As the number of telephones is limited, it is necessary to make arrangements on which lots you wish to bid on, at least 24 hours before the sale. We also suggest that you leave a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues.

Sealed bid auctions Our sealed bid auction is normally closed one day after the live auction, but is on view at the same time and is included in the same catalogue with an illustration, description and estimate. Clients wishing to leave bids should do so in writing, by fax or by emailing a signed scanned page detailing lot numbers, brief description and the bid(s) which they wish to leave. All clients should also have registered with us beforehand and provided photographic identification. All bids must be with us, at the latest, by the day before the published date of the sealed bid auction at which time the bids will be opened. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of there being two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final.

Sale by private treaty Summers Place Auctions shall, from time to time, be offering some lots for sale by Private Treaty in our architectural portfolio. These will usually comprise larger pieces of an architectural nature, which will require a longer period of planning and consultation than an auction can provide. Additionally if you are looking for a specific piece please let us know and we will use our worldwide network of trade and private clients to help source the most suitable item for you. Please contact us for further information.

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Payment Payment is due in sterling immediately after the sale and before purchases can be released. Payments in person can be made in the saleroom on the day of the auction and thereafter. Payments may also be made by post, card transactions by telephone or electronic transfer to our bank. Cash will not be accepted. Summers Place Auctions Ltd welcome the following methods of payment: Credit/Debit Card We are pleased to accept major credit cards (regrettably we are unable to accept American Express or Diners Club card payments), for which a surcharge will be made of 3% of the transaction total. This is to cover the charge made to us by our bank. There is no charge for payments made by debit card.

Sterling Banker’s Draft or Building Society Cheque and Electronic or Wire Transfer Drawn on a recognised UK bank or building society. Wire Transfers can be made directly to our Bank, NatWest, Billingshurst Branch, 57 High Street, Billingshurst, West Sussex RH14 9FJ. A/C 66025206, sort code 60 02 31. IBAN GB79 NWBK 6002 3166 0252 06. BIC NWBK GB 2L. Please contact us for further details.

Sterling Cheque Please note that we require seven days to clear sterling cheques where the amount exceeds the cheque card guarantee limit, unless special arrangements have been made with the auctioneer in advance of the sale (normally the presentation of a letter of guarantee from your bank). We always reserve the right to hold goods until a cheque is cleared.

Collection and Storage On receipt of cleared funds, lots can be collected from the Walled Garden, Stane Street, Billingshurst, West Sussex, RH14 9AB by appointment. If you are unable to collect your purchases yourself we would be delighted to obtain shipping quotes on your behalf. If Lots have not been collected within 35 days of the auction date then storage charges will be applied at a rate of £20 per Lot per week. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, Summers Place Auctions accept no responsibility for any damage which may occur, even in the event of Summers Place Auction staff assisting carriers during collection.

Shipping We are happy to arrange shipping quotations and have extensive experience in working in conjunction with leading domestic and international shippers. There is no charge for arranging quotations.

CONDITIONS OF BUSINESS FOR BUYERS 1. INTRODUCTION (a) The contractual relationship of Summers Place Auctions Ltd and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from Summers Place Auctions Ltd (iii) Summers Place Auctions Ltd ‘s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer's announcement. (b) As auctioneer, Summers Place Auctions Ltd acts as agent for the Seller. Occasionally, Summers Place Auctions Ltd may own or have a financial interest in a lot.

2. DEFINITIONS "Bidder" is any person making, attempting or considering making a bid, including Buyers; "Buyer" is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; "Seller" is the person offering a lot for sale, including their agent, or executors; “"Buyer’s Expenses" are any costs or expenses due to Summers Place Auctions Ltd from the Buyer; "Buyer’s Premium" is the commission payable by the Buyer on the Hammer Price or winning sealed bid price at the rates set out in the Guide for Prospective Buyers; "Hammer Price" is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; "Purchase Price" is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; "Reserve Price" (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot.

The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable.

3. EXAMINATION OF LOTS (a) Summers Place Auctions Ltd knowledge of lots is partly dependent on information provided by the Seller and Summers Place Auctions Ltd is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of Summers Place Auctions Ltd opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at Summers Place Auctions Ltd absolute discretion.

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4. EXCLUSIONS AND LIMITATIONS OF LIABILITY TO BUYERS (a) Summers Place Auctions Ltd shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of Summers Place Auctions Ltd Authenticity Guarantee. (b) Subject to Condition 4(a), neither Summers Place Auctions Ltd nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by Summers Place Auctions Ltd, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Seller to the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by Summers Place Auctions Ltd in connection with the conduct of auctions or for any matter relating to the sale of any lot. (c) Without prejudice to Condition 4(b), any claim against Summers Place Auctions Ltd and/ or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither Summers Place Auctions Ltd nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of Summers Place Auctions Ltd or the Seller for death or personal injury caused by the negligent acts or omissions of Summers Place Auctions Ltd or the Seller.

5. BIDDING AT AUCTION (a) Summers Place Auctions Ltd has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as Summers Place Auctions Ltd requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case Summers Place Auctions Ltd’s prior and express consent must be obtained). (b) Summers Place Auctions Ltd advises Bidders to attend the auction, but Summers Place Auctions Ltd will endeavour to execute absentee written bids provided that they are, in Summers Place Auctions Ltd’s opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to Summers Place Auctions Ltd’s other commitments; Summers Place Auctions Ltd is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.

6. IMPORT, EXPORT AND COPYRIGHT RESTRICTIONS Summers Place Auctions Ltd and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer's sole responsibility to obtain any copyright clearance or any necessary import, export or other licence

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required by law, including licenses required by law under the International Trade in Endangered Species (CITES).

7. CONDUCT OF THE AUCTION (a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer's hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business.

8. PAYMENT AND COLLECTION (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date"). (b) Title in a lot will not pass to the Buyer until Summers Place Auctions Ltd has received the Purchase Price in cleared funds. Summers Place Auctions Ltd will not release a lot to a Buyer before payment. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 35 working days of the auction. Purchased lots are at the Buyer's risk from the fall of the hammer. (e) All packing and handling of lots is at the Buyer's risk. Summers Place Auctions Ltd will not be liable for any acts or omissions of third party removers or shippers.

9. REMEDIES FOR NON-PAYMENT Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, Summers Place Auctions Ltd may in its sole discretion exercise one or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by Summers Place Auctions Ltd against any amounts owed to Summers Place Auctions Ltd by the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above NatWest Bank Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at

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Summers Place Auction Ltd.’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in Summers Place Auctions Ltd’s possession, applying the sale proceeds to any amounts owed by the Buyer to Summers Place Auctions Ltd. Summers Place Auctions Ltd shall give the Buyer 14 days written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings.

10. FAILURE TO COLLECT PURCHASES (a) If the Buyer pays the Purchase Price but does not collect the lot within 35 days of the auction, the lot will be stored at the Buyer's expense and risk at Summers Place Auctions Ltd’s premises or in independent storage. (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, Summers Place Auctions Ltd will re-sell the lot by auction or privately, with estimates and reserves at Summers Place Auctions Ltd’s discretion. The sale proceeds, less all Summers Place Auctions Ltd’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction.

the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i).

12. MISCELLANEOUS (a) All images of lots, catalogue descriptions and all other materials produced by Summers Place Auctions Ltd are the copyright of Summers Place Auctions Ltd. (b) These Conditions of Business are not assignable by any Buyer without Summers Place Auctions Ltd’s prior written consent, but are binding on Bidders' successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of Summers Place Auctions Ltd.

11. DATA PROTECTION (a) Summers Place Auctions Ltd will use information supplied by Bidders or otherwise obtained lawfully by Summers Place Auctions Ltd for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to

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SUBSCRIPTIONS

Sealed Bid – How it works First you require a catalogue. Once you have the catalogue, you need to register your interest in bidding. This can be done quickly and simply by presenting one of our viewing staff with some photographic ID (a modern driver’s license or passport is ideal) or by scanning a copy and emailing it to us. We will take a copy of the ID and a registration form can be completed.

To subscribe to these catalogues please complete the box below with your debit/credit card and contact details. Upon lapse of the subscription we will be in contact to determine if you wish to renew your subscription.

Next give us your bid(s). This can be done by filling in the bidding slip found in your catalogue.

If you are sending your bidding slip to Summers Place Auctions by post, please mark the envelope “Sealed Bid” so that we know it contains a sealed bid and do not open it accidentally.

Bids may also be sent by e-mail. If you choose to send the bid electronically, please e-mail sealedbids@summersplaceauctions.com . This is a closed mailbox and will not be opened before the advertised time. However, we strongly recommend that if you have not viewed the sale in person, that you ask for condition reports on any lots you are thinking of leaving bids on.

Catalogues are printed approximately 4-5 weeks prior to the sale date and are mailed to subscribers immediately. £10 if collected from Summers Place Auctions Gallery

Sealed bid auctions differ from established auctions in that the bid left is the bid that will be exercised in full. Therefore, if you decide to leave a bid of, say, £900 on the lot estimated at £800-£1000 and there is no higher bid, (where two identical bids are received, the earliest received bid will take precedence), £900 will secure the lot subject to buyer’s premium and VAT on the premium.

Please tick appropriate box and return to Summers Place Auctions Ltd Code Auctions

Date

Price

GS14 Sculpture & Design for the House & Garden*

May & Oct 2014

£30 ■

EV14 Evolution Auction Design for the House & Garden*

May & Nov 2014

£30 ■

EV14 All Sales

2014

£40 ■

We will contact you if you have been the successful bidder to inform you of the lot or lots that you have purchased, so that you can make payment and make arrangements for delivery. We have had many years of experience dealing with both UK carriers and international shippers and are happy to obtain quotations and facilitate transport and shipping of single lots and multiple purchases to anywhere in the world.

Bids will be opened on Thursday 24th October and sales results will appear on the Summers Place Auctions website. Please be mindful that we will have to process a large number of bids, which does take time. However, we will endeavour to get this accomplished as quickly as possible and will expect to have the results of the sale posted by the end of the day.

Includes both Live and Sealed Bid sales(*) All amounts are in sterling (GBP)

If you have never bid in a sealed bid sale before, here are some things to be aware of as regards leaving bids for this auction:

Name ……………………………………………………

Every lot in the sale has a fixed reserve, (the minimum price for which the lot can be sold) and this is never above the low estimate, it can be slightly below, but in the vast majority of cases it is the low estimate.

Address ..................................................................... ............……………………………………………………

The highest bid (as long as it is on or above the reserve) will be the winning bid. This is the “hammer price” that the lot will be sold for.

............……………………………………………………

Email..........………………………………………………

You should consider leaving a bid of an odd amount in pounds, for example, rather than bidding £1,000, try say £1,004, as many lots have been bought for the sake of the odd £1!

Tel No……………......................................................

Card no ....................................................................

You can tailor your bid in ways that are impossible to do in a live auction. For example, if you really like three lots, but only need one, and the piece you like the most is later in the sale, simply mark your order of preference. As long as your instructions are clear, having looked at any other bids left on the lots, we will do our best to comply with your preferences.

Expiry date..........Issue Number ……………………..

In the event of two identical highest bids, the earliest bid received with take precedence.

3 digit security number on reverse of card ............

An auction price is made up of different components: the winning bid is called the “hammer price”; A commission, which is in addition to the “hammer price”, is payable to the auctioneers.

This is known as the buyers premium, on which VAT is also payable. Lots marked with ▲ are subject to Artist Resale Right (ARR), which is 4% of the “hammer price”. All lots that have additional VAT are clearly marked in the catalogue with a †.

Credit/debit card type..............................................

Amount to be debited..............................................

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✄

Signature .................................................................

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Sealed bid auction lots 301-644 All sealed bids must be with us, at the latest, by 5pm BST on the 21st May since the bids will be opened on the 22nd May. The winning bid will be the highest left on each lot above the reserve.

Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final.

Winning bidders will be invoiced after the bids are opened.

301 An Art Nouveau wrought iron gateway in the manner of Hector Guimard early 20th Century 263cm.; 103ins high by 137cm.; 54ins wide The French architect, Hector Guimard is best known for his Art Nouveau wrought iron entrance to the Paris Metro.

Like many other French nineteenth-century architects, Guimard attended the École nationale supérieure des arts décoratifs in Paris from 1882 to 1885 winning awards in all of the competitions including four bronze medallions, five silver, and the school’s Grande Prix d’Architecture.

After exposure to the ideas and work of Eugène Emmanuel Viollet-le-Duc and Victor Horta he developed his own distinctive Art Nouveau style.

In 1898 He designed the Castel Beranger which

brought him fame and a number of commissions. It combined a tension between a medieval sense of geometric volume and the organic whiplash lines which is a signature of his work and very much in evidence in this entranceway which is comparable to the wrought iron entranceway of Castel Beranger.

In the Victoria and Albert Museum, there is a wrought iron window grille designed by him for the Hotel Henriette in 1899 which employs the same strip and angle iron construction and the same distinctive linear design. £2000-3000 302 A pair of large carved sandstone gatepier balls 56cm.; 22ins diameter £1200-1800

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303 one showing

305

303

305

A pair of wrought iron entrance gates

A copper and cast iron wall light with bracket

2nd half 19th century

circa 1870

224cm.; 88ins high by 310cm.; 122ins wide overall

112cm.; 44ins high £500-800

£500-800 304 A rare MacFarlane’s foundry cast iron gate circa 1880s stamped MacFarlane’s Castings, Glasgow and London 147cm.; 58ins high by 103cm.; 40½ins wide £500-800 304 178 • SCULPTURE & DESIGN FOR THE HOUSE & GARDEN SEALED BID AUCTION 24TH OCTOBER 2013

306 A pair of wrought and cast iron gates late 19th century together with a run of matching railings the gates 94cm.; 37ins high by 167cm.; 66ins wide, the railings approximately 824cm.; 324ins long £500-800

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306

308

307

308

307

A pair of wrought iron gates

A quantity of wrought iron railing

early 20th century

20th century comprising eighteen rectangular panels various sizes, four rhomboid section panels and a pair of gates. £1000-1500

137cm.; 54ins high by 276cm.; 108ins wide £1400-1600 309 A pair of small wrought iron internal gates Spanish, circa 1900

309

117cm.; 46ins high by 160cm.; 62ins wide £800-1200 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 7 9

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313

310

311

312

310

312

A two very large granite spheres

A patinated copper octagonal lantern

modern

1st half 20th century

100cm.; 39ins diameter

92cm.; 36ins high

£2000-4000

£1200-1800

311

313

A substantial pine lantern

A bronze and copper lantern

modern

2nd half 19th century

106cm.; 42ins high the top 82cm.; 32ins square

80cm.; 31½ins high

£1500-2500

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£1200-1800

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314

315

314

316

A small wrought iron bridge

A pair of veined marble columns

mid 20th century 183cm.; 72ins long 44cm.; 17ins wide by 63cm.; 24½ins high £500-800 315

19th century with associated carved composite order white marble capitals and bases 208cm.; 82ins high £1500-2500

A pair of limestone baskets of fruit

317 †

circa 1900

A pair of carved bath stone Ionic Order columns

44cm.; 17ins high £1000-1500

19th century 250cm.; 98ins high £400-600

316

317 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 8 1

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318

319 A late Victorian cast iron glazed turret clock face with tin hands 95cm.; 37½ins diameter £1500-2500 320 A similar clock face £1500-2500 321 319

318 A carved sandstone architectural element in the form of an elephant 19th century

321

A double glazed leaded stained glass window

320

51cm.; 20ins high by 54cm.; 21ins long, together with a carved architectural corbel figure of a medieval musician, 41cm.; 16ins high, a Victorian Gothic style architectural element

carved with a king’s head, circa 1860, 43cm.; 17ins high by 34cm.; 13½ins wide by 25cm.; 10ins deep, and another similar smaller head of a bearded king, 30cm.; 12ins high Provenance: By repute, from Panshanger Collection also known as the Cowper Collection. £800-1200

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1970s 107cm.; 42ins high by 86cm.; 34ins wide £300-500

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322 A cast iron, steel and wooden octagonal pavilion largely constructed from 19th century architectural elements, the slate roof with coronet and with reclaimed timber roof lining 42cm.; 142ins high by 550cm.; 192ins diameter Disassembled Prior to purchase interested parties should consult us on the reconstruction of this pavilion ÂŁ12000-18000

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323 A carved stone and wood pergola modern 277cm.; 109ins high by 457cm.; 180ins long by 274cm.; 108ins wide £4000-6000 324 Ruth Moilliet, Born 1971 Sun Canopy II Stainless Steel and Anodized Aluminium Signed 400cm.; 157½ins high by 280cm.; 110ins diameter £20000-30000

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325 A massive Italian painted and parcel-giltwood altarpiece frame mid 16th century, in the Sansovino manner 338cm.; 133ins high by 283cm.; 111ins wide by 52cm.; 20½ins deep the aperture 217cm.; 86ins high by 124cm.; 49ins wide Provenance: The frame was formerly at Kedleston Hall, Derbyshire and may have been brought to the house by the connoisseur George Nathaniel Curzon, Marquess Curzon of Kedleston (d.1925) following his inheritance of the estate in 1916. As well as the embellishment of Montacute House Somerset, Lord Curzon was also involved in the restoration of Tattershall Castle, Lincolnshire and Bodiam Castle, Sussex before bequeathing both of the to the National Trust.

The temple-pediment frame is designed in the 16th century Roman fashion and its fluted Composite pillars are flanked by richly carved pilasters with Arcadian nymph herms supported on voluted and fruitgarland trusses; while its triumphal-arch keystone is embellished with a cupid-head and festooned with garlands of fruit and flowers. The ‘Sansovino’ name, attached to frames with decorative scrolls

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Comparable examples of frames attributed to Sansovino and illustrated in ‘Il Mobilio’ by Augusto Pedini, published Genoa 1969

327 A rare Boulton & Paul Ltd wooden mobile hen house

and ornament as appear on the side of the present piece, is something of a misnomer as they have little to do with the Florentine born architect and sculptor Jacopo Sansovino (d.1570), more a generalism for the type of carved or stucco ornament prevalent in Venice during the mid 16th century when he was resident in the city.

Venetian altarpiece frames of the mid 16th century are normally carved of stone and marble. However it is possible the present frame was manufactured for export.

Lorenzo Lotto’s account book mentions that he often sent his altar paintings together with their wood frames when undertaking commissions for churches in the Marches. The form of one of these is not

dissimilar to the present example, for Mogliano, date 1548, although rather simpler (see diagram in the interpretazioni Veneziani, ed D Rosand, p. 354) A tabernacle frame in the Metropolitan Museum, New York (63.273.110), although of smaller proportions, shows the principle elements in a comparable manner.

early 20th century the hinges stamped Boulton & Paul Ltd and with internal laying boxes and perchs, roof with later felt 221cm.; 87ins high by 215cm.; 84ins long by 178cm.; 70ins wide Boulton & Paul were established in Norwich in the early years of the 20th century and made a variety of summer houses or ‘sunshine rooms’ as they were described. This extremely rare chicken coupe is a hitherto unknown example of their output. £1000-2000

£10,000-15,000 326 A pair of cast iron signal cannon early 20th century barrel length 56cm.; 22ins, carriage length 120cm; 47ins £1000-1500

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328

328

330

A painted composition stone faux bois bird cage on stand

An unusual ‘estate-made’ mahogany dog bed

French, mid 20th century 208cm.; 92ins high

with original horse hair mattress above drawers

£500-800

152cm.; 60ins long

329 A small carved Cotswold stone mounting block probably 17th/18th century 329

circa 1900

64cm.; 17ins high by 60cm.; 24ins long

By repute built as a dog bed with original horse hair mattress. The mattress height is too low and deep for a conventional seat which would lend credibility to this theory. £700-1000

£300-500

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331 A pair of substantial cast iron boot scrapers circa 1840 60cm.; 23½ins long £500-800

332 An unusual late Georgian bootscraper early 19th century

333

334

with rebates on base

A rare Regency bronze boot scraper

A Dutch brass watering can

1st quarter 19th century

with later handle, spout reduced and repaired, replacement rose

142cm.; 56ins wide including rebates £400-600

with opposing griffin monopediae, cast iron oval base and scraper 24cm.; 9½ins high by 34cm.; 13½ins long

19th century

26cm.; 10ins high £200-300

£600-1000

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335

336, 337 & 338

335 A collection of terracotta forcers and planters

337 A set of four glass bell jars early 20th century 36cm.; 14ins high £600-1000

339

the largest planter stamped John Matthews, Royal Potteries, Weston Supermare

338

340

342

A set of four glass bell jars

A collection of Calcite stalactites

A Pattissons nine hole garden golf course kit

old damages

36cm.; 14ins high

Chinese, Jurassic

early 20th century

155cm.; 60ins high

comprising tee markers, cups, and auger in wooden box

2nd half 19th century

51cm.; 20ins high

early 20th century £600-1000

£400-600

£1000-1500

56cm.; 22ins wide

339 336

A Boulton and Paul wrought iron dog run

341 †

A set of four glass bell jars

early 20th century

modern

343

early 20th century

incorporating two doors and with makers stamp

54cm.; 21ins wide

A large Pluviette lawn sprinkler

36cm.; 14ins high £600-1000

£300-500

A composition ammonite

£150-250

213cm.; 84ins high by 197cm.; 98ins long by 155cm.; 61ins wide £600-1000

1 9 0 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

early 20th century with patent numbers and brass fittings 74cm.; 29ins high £300-500

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342

343

344

seat width 117cm.; 46ins overall height 210cm.; 83ins

340

An unusual wrought iron swing seat 341

£1000-1500

1960’s

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345 A W N Pugin: A rare monumental Victorian Gothic cast iron water hopper dated 1845 112cm.; 44ins high by 80cm.; 32ins wide Provenance: Reputedly designed for the Palace of Westminster and removed from the courtyard of an accommodation block during the alterations in the 1980’s £1000-1500

Imaginary photo of the water hopper being used as a lavatory cistern

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346 A pair of similar Victorian Gothic cast iron corner hoppers dated 1844 112cm.; 44ins high by 46cm.; 18ins square Provenance: See footnote to previous lot £1200-1800 347 A similar smaller Victorian Gothic cast iron corner hopper dated 1845 92cm.; 36ins high by 37cm.; 14½ins wide Provenance: See footnote to previous lot £600-1000 346

346

Imaginary photo of a corner water hopper being used as a wall planter

Imaginary photo of a corner water hopper being used as an uplighter

347

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348

350

348 A large carved granite trough modern 92cm.; 36ins high by 210cm.; 82½ins wide by 105cm.; 41½ins deep £2000-3000 349 A carved stone urn designed by John Nash early 19th century socle and base replaced 137cm.; 54ins high Provenance: Removed from Witley Court, Worcestershire, England.

This lidded urn was originally on the parapet of the portico of Witley Court, Worcestershire, designed by the architect John Nash in 1805.

Witley Court is a Grade I listed building and was once one of the great houses of the Midlands but today it is a spectacular ruin after being devastated by fire in 1937. £1800-2500 349

351

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350 A Romanesque style carved limestone planter on stand circa 1900 71cm.; 29ins high by 91cm.; 36ins long by 53cm.; 21ins deep £1500-2500 351 A composition stone pineapple 2nd half 20th century 89cm.; 35ins high for pedestal see lot 457 £200-400 352 A carved limestone tazza shaped urn on pedestal

352

353

modern 132cm.; 52ins high by 90cm.; 35½ins diameter £2000-3000 353 † A pair of carved sandstone lidded urns on pedestals modern 245cm.; 96ins high overall £4000-6000 354 A pair of carved limestone cistern planters modern 46cm.; 18ins high by 84cm.; 33ins diameter £1500-2500

354 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 9 5

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357

355

355

357

359

A pair of composition stone urns on pedestals

A pair of composition stone tazza urns

modern

A set of four faux bois composition stone planters

150cm.; 59ins high

French, mid 20th century

92cm.; 36ins diameter

£1500-2000

together with a larger planter and two stools

£400-600

356

the larger planter 70cm.; 28ins high

360

A pair of cream glazed d’Anduze planters

£800-1200

A Victorian carved limestone urn

modern with maker’s stamp 60cm.; 23½ins high, together with a larger green glazed d’Anduze planter, 68cm.; 27ins high £400-600 356 1 9 6 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

358 A pair of carved Cotswold stone urns mid 19th century 71cm.; 28ins high £1000-1500

2nd half 20th century

2nd half 19th century 94cm.; 37ins high £1500-2500

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358

359 one of a pair

360 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 9 7

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363

361

361

364

A pair of large composition stone basket planters

A large cast iron urn

French, mid 20th century 84cm.; 33ins high by 82cm.; 32ins diameter

2nd half 19th century on associated composition stone pedestal

£800-1200

132cm.; 52ins high overall, together with a lead urn and a lead hopper

362

£600-1000

A pair of carved Cotswold stone urns

365 †

circa 1840 repairs

A pair of carved sandstone urns on pedestals

74cm.; 29ins high

modern

£1000-1500

132cm.; 52ins high overall £800-1200

363 A pair of unusual Arts and Crafts period carved Cotswold stone urns

366

20th century

2nd half 20th century

30cm.; 12ins high

115cm.; 45ins high

£400-600

£250-400

362 198 • SCULPTURE & DESIGN FOR THE HOUSE & GARDEN SEALED BID AUCTION 24TH OCTOBER 2013

A composition stone font planter

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365

364

366

367 A set six Doulton stoneware urns late 19th century each foot stamped Doulton Ltd, Lambeth 40cm.; 16ins high ÂŁ1500-2000

367 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 9 9

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369

369 A rare stoneware planter 368

circa 1870

A rare Blashfield stoneware urn

possibly Scottish

circa 1850

53cm.; 21ins high by 92cm.; 36ins long by 43cm.; 17ins deep

stamped J M Blashfield, Stamford no. 266 85cm.; 33½ins wide see footnote to lot 31 This urn is illustrated as number 266 from a selection of vases, statue, busts from TerraCotta’s by J M Blashfields, London published

by John Weil, 58 High Holborn 1857. see engraving £800-1200

This unusual piece would probably have been made by a small brick manufacturers whose normal output would have been both bricks and drainage pipes, however a number including Garnkirk had a small range of decorative pieces which they showed at exhibitions. £1000-1500

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370

370

371

A pair of cast iron urns on pedestals

A pair of cast iron urns, probably Handyside Foundry

2nd half 19th century 86cm.; 34ins high by 77cm.; 30ins diameter £1000-1500

2nd half 19th century

371

on later composition stone pedestals 145cm.; 57ins high overall £1000-1500 372 A pair of cast iron urns French, 2nd half 20th century 50cm.; 20ins high £600-1000 372 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 0 1

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374

373

373 A pair of cast iron urns late 19th /early 20th century 79cm.; 31ins high £800-1200 374 A pair of cast iron urns French, 2nd half 19th century 72cm.; 28ins high £400-600 375 A pair of steel bomb shaped planters mid 20th century

375

80cm.; 31½ins high £400-600 376 2 0 2 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

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378

377

376

378

A pair of cast iron urns on pedestals

A rare cast iron basket weave planter

2nd half 19th century

French, late 19th century

127cm.; 50ins high

74cm.; 29ins diameter

£600-1000

£800-1200

377

379

A pair of cast iron urns

A pair of William and Mary style lead urns

French, 2nd half 19th century 58cm.; 23ins, together with a smaller cast iron urn with handles

early 20th century

£350-550

122cm.; 48ins high overall

on associated terracotta pedestals £800-1200

379 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 0 3

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380

383

381

380

382

A set of four graduated coppers

A large square copper planter

19th century

modern

with various makers marks

61cm.; 24ins high by 90cm.; 35½ins square

the largest 63cm.; 25ins diameter

£1200-1800

£800-1200 383

382

381

A pair of cast iron urns

A large lead ovoid planter

French, 2nd half 19th century

modern

67cm.; 26ins high

75cm.; 29½ins high by 94cm.; 37ins diameter

£300-500

£1200-1800 2 0 4 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

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384

384 A composition stone pool surround with York stone flagging 2nd half 20th century internal diameter 366cm.; 144ins; overall diameter including flagging 548cm.; 208ins £2000-3000 385

385

386

A carved limestone river god fountain mask

A Victorian carved white marble fountain

modern

circa 1860

40cm.; 16ins high

dolphin mouth plumbed for water

£300-500

150cm.; 59ins high £2000-4000 386 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 0 5

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388

A bronze fountain figure

A rare Bromsgrove Guild lead fountain figure of a boy

probably Italian, mid 20th century

early 20th century

dolphin mouth and upturned pitcher plumbed for water, variegated green patination

on composition stone rockwork base

124cm.; 49ins high

150cm.; 59ins high

ÂŁ4000-6000

The Bromsgrove Guild of

387

2 0 6 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

Applied Arts was established in 1894 by Walter Gilbert who took over a foundry in Bromsgrove, Worcestershire.

It was first involved with decorative ironwork, but the business soon expanded into a great many other fields. By 1900 Gilbert had gone into partnership with a Mr McCandlish and had taken

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over further premises in the town which housed bronze and lead foundries, as well as wood and stone carving studios. By 1908 they had established an outlet in London, and as a result of their most famous commission, the iron and bronze gates outside Buckingham Palace, they were issued with a Royal Warrant appointing them metal workers to Edward VII (an honour repeated two years later under George V).

Unlike the majority of other contemporary English manufacturers of garden ornaments most of the Guild’s figurative subjects were modelled in the popular styles of the day. In 1921 the Guild became a limited company, but by this date some of the members had left to start companies of their own. However the Guild continued to produce a variety of garden ornaments for many years finally closing in 1966.

An identical fountain figure was situated in the Bromsgrove Guild show garden in Ednall Lane, Bromsgrove and is illustrated in the Bromsgrove Guild An Illustrated history, edited by Quinton Watt, published 1999 by the Bromsgrove Society, page 57.

Literature: John Davis, Antique Garden Ornament, pp.313-316 £2500-4000

389

390

A composition stone fountain

A lead fountain

modern

mid 20th century

the pineapple finial plumbed for water

155cm.; 61ins high

140cm.; 55ins high

£1200-1800

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391

392

393

A small carved limestone wellhead modern

A terracotta fountain group of two children with an umbrella

A composition stone wall fountain with lead lion mask plumbed for water

with wrought iron overthrow

late 20th century

modern

158cm.; 62ins high overall, plinth 74cm.; 29ins diameter

umbrella plumbed for water

150cm.; 59ins high by 64cm.; 25ins wide

165cm.; 65ins high

£1500-2500

£1500-1800

£1500-2500

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394

396 †

A carved marble Greek style mask modern

A stoneware fountain by Philip Thomason

38cm.; 15ins high

modern

£600-1000

41cm.; 16ins high £150-250

395 †

397

A stoneware snail shell water feature by Philip Thomason

A Travertine marble wall fountain

modern 52cm.; 20cm wide

with Rosso Verona marble inset panel

£150-250

158cm.; 62ins high

Italian, circa 1900

£1000-1500

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398

400

398 †

400

A carved white marble fountain

A small lead fountain group of a surfer titled Pipeline

modern

2nd half 20th century

after an original at the Alhambra diameter 260cm.; 102ins, bowl diameter 137cm.; 54ins £1500-2500

the wave plumbed for water, signed Jalenno X 28cm.; 11ins high £300-500 401

399

A carved marble water stoop

A carved marble fish fountain

Italian, 17th century

2nd half 20th century

68cm.; 27ins high by 43cm.; 17ins wide

137cm.; 54ins high

£1500-2500

£1200-1800

399 2 1 0 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

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402 A Faux Bois composition stone wellhead overthrow French 1930’s 124cm.; 49ins high, the base 92cm.; 36ins square £500-800 403 A cast iron fountain torso French, 2nd half 19th century damages 81cm.; 32ins high This originally formed part of a larger fountain. £600-1000 401

404

402

A composition stone fountain group mid 20th century top bowl plumbed for water 98cm.; 38½ins high £300-500

403

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405 A composition stone seat 2nd half 20th century 249cm.; 98ins long £800-1200

406 A carved limestone curved seat modern 186cm.; 73ins wide £1000-1500

407 A carved limestone seat with overscroll arms modern 200cm.; 79ins long £1200-1800

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408 † A carved Istrian stone bench modern 122cm.; 48ins wide £250-400 409 A painted metal and glass plant stand French, late 19th century 180cm.; 71ins high

408

£2000-3000 410 A Coalbrookdale cast iron stick stand circa 1870 with lift-out drip tray stamped Coalbrookdale and with registration number 17442 and diamond registration stamp 201cm.; 71ins high by 68cm.; 27ins wide £800-1200

409

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411

414

412 415

411 A pair of Lutyens style teak seats 2nd half 20th century 169cm.; 66ins wide £800-1200

413 2 1 4 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

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412 A painted teak ship breakers seat with brass plaque inscribed made by Hughes ship breaking, Blythe, Northumberland with timber removed from HMS Powerful 137cm.; 54ins wide £200-400 413 A matched pair of oak and teak seats mid 20th century 150cm.; 59ins long £300-500 414 A Lutyens style teak seat modern 184cm.; 72ins long together with a coffee table, 93cm.; 37ins long £400-600 415 A suite of teak furniture comprising table and four folding chairs

416

table length 176cm.; 69ins long by 106cm.; 41½ins wide

A Chair designed for the 1947 Ideal Home Exhibition

£400-600

Unique

Wood 120cm.; 47ins high by 160cm.; 63ins wide by 40cm.; 16ins deep £2000-4000 Made to incorporate the two C’s of the Craft Council, in 1947 when Gordon Russell was chairman of the council.

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417 Nigel Ross Riorus Ash Unique 178cm.; 70ins long by 65cm.; 25½ins wide see footnote to lot 85 £4000-6000

418 Kleng Keng Throne Carved Hardwood Roots Unique 113cm.; 44½ins high by 110cm.; 43ins wide by 78cm.; 30½ins deep £1200-1800

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419 Gerrit Thomas Rietveld, (1888 - 1964) Red and Blue Chair Laminated Wood Sold with original label from the Cassini Furniture firm who produced and edition of 2000 of which this is numbered 1917, which coincidentally is the year of is original design.

In the foot note take our the paragraph beginning with The effect of and ending structure.

1980s 88cm.; 34½ins high by 80cm.; 31½ins wide by 66cm.; 26ins deep Gerrit Thomas Rietveld (1888–1964) was a Dutch furniture designer and architect.

One of the principal members of the Dutch artistic movement called De Stijl, Rietveld is famous for his Red and Blue Chair which was designed in 1917 and represents one of the first explorations by the De Stijl art movement in three dimensions.

The original chair was constructed of unstained beech wood and was not painted until the early 1920s. Fellow member of De Stijl and architect, Bart van der Leck, saw his original model and suggested that he add bright colours. He built the new model of thinner wood and painted it entirely black with areas of primary colors attributed to De Stijl movement.

The Museum of Modern Art, which houses the chair in its permanent collection, a gift from Philip Johnson, states that the red, blue, and yellow colors were added around 1923. £2000-3000

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420 Alun Heslop Sanfrancisco 3.3 Stools with surprises below Elm, Ash, Gate, Orange, Bay Blue 52cm.; 20½ins high by 34cm.; 13½ins wide by 34cm.; 13½ins deep £800-1200 see footnote to lot 84 421 Alun Heslop Walnut top and Cherry legs 86cm.; 34ins high by 123cm.; 48½ins wide by 47cm.; 18½ins deep £800-1200

422 An unusual sheet metal hyena table 2nd half 20th century 113cm.; 44½ins wide £300-500

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423 † Garden armchair Stainless steel 90cm.; 35ins high £1000-1500 424 † Garden armchair Stainless steel 150cm.; 59ins high by 112cm.; 44ins wide £2000-3000 425 † Garden Armchair Stainless steel 98cm.; 33½ins high by 88cm.; 34½ins deep £1000-1500

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426 Ian Stoney C.H.A.I.R. Stainless Steel Unique 125cm.; 49ins high by 65cm.; 25½ins wide by 50cm.; 19½ins deep Ian studied Fine Art (Sculpture) at Winchester School of Art, graduating in 2011. He was selected for the Affordable Art Fair’s recent graduate’s exhibition in 2011, showing his piece Synthesis at both Battersea and Hampstead shows. He has subsequently worked on commissions for a variety of international private collections. He currently lives in London and works as a welder in a sculpture foundry. £2000-3000

427 A Coalbrookdale Fern and Blackberry pattern cast iron seat circa 1870 stamped CBDale and with model number and diamond registration 150cm.; 59ins long £1000-1500

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428 A wrought iron games seat early 20th century 122cm.; 48ins long £400-600 429 A similar wrought iron games seat early 20th century 123cm.; 48ins long £400-600 430 A reeded wrought iron seat mid 19th century 160cm.; 63ins long £1000-1500

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431

434

431

432

A Fiske foundry suite of Fern and Blackberry cast iron furniture

A pair of Fern and Blackberry pattern cast iron seats

American, late 19th century

mid 20th century

comprising seat and two chairs

152cm.; 60ins long £800-1200

the seat 140cm.; 55ins long

432

Joseph Winn Fiske established an ornamental ironworks in 1858. The firm grew quickly and made all manner of products in cast iron, zinc, wirework and wrought iron.

The company specialised in garden ornament but sadly not all items were stamped. It is believed that the Company ceased to trade in 1933. £1200-1800

433 A pair of Coalbrookdale style Serpent and Grape pattern seats 2nd half 20th century 160cm.; 63ins long £400-600 434 A reeded wrought iron seat mid 20th century restorations

433 one of a pair

110cm.; 43ins long £600-800

222 • SCULPTURE & DESIGN FOR THE HOUSE & GARDEN SEALED BID AUCTION 24TH OCTOBER 2013

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435 A Regency reeded wrought iron seat early 19th century 147cm.; 58ins long £2000-3000

436 An Arras wrought iron seat early 20th century with maker’s plaque 200cm.; 79ins wide £1800-2500

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438

439

437 A rare Macauley and Wade Foundry cast iron Four Season circa 1870 with diamond registration stamps 188cm.; 74ins old restorations The design of this seat, number 240338 was registered and patented at The Public Record Office by Morgan, Macauley and Wade, The Bath Works, Rotherham on 5th April 1870 ÂŁ2500-4000

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440

438

440

A wrought iron strapwork circular seat

A wrought iron bench

English, modern with treillage canopy

modern 120cm.; 47ins long £500-800

266cm.; 105ins high by 182cm.; 72ins diameter

441

£2000-4000

An unusual wrought iron and wirework swing seat

439

English, modern

A similar strapwork seat with treillage canopy

the frame incorporating a 19th century wirework buggy seat with makers plaque stamped Pickin & Son, Birmingham Royal letters patent

£2000-4000

260cm.; 102ins wide by 150cm.; 59ins wide £2500-4000

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442

442

442

444

446

A suite of wrought iron and upholstered furniture comprising table and six chairs

An unusual carved sandstone water table

A carved granite storm lantern

Indian, 19th century

Japanese, mid 20th century

on three supports

76cm.; 30ins high

181cm.; 71ins wide

£300-500

1970’s shaped rectangular glass etched with foliage

£500-800 447

209cm.; 82ins long

443

£800-1200

445 †

443

A set of three shiva lingum stones

A carved granite kasuge lantern Japanese, mid 20th century

An unusual wrought iron reclining swing chair

Indian

164cm.; 65ins high

on wooden bases

£600-1000

early 20th century

31cm.; 12ins high

£800-1200

£500-800

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445

447

446

444 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 2 7

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448

449

450

An anodised iron and chrome armillary sundial on limestone pedestal

A Portland stone sundial early 20th century

An unusual Georgian style carved Portland stone sundial

with bronze dial

early 20th century

adapted

with allegorical scenes probably representing the seasons, the circular 12ins bronze plate signed David Pullen, Londini, Fecit and bearing the date 1734 and with a coat of arms

modern 183cm.; 72ins high £1500-2500

120cm.; 47ins high £1000-1500

115cm.; 45ins high £2000-3000

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451

452

A Bath stone cast iron and copper armillary sundial

A carved marble sundial

made-up

with later bronze plate

173cm.; 68ins high

132cm.; 52ins high overall

£1600-1800

£600-1000

1930’s

453 A carved limestone and copper armillary sundial modern on stepped base 196cm.; 77ins high, plinth 130cm.; 51ins diameter £3500-5000

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454

455

456

457

A stainless steel armillary sundial by David Harber

A composition stone and iron armillary sundial

A composition stone panelled pedestal

with latitude and longitude

2nd half 20th century

A granite sundial with associated 10inch bronze dial

calibrated with hours and world locations and entitled The Round House

170cm.; 67ins high

signed T Blunt Cornhill London

£500-800

100cm.; 39½ins high

155cm.; 61ins high £800-1200

Reputedly formed from one of the balusters of London Bridge £400-600

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2nd half 20th century 112cm.; 44ins high by 72cm.; 28ins square £300-500

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458

460

A pair cast iron urns

A pair of Victorian granite and white marble column pedestals

2nd half 19th century now mounted on carved Portland stone baluster pedestals 73cm.; 29ins high overall

late 19th century 123cm.; 48ins high

£250-400

Four further pedestals available by separate negotiation.

459

£1500-2500

A rare slate wall sundial probably Welsh, 19th century with iron gnomon 58cm.; 23ins high by 84cm.; 33ins wide £800-1200 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 3 1

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461 J Tarron: A carved white marble portrait bust of a girl signed J Tarron and dated 1888 58cm.; 23ins high £500-800 462 A pink Scagliola column pedestal early 19th century diameter 25cm.; 10ins by 95cm.; 37ins high £800-1200 463 After Scheemakers: A carved white marble bust of William Shakespeare early 19th century 66cm.; 26ins high £1500-2500 464 An ebonised and green Scagliola column pedestal early 19th century diameter 30cm.; 12ins by 130cm.; 51ins high £1200-1800 461 & 462

463 & 464

465 & 466

465 A carved white marble portrait bust of a gentleman mid 19th century 70cm.; 27½ins high £700-1000 2 3 2 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

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466 A Sienna Scagliola column pedestal early 19th century diameter 28cm.; 11ins by 117cm.; 46 ins high £1500-2500 467 A carved white marble bust of Caeser Augustus 2nd half 19th century Bust 43cm.; 17ins high, on associated white marble column pedestal 152cm.; 60ins high overall £1000-1500 468 A carved white marble group of a young satyr Italian circa 1900 restorations 83cm.; 33ins high £1500-2500 468

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469 Joseph Gott: A carved marble group of a young boy with a whippet mid 19th century damages 84cm.; 33ins high Joseph Gott (1786-1860) Joseph Gott was apprenticed to John Flaxman for two years. In 1805 he joined the Royal Academy Schools winning a Silver Medal in 1806 and a Gold Medal in 1807.

He spent the majority of his working life in Rome where he was commissioned by a large number of wealthy English patrons engaged on the grand Tour, including The 6th Duke of Devonshire.

As well as executing a large number of portrait busts, funerary monuments and religious sculpture, Gott specialised in the depiction of dogs, especially greyhounds as in this group. This is almost certainly one of the versions of the “Boy with a basket, playing with a greyhound”, listed as being sculpted in 1853, originally in the collection of JE Duboys with another later version in the Musee des Beaux Arts, Angers in 1882 .

Literature; Biographical Dictionary of Sculptors in Britain 1660-1851, Ingrid Roscoe, 2009, pp541-547 £2000-4000

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470

471

A carved white marble portrait bust of George IV

A cast iron lawn jockey

circa 1830 on associated base 72cm.; 28ins high £800-1200

American, early 20th century 119cm.; 47ins high Lawn jockeys were popular in the United States where they were placed in yards to either tether horses, as in these examples which have

tethering rings, or holding lanterns. They are usually of two piece construction which is typical of the casting technique of American foundries who diversified into making cast iron garden figures and animals following cannon and armament production during the American Civil War. They were often painted with the owners racing colours and the balcony of the 21 Club in New York City is adorned

with 33 lawn jockeys. The ‘21’ was home to the affluent ‘horsey’ set as far back as the early 1930s. To impart their personal stamp on the speakeasy-turned-restaurant, many breeders began donating jockeys as symbols of their private horse farms.

Today, many of the brightly painted figures represent the country’s most prominent stables. £700-1000

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472

473

A composition stone reclining deer

A rare cast iron family of deer

modern with lead antlers

American, 2nd half 19th century

70cm.; 27ins high by 96cm.; 38ins long

comprising buck, doe and faun

£500-800

the buck 160cm.; 63ins high by 122cm.; 48ins long £5000-8000

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474 A set of four substantial carved limestone musicians on pedestals Italian, mid 20th century 307cm.; 121ins high overall ÂŁ12,000-18,000

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475

476

A monumental carved limestone bear

A stoneware group of a boy and dog

2nd half 20th century

circa 1900

236cm.; 93ins high

91cm.; 36ins high

£1500-2500

£600-1000

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477 A carved limestone eagle Italian, 2nd half 20th century 175cm.; 69ins high £500-800

478 A pair of carved limestone figures representing Summer and Autumn Italian, 2nd half 20th century 165cm.; 65ins high £4000-6000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 3 9

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479 A carved veined marble torso in the antique style modern 86cm.; 34ins high ÂŁ4000-6000

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480 A pair of carved limestone putti planters 2nd half 20th century 120cm.; 47ins high ÂŁ4000-6000

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481 A Romanesque carved sandstone reclining lion possibly Northern European 14th century 63cm.; 25ins high by 91cm.; 36ins long £3000-5000 482 An unusual carved limestone monkey late 19th century 47cm.; 18ins high £400-600 483 A carved stone duck early 20th century 49cm.; 19ins high £400-600

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484 A pair of composition stone lions mid 20th century 97cm.; 38ins high by 106cm.; 42ins long £1200-1800 485 A pair of stoneware pelicans early 20th century damages 92cm.; 36ins high Although not stamped, these are very similar in style to those produced by Doulton in the early years of the 20th century. £600-1000 486 A pair of composition stone classical caryatids 2nd half 20th century 210cm.; 83ins high £800-1200

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487

489

488 490 2 4 4 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

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487 After Roubiliac: A terracotta sleeping cupid late 20th century on York stone base the group 43cm.; 17ins high by 72cm.; 28½ins long £1000-1500 488 After the Antique: A Pompeian style lead deer mid 20th century 92cm.; 36ins high by 83cm.; 32½ins long £1500-2500 489 After John Bell: A pair of lead whippets on composition stone bases 2nd half 20th century 94cm.; 37ins high overall £600-1000 490 A rare JP White bronze satyr circa 1930 mounted on a Westmoorland stone outcrop 64cm.; 25ins high overall Although the firm of JP White based at the Pyghtle works Bedford were primarily known for leadwork and decoration they also produced a limited range of small bronze figures such as this one is illustrated in their 1935 catalogue p.14. £800-1200

491 After the Antique: A pair of bronze Pompeian deer Italian, modern on limestone pedestals overall 142cm.; 56ins high £3000-5000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 4 5

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493 A monumental terracotta figure of a Roman centurion late 19th century 170cm.; 67ins high Provenance: By repute removed from the parapet of a building in the Strand, London £3000-5000

494

492

494

495

After Giambologna: A lead figure of Mercury

After Giambologna: A lead figure of Mercury

A lead figure of an Egyptian

mid 20th century

early 20th century

80cm.; 31½ high

110cm.; 43ins high

117cm.; 46ins high

£500-800

£400-600

£500-800

495

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early 20th century

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496 ▲ David Goode Snail Maker Bronze, variegated green patination, signed David Goode, 1995 86cm.; 34ins high Aged 18, David trained at The Sir Henry Doulton School of Sculpture, specialising in portrait and figurative sculpture. In 1988 David

became a portrait sculptor at the London Studios of Madame Tussauds, the youngest sculptor ever offered such a position, and for six years travelled the world for sittings with many famous figures - some of his most notable works for Tussauds include Freddie Mercury, Joan Collins, Madonna, Michael Jackson, Ronald Reagan and Yasser Arafat.

497 ▲ David Goode

Signed David Goode 1998 11/50

117cm.; 46ins high on composition stone pedestal Bronze, variegated green/brown 173cm.; 68ins high overall patina £3000-5000 Sneakweed

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498 ▲

150cm.; 59ins deep

David Norris

David Norris studied sculpture at The Royal Academy Schools, winning the silver medal for portraiture, two bronze medals and the coveted Landseer prize. Works range from large to small, in the

Landing Mallards Bronze, Cast 1987 Signed 240cm.; 94½ins high by 240cm.; 94½ins wide by

round and relief, in bronze and precious metals. His subject matter concentrates on the human form and wildlife.

Many works have gone out to the Middle East. The tallest is a 3 meters high “Mallard Landing” fountain for the

248 • SCULPTURE & DESIGN FOR THE HOUSE & GARDEN SEALED BID AUCTION 24TH OCTOBER 2013

Royal Palace Ruwi, whilst the smallest is designing coinage for the Oman.

David Norris is a Fellow of the Royal Society of British Sculptors £20,000-30,000

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499 David Cooke, Born 1970 Leaping and Landing Hare Bronze, Edition of 9 Signed 95cm.; 37½ins high by 91cm.; 36ins wide by 30cm.; 12ins deep (landing Hare) David Cooke has been a professional wildlife artist since graduating in 1992 from Leeds Metropolitan University with a degree in 3D Design. He grew up in East Anglia with ready access to clay thanks to his mother Rosemarie Cooke, who is also a ceramic sculptor. David has been based at Sculpture Lounge Studios in Holmfirth since 2005, and has been running ceramic workshops there with Brendan Hesmondhalgh since 2006.

He regularly exhibits at some of the major UK ceramic and wildlife art shows, such as Art In Clay at Hatfield House, Potfest In The Park, Penrith and the annual Society of Wildlife Artists Exhibition at the Mall Galleries in London. £6000-8000

500 ▲ Vanessa Pooley (born 1958) Laid Back Balancing Act 1991 monogrammed, dated, numbered 1/6 and with indistinct foundry stamp 30cm.; 12ins high by 56cm.; 22ins long Vanessa graduated from Norwich School of Art with a BA in Fine Arts followed by a post graduate diploma in Sculpture from the City and Guilds, London. Exhibitions include; Royal British Society of Sculptors Chelsea Flower Show, Thompsons Gallery, London Voicing Visions - Eighty Leading Norwich Artists and Poets Combine, Norwich, Norfolk.

501 ▲ Dan Zaretsky Bird 1994 Bronze 20cm.; 8ins high £80-120

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The following 8 lots were collected by the late Walter Fontana during the 1960s-1980s. He was a senator of the Italian Republic and President of the Italian/Chinese Chamber of Commerce. All of the bronzes have recently been given a coating of dark beeswax which in some cases has obscured the original verdi gris patena.

502 ▲ Toni Fabris Comparison 1980 Bronze, with dark brown patina 128cm.; 50ins high by 78cm.; 31ins wide

Toni Fabris was born on the 10 May 1915 at Bassano Del Grappa. He studied at the Liceo Artistico and the Accademia di Brera in Milan under Francesco Messina. In 1966 he was invited to show a group of his works at the 33rd Venice Biennial. In the same year, he was invited with five

other Italian artists to exhibit at the Palazzo della Gran Guardia at Verona. All of the Fabris pieces in this sale were made in the 1970’s and show a progression from his earlier more zoomorphic style into a more angular approach

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Literature: Toni Fabris: Sculpture from 19591967 by Agnoldomenica Pica, Edizioni del Milione, 1968. £1500-2500

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503 ▲ Toni Fabris “Ventaglio” (Fan) 1979 Bronze Signed T Fabris 1979 175cm.; 69ins high by 112cm.; 44ins wide by 67cm.; 26ins deep This lot is being sold with a black and white photograph certified by the sculptors son Luigi Fabris. £2000-4000

504 ▲ Toni Fabris “Grande incontro” (big meeting) 1977

505 ▲

Bronze

Toni Fabris

176cm.; 69ins high by 100cm.; 39ins wide

Expansion

This lot is being sold with 2 black and white photographs one signed by the sculptors son Luigi Fabris

Aluminium

£2000-3000

1971 340cm.; 134ins high by 180cm.; 71ins long by 55cm.; 21½ins wide This lot is sold with a monograph on the piece including conceptual photographs from the Galleria d’art Cortina with an appreciation by Robert Sanesi together with a black and white photograph of the piece certified by the sculptors son Luigi Fabris.

This piece was acquird by the Walter Fontana collection in 1974. £4000-6000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 5 1

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506

508

506

507 ▲

508

Anon: Sleeping man

Guido Lodigiani

Anon: A bronze stylised dog

1980’s

“Chiamato all vita” (Called to life)

circa 1980

Bronze with indistinct inscription

Vicenza stone

104cm.; 41ins high by 151cm.; 59ins long

75cm.; 30ins high by 112cm.; 44ins long

Signed Guido Lodigiani 1988

£1500-2500

£600-1000

155cm.; 59ins high by 75cm.; 29½ by 75cm.; 29½ This lot is sold with a photograph signed by the sculptor. It was exhibited at the Villa Gabrielli in an exhibition in 1988 entitled “II materiale e la forma”. £1200-1800

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509 ▲ Luigi Broggini (1908-1983) Cavallo “horse” 1966 Bronze, now with dark brown patina Signed Broggini and foundry stamp Cu-bro Novate 244cm.; 96ins high by 250cm.; 98ins long Luigi Broggini was born in 1908 and studied at the Accademia di Berera in Milan under Adolfo Wildt other sculptors patornised by Walter Fontana who also attended the Accademia de Berera including Toni Fabris see lots 502-5.

His first sculptures date back to 1928 and his first exhibition demonstrated his impressionist style, which he developed over the years, often producing over life size pieces as in the present piece. His most well known work was the famous six legged dog which he designed as the logo for the AGIP, the Italian oil company. The six legs represent the four wheels of the vehicle together with the two legs of the driver.

He exhibited at the XXV Internazionale Biennale in Venice 1950. Primio Fila 1956 works by Broggini figure in museums and private collections in Italy and elsewhere. This lot is being sold by a catalogue of Broggini’s works by Alfonso Gatto Edizioni delle Ore, Milano 1977 sold with a photograph of the piece signed by the sculptor and a certified Broggini archive picture of the piece. £5000-8000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 5 3

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510 ▲ Victor Halvani, Born Egypt, 1930 Hope Bronze Signed and Numbered 4 from an Edition of 6 310cm.; 122ins high by 370cm.; 146ins wide by 130cm.; 51ins deep

Victor Halvani was born in Egypt to a traditional Jewish family. His works reflect his childhood interest and passion for ancient Egyptian art, and the beauty and spirituality inspired by Biblical stories. He studied at the Zamalek Academy of Art, Cairo, and won scholarships to further study at the Bezalel Academy of Art, Israel, and Hammersmith College of Art,

London. (MA, Sculpture).

He has taught and lectured on Sculpture at Tel Aviv and Haifa Universities, and was instrumental in the founding of Art Learning Programs and Art Workshops in Israel. He has also developed a selftitled sculpture park, artist’s colony and foundation in Safed, Israel.

Halvani was elected to

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represent Israel at the International Exposition of Sculpture in Paris, and participated in the 2nd Biennial of Sculpture in Israel at the Museum of Modern Art, Haifa.

His work has been exhibited, and is held in collections in the USA, Canada, Japan, Israel, France and London. £20,000-30,000

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512 Won Lee Sisyphus Bronze 511

Signed 3 of 8

Bushra Fakhoury ARBS

59cm.; 23ins high by 28cm.; 11ins wide by 25cm.; 10ins deep

The Bell Ringer Bronze Signed 53cm.; 21ins high by 58cm.; 23ins wide by 22cm.; 8½ins deep Bushra Fakhoury studied Art and Education in Beirut and at London University where she obtained her PhD in ArtEducation in 1983.

Bushra Fakhoury’s work has deep roots in the Hellenistic culture of the Levant, but has also leans to the neoexpressionist art of Europe. Her work shows a steady search for dynamic form, often ironic and grotesque, but invariably opulent and vehement.

Bushra has been living and working in London since 1979 and exhibits regularly with a number of galleries in the UK & USA. She undertakes commissions and large public sculptures.

Won Lee studied for a Batchelor of Fine Arts degree at Pepperdine University, Los Angeles, before being awarded a Masters in Fine Art at Johnson State College, in Vermont, USA. He has exhibited widely in Toronto, Canada as well as Mexico and the United States. £3000-5000

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513 516

513

515 ▲

Stefan Szabo, Born 1978

Nicola Godden (born 1959)

Woodcutter

Amourette 1993

Bronze on Slate

Edition 7 of 9

Unique

Signed and numbered

15cm.; 6ins high by 19cm.; 7½ins wide by 11cm.; 4½ins deep

on wooden base

£1200-1800 514 ▲ Zack Zaltman Human Form 1989 Signed, dated and numbered 1/4 on ebonised base 122cm.; 48ins high 514

£1200-1800 515

29cm.; 11½ins high £400-600 516 Philip Hearsey, Born 1946 Avian I Bronze Signed and Numbered 4 of 8 18cm.; 7ins high by 15cm.; 6ins wide by 14cm.; 5½ins deep £800-1200

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517 Ann Vrielinck, Born Belgium, 1966 Listen Bronze Signed and numbered 7 of 49 147cm.; 58ins high by 40cm.; 16ins wide by 30cm.; 12ins deep Ann Vrielinck was born in Varsenare, Belgium in 1966.

She was educated at the Academy of Fine Arts in Bruges, then obtained a higher degree in Painting from the Sint-Lucas Institute in Ghent after four years of studying with the Dan Van Severen Studio. Vrielinck subsequently completed further courses in restoration of paintings and ceramics, then obtained a teaching degree which has led her back to lecturing at the Academy of Fine Arts. Much of her work is based around ballet, dance and movement. £6000-8000 518 ▲ Nicola Godden (born 1959) Sylphidine 1988 Bronze on ebonised base Signed and numbered 1 of 9 183cm.; 72ins high overall see footnote to lot 75 £3000-5000 517

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522

519 ▲ Geraldine Knight, 1933 - 2008 Pigeons Bronze Signed and Numbered 3 of 8 75cm.; 29½ins high by 40cm.; 16ins wide by 32cm.; 12½ins deep 519

521

520

Born in 1932 Geraldine Knight studied at the Brighton College of Art; 1949-1952 and then at the Royal Academy Schools; 1952-1956. After training to be a sculptor, Geraldine Knight was awarded the Prix de Rome scholarship, enabling her to spend two years in Italy. She has produced a variety of sculptures and architectural decoration, as well as portrait busts and public sculpture as well as working on stage sets and contributing to building restoration projects. Her life size bronze animals include a flock of sheep, exhibited at the Royal Academy summer exhibition of 1986.

From 1960 she taught life drawing and sculpture at the Sir John Cass School of Art, Twickenham College of Technology and Kingston College of Art. £2000-3000

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520 ▲ John Farnham Seal 1990 Soapstone on ebonised base 17½cm.; 7ins long £80-120 521

523 ▲

Eve Shepherd ARBS SPS, born 1976

Neil Willis

Cow Boy Bronze Signed and Numbered from an edition of 7 23cm.; 9ins high by 9cm.; 3½ins deep Eve attended the Chelsea College of Art and is currently an elected member of both The Society of Portrait Sculptors and The Royal Society of British Sculptors.

Exhibiting in places as far afield as Singapore, Israel and Cape Town, Eve’s work has also been seen in a variety of UK locations including The Biscuit Factory, The Hatton Gallery, The Mall Galleries, Sotheby’s, Winchester Cathedral and Cork St London.

Reclining Figure Bronze, 1 of 1 28cm.; 11ins high by 78cm.; 30½ins wide by 38cm.; 15ins deep

524

£1500-2500

Edmond Moirignot, French 1913-2002 Femme Accroulie Bronze Signed and Numbered 2 from an edition of 6 44cm.; 17½ins high by 62cm.; 24½ins wide by 32cm.; 12½ins deep £2000-4000

£2000-3000 522 Eve Shepherd ARBS SPS, born 1976 Lion King Bronze Signed and Numbered 3 of 7 15.5cm.; 6ins high by 8cm.; 3ins deep £2000-3000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 5 9

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be 1,200 years old. For the 1929 World Jamboree, Potter designed totem poles for the British Dominions of Australia, Canada, India, South Africa and New Zealand.

525

Potter studied under Eric Gill for six years, and spent his later career teaching at Bryanston School, Dorset, where, as one of his pupils, Sir Terence Conran was inspired by him.

City and Guilds of London Institute for teaching and first recipient of the President’s Award for a City and Guilds teacher 2003 Liveryman of Worshipful Company of Carpenters 2008 QUALIFICATIONS Associate member of the Royal British Sculptors’ Society.

£800-1200

Certificate of Merit, City and Guilds London Art School 1966-68

526 ▲

PGCE London 1964

Dick Onians

MA Cantab 1962

Curly

£800-1200

Wood

527

526

525 ▲ Donald Potter, 1902-2004 Study of a Fox Carved Wooden Sculpture on Integral base Unique 24cm.; 9½ins high by 105cm.; 41½ins wide by 15cm.; 6ins deep Donald Potter was born near Sittingbourne, Kent. He joined the Cubs at the age of eight and became a keen

participant in the scouting movement.

He started his wood carving career making totem poles, gates and gateways and very soon came to the attention of Robert Baden-Powell, the head of the scouts. He spent some time camped at BadenPowell’s house at Pax Hill, Hampshire where he and undertook carving commissions for him, using very old fallen oaks, said to

Unique

527

76cm.; 30ins high by 21cm.; 8½ins wide by 20cm.; 8ins deep

Brian Willsher (1930-2010)

Educated at Merchant Taylors School and Trinity College, Cambridge, after teaching for a number of years, he enrolled at the City & Guilds London Art School at Kennington to study carving and sculpture under William Wheeler. Dick returned to teach at the City & Guilds London Art School in 1978 and has been senior tutor in the woodcarving department since 1985.

AWARDS Medal of Excellence from the

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Abstract Composition Wood Carving Unique 40cm.; 15½ins high by 34cm.; 13½ins wide by 24cm.; 9½ins deep £400-600

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530 Lata Upadhyaya Reflecting Beauty 3 Copper 36cm.; 14ins high by 14cm.; 5½ins wide

528 ▲ Dominic Clare Black Copper 1994 Elm and copper 45cm.; 17¾ins high Dominic Clare was Born in Addis Ababa, Ethiopia in 1963. He followed a degree course in Fine Art at Leeds Polytechnic, and from 1982 to 1983 was assistant to the sculptor David Nash. He spent four years at the Bristol Sculpture Shed before moving to live in Wales in 1991.

Dominic gathers local wood or sometimes works with steel and slate. At home too rummaging in scrapyards and on the beaches, as much as in the woods, his ability to transform the salvaged into something other, richer, rarer and new, is a testament to his individual observations and sensitivity to the environment and its detritus. £300-500

529 ▲ Simon Benetton, born Italy 1933 Polarita, Steel Signed, Unique 158cm.; 62ins high Simon Benetton was born in Treviso in 1933. He studied at the Academy of Fine Arts in Venice, and has taught at the Academy of Fine Arts in Macerata, Italy.

He has exhibited in Italy, Germany, France, England, Spain, Finland, United States, Brazil, China, Austria, Japan, Poland, Czechoslovakia, and Belgium. In 2002 his work “Source of Harmony” was commissioned and placed at the stadium entrance for the Football World Cup in Japan.

Born and raised in India, Lata currently lives and works in the UK. Lata is a visual artist that specialises in contemporary sculpture and has completed masters in Fine Art in both India and London. Her work is held in private collections throughout Europe, India and Korea and she travels extensively and participates in International artists residencies throughout the world. The circular motifs in both the pieces in this sale represents how things where, how they changed and how they have returned to natural states of what they were, before Lata’s transitional journeys to the west. £800-1200

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531

531 Jilly Sutton Off Shore Wind Limestone Resin Edition of 9 65cm.; 25½ins high by 57cm.; 22½ins wide by 36cm.; 14ins deep Jilly Sutton studied at Exeter College of Art, and is now a full-time sculptor, drawing her inspiration from the art forms and carvings she encountered while living in Nigeria, and now from the ancient trees and woodland

532

around her home and studio in Devon.

She carves felled trees or driftwood, creating mostly figurative works that hold an evocative beauty and a sense of tranquillity that is at odds with the size and tough nature of the materials used.

The final pieces are sometimes sandblasted at the local boatyard to enhance the texture of the woods grain and finished with limewash pigments, and many of her works have been cast in bronze or stone resin.

Her portrait of poet laureate Andrew Motion is part of the

National Portrait Gallery`s permanent collection. She has exhibited and sold her sculptures around the world in both public and private collections. £2000-3000 532

533 Philip Hearsey, Born 1946 Hawk Bronze Signed from an edition of 12 26cm.; 10ins high by 8cm.; 3ins wide by 8cm.; 3ins deep £800-1200

Jilly Sutton Harlequeen

534

Limestone Resin

Richard Cresswell

Edition of 9

Dendrite

53cm.; 21ins high by 43cm.; 17ins wide

Stainless Steel

£2000-3000

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Unique

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534

are omnipresent in nature, in rivers, rocks, the clouds or the human body is clearly reflected within the style of his work.

533

170cm.; 67ins high by 55cm.; 21½ins wide by 55cm.; 21½ins deep Cresswell has a background in design and engineering, prior to his decision to take a career break and study art at Warwick College of Art and Birmingham City University.

Essentially a maker, with a hands-on attitude, Cresswell has worked with a wide variety of media including ice, string, air, photography, video as well as the more traditional wood and metal, and it is these that he feels most at home with - his understanding of these materials allows him the freedom to do almost anything he wishes with them.

535 Richard Cresswell

His abstract work has always been large, and based on the outdoors, as much of his inspiration comes from the natural world of plants, trees and the landscape around him.

His current work has seen a shift of emphasis, with metal being the medium of choice as he is not constrained by the size and shape of timber, and his recently developed metal tile technique allows him to work in beautiful organic three dimensional curves.

His love of the curves and shapes that

£3000-5000

£1200-1800

Hanging Zeppelin Copper Wire, Unique 98cm.; 38½ins high by 33cm.; 13ins diameter

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537

536 Penny Hardy Blown Away Mild Steel Series 3 of 5 160cm.; 63ins high by 73cm.; 29ins wide by 70cm.; 27½ins deep Penny studied for a foundation degree at Chelsea School of Art, followed by an honours degree from Middlesex Polytechnic in Scientific Illustration. She has worked as a freelance illustrator for the Royal Botanic Gardens at Kew, and as a graphic designer before turning to sculpting full-time.

536

Her dance figures express organic forms as tensile

elements and are inspired by the dynamic forms of contemporary dancers. As in this figure, Blown Away, she uses the flexible, sinuous wrought mild steel to create the dancer’s raw and exposed movement as well as the blowing wind by leaving out a lot of mass within the sculpture in which a vision of movement is created. £4000-6000 537 Edward Stein Big Bang Bardiglio Carrara Marble Late 20th century Unique, Signed 80cm.; 31½ins diameter £6000-8000

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538 Antony Poels, Born 1950 Cards Nickel Plated Steel Unique 104cm.; 41ins high Antony Poels was born in 1950 in Surrey and studied silversmithing, design and manufacture at the Sir John Cass College. He went on to form his own company ‘Honiton Silverware’, designing and making items in silver, bronze, porcelain and pewter for many companies including Royal Worcester Porcelain and Tiffany. On moving to Malvern in 1978, his company progressed to the manufacture of fine quality reproductions, mainly of classical works of art and for many years he reproduced classical sculptures for Anthony Redmile in London, many of which were seen in television and film productions, notably the Caesar busts in the film ‘Gladiator’.

Having completed a memorial to Diana, Princess of Wales at Burghley House, Stamford, he was commissioned to design and build the Daniel Lambert Jump and the Greylag Goose water jump for the Horse Trials there - these are exhibited annually.

He has also worked closely with the world famous garden designer George Carter, creating many of the automatons and sculptures in

538

the highly acclaimed Garden of Surprises at Burghley House.

539

£3000-4000 539 John Nicholls Curbing Form, Portland Stone Unique, Signed 40cm.; 16ins high by 25cm.; 10ins wide by 15cm.; 6ins deep £800-1200 540 Michael Thacker, Born 1977 Lunar Lincoln Limestone and Gold Leaf Unique 80cm.; 31½ins high by 22cm.; 8½ins wide by 18cm.; 7ins deep After studying sculpture at Loughborough University,

Michael went on to study stone masonry and gained a job as a stone carver and mason at Lincoln Cathedral.

The professional skills that he has acquired over the years have given him a deep knowledge and affinity of the technical side of the stone that he works so beautifully with.

The architectural influence of his working environment is apparent in his geometric sculptures.

Michael also uses references from natural forms such as seedpods, shells fossils and plant buds. The idea that a form develops and grows from within a hard casing to burst forth and reveal a new appearance is paramount in his thought process. He unbalances the original and

540

juxtaposing taut polished geometric forms against roughly textured organic shapes that emerge from within.

His more recent work illustrates his new investigation into using light and as in this example, using the simple act of gilding to reflect or accentuate light or create a glow that exudes from the centre of the stone in an otherwise shadowed area. £2000-3000

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542

541

543

Paul Lewis

Stephen Charlton

Matilda and Partner

Mouse Skater

Bronze on Salvaged Section of Old Brighton Pier Unique 230cm.; 90½ins high by 100cm.; 39½ins wide by 65cm.; 25½ins deep £6000-8000

Bronze, from edition of 9 120cm.; 47ins high by 100cm.; 39½ins wide by 70cm.; 27½ins deep £8000-12000 544 Pete Rogers I See The Moon

542

Stainless Steel

Lynn Warren

Unique

Thought Wave

190cm.; 74½ins high by 100cm.; 39½ins wide by 45cm.; 17½ins deep

Bronze Signed and Numbered 3 of 9 145cm.; 57ins high by 58cm.; 23ins wide by 28cm.; 11ins deep £3500-4500

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Pete Rogers originally trained in shipbuilding and engineering. He has been working as a sculptor since 1999 engaged in public art as well as his own work. Pete completed an MA in 2009. £4000-6000

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543

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548 Ruth Moilliet, Born 1971 Allium Stainless Steel 95cm.; 37½ins diameter

547

547 Andy Decomyn Barn Owl Bronze 545

545 Armando Varela Couple, Bronze Signed AV 1 of 9 40cm.; 16ins high by 25cm.; 10ins wide by 20cm.; 8ins deep £1200-1800 546 Anon: Loving Couple 2nd half 20th century

Edition 1 of 2 A.P 20cm.; 8ins high by 27cm.; 10½ins wide by 15cm.; 6ins deep Andy was born in Worcestershire and studied at the Bourneville College of Art and South Staffordshire College before achieving a BA with honours degree at the Birmingham Institute of Art and Design in 2000 £800-1200

alabaster, on hardwood base 60cm.; 23½ins high £400-600 546 2 6 8 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

Ruth studied a Foundation in Art and Design at Manchester Metropolitan University, and continued onto a BA Honours course in Fine Art (Sculpture) and then a Masters degree in Art as Environment. She has won numerous awards, including the AHRB Postgraduate Professional and Vocational Award to study her MA, the North West Arts Board, Setting Up Scheme Award and Placement in 2001-2003 and Best Bespoke Accessory for ‘Allium’ in the Design and Decoration Awards 2004.

She exhibits at numerous prestigious solo and group exhibitions throughout the UK and has completed commissions for Kew Gardens, The Oasis of the Seas cruise ship, and many luxury hotels, public gardens and commercial developments.

Moilliet produces highly finished metal and glass sculptures inspired by the plant kingdom. In her work she aims to draw the viewer’s attention to both the overall spectacle and individual beauty of a flower.

Her work is inspired by her close study of a particular

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species and the beautiful, intricate forms she discovers. The finished pieces and the materials used explore the apparent fragility of an individual plant contrasted with its ability to sustain existence through ongoing lifecycles.

Her work is inspired by her close study of a particular species and the beautiful, intricate forms she discovers. The finished pieces and the materials used explore the apparent fragility of an individual plant contrasted with its ability to sustain existence through ongoing lifecycles. £4000-6000

549 Ruth Moilliet, Born 1971 Seedhead Stainless Steel set of three the largest 65cm.; 25½ins diameter by 65cm.; 25½ins £4000-6000

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550

552

551

553

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550 Meteorite Sikhote Alin (Siberie) Siderite (Meteorite ferreuse) 12 Fevrier 1947 29cm.; 11½ins high by 43cm.; 17ins wide by 15cm.; 6ins deep £2000-3000

Women’s Peace Camp Memorial Garden, Greenham Common, Berkshire, UK and a Stainless Steel/Glass sculpture for Crown House, City Road, London UK. £1200-1800 552 Patricia Volk Deity Head

551

Stoneware

Michael Marriott

Unique

Split Form No. 3

Signed

Stainless Steel

38cm.; 15ins high by 37cm.; 14½ins wide by 43cm.; 17ins deep

Unique 40cm.; 15½ins high by 43cm.; 17ins wide by 12cm.; 5ins deep Marriott studied at St.Martin’s School of Art in London under Anthony Caro, Elizabeth Frink and Eduardo Paolozzi. He is a fellow of the Royal Society of British Sculptors and a member of the Society of Portrait Sculptors.

He has combined a career as a sculptor with teaching part time including at the Sir John Cass School of Art, City of London Polytechnic and Swansea University in Wales.

He has exhibited in the UK, USA, Netherlands and France with many commissions, both public and private, which include the Flame and Spiral sculptures for the

£2000-3000

553 William Shakespeare Shadowcreek Glass Unique 85cm.; 33½ins high by 75cm.; 29½ins wide by 9cm.; 3½ins deep £4000-6000 554 Zhang Feng, Born 1965 Late Winter Bronze Signed AP 1 of 3 88cm.; 34½ins high by 37cm.; 14½ins wide by 21cm.; 8½ins deep £4000-6000

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555 Won Lee Emerge Bronze 105cm.; 41½ins high by 35cm.; 14ins wide by 25cm.; 10ins deep £3000-5000

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556

556 Alan Ross Seahorse Steel Unique Signed

557

250cm.; 98½ins high by 120cm.; 47ins wide by 40cm.; 16ins deep Alan works mainly in mild steel taking inspiration from a variety of sources particularly nature and has created a large body of sculpture based on

fish. His works are in a style best described as ‘Direct Metal Sculpture’, which uses a variety of techniques, and is not bound by any tradition or history.

557 ▲

£3000-5000

see footnote to lot 79

Mark Reed: Candle Tree Sculptures 210cm.; 83ins high £800-1200

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559 Anon Leftovers Bronze, ceramic, paper and wood Unique 135cm.; 55ins high £400-600 560 Circular wood glass table with stools table, 60cm.; 23½ins high by 90cm.; 35½ins wide by 90cm.; 35½ins deep; stools, 46cm.; 18ins high by 36cm.; 14ins wide by 36cm.; 14ins deep £1200-1800 561 A composition stone apple 559

558 † Wilfred Pritchard

modern 40cm.; 16ins high £200-400

The Count, Hooded Vulture Skeleton Cloth Cape in a glass display case Signed Unique 50cm.; 19½ins high by 28cm.; 11ins wide by 20cm.; 8ins deep 558

£2000-3000

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562 Apples, Sliced and Part Eaten Stone and Bronze 50cm.; 20ins high by 45cm.; 17½ins wide by 52cm.; 20½ins deep £1200-1800

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560

561

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The Crowther Collection see page 68

The following plaster lots are the original models used by Crowther to make moulds for casting 563 †

564 †

A classical plaster figure of a girl

After Giambologna: A plaster torso of Mercury

19th century

19th century

92cm.; 36ins high

on ebonised circular base

£300-500

107cm.;42ins high

This example has been covered with shellac lacquer to facilitate the mould making process.

565 †

£400-600

79cm.; 31ins high

After the Antique: A plaster bust of Ajax 19th century See lot 614 for a lead bust of Ajax made from the mould taken from this plaster £500-800

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563

565

564

566 † After Thorwaldsen: A set of four plaster roundels representing the Seasons mid 20th century old repairs 71cm.; 28ins diameter £200-400 567 † A plaster group of a boy and dog 19th century in 17th century Low Countries style 74cm.; 29ins high £300-500

566

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568 †

569 †

570 †

571 †

A plaster model of a child warrior

After the Antique: A shellac covered plaster figure of Venus

A conservatory plaster copper and composition stone armillary sundial

late 19th century

After J.P White: A plaster figure of a boy on associated column pedestal

with dolphin at her side

first half 20th century

plaster Atlas figure early 20th century the rest later

107cm.; 42ins high

145cm.; 57ins high

214cm.; 84ins high

£300-500

£300-500

£600-1000

early 20th century 74cm.; 29ins high After a Bromsgrove Guild original. £1000-1500

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572 †

573 †

574 †

A plaster cast of a herm terminal

A shellac covered plaster eagle

A shellac covered plaster model of Punch

mid 20th century

early 20th century

early 20th century

97cm.; 38ins high

100cm.; 39ins high

107cm.; 42ins high

This was originally modelled in lead by the Bromsgrove Guild. Similar example may be seen on page 47 of the Bromsgrove Guild Illustrated History edited by Quentin Watt showing an identical example at a Bromsgrove Guild garden statuary display stand in the 1920s.

The 18th century originals in lead stand a the entrance to Osterley Park, Middlesex

This is the original plaster model from which lead copies were made including lot 64 £1000-1500

£1000-1500

£250-400

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575

577

575 †

577 †

After the Antique: A pair of plaster classical heads of warriors

A plaster head of a child

Italian, 18th century now mounted on later ebonised bases

on ebonised base 26cm.; 10ins high

36cm.; 14ins high

together with another shellac covered plaster head on ebonised metal base

£250-400

26cm.; 10ins high

576 † A plaster lidded urn early 20th century based on a Coadestone original 24cm.; 61ins high by 66cm.; 26ins wide

576

mid 20th century

Similar urns are illustrated in the 1784 Book of Coade Engravings and this is the original plaster model from which lot 613 the lead fountain bowl was made. £200-400

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The bust on the left is a scale model head taken from the Snake Charmer modelled by Louis Weingartener in the early 20th century.

Weingartener together with Walter Gilbert were the leading modellers for the Bromsgrove Guild. He worked for the Guild from 1904 until his untimely death in 1921. £200-400

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578 † After Kalide: A plaster torso of a boy 2nd half 20th century on associated plaster base 82cm.; 32ins high This is the original plaster from which the lead copies of Kalide’s Boy and Swan were made. £200-400 579 † After Kalide: A plaster wing mounted on later ebonised base together with the plaster swan’s head from the same model 2nd half 20th century 82cm.; 32ins high This is a model of the swan wing taken from the group of the Boy and the Swan by Kalide £200-400

579

578

581 † After Verrocchio: A plaster torso of a boy holding a fish on later ebonised base 86cm.; 34in high together with a plaster torso of a girl amongst lillies

580

61cm.; 24ins high 580 †

£250-400

A copper electrotype eagle second half 19th century 51cm.; 20ins high by 119cm.; 47ins wide £500-800

582 † A plaster model of a putto early 20th century on later ebonised base 76cm.; 27½ ins high together with a plaster model of a girl holding a rose after JP White original 80cm.; 31½ins high £200-400

581

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583 † A pair of plaster models of seated putti representing Autumn and Winter Probably American, early 20th century 61cm.; 22ins high These were possibly supplied by the Hope lead foundry in America for H.Crowther to make lead models from. £250-400

583

585

584 † A plaster bust of a satyr 2nd half 20th century together with a bust of a girl on later ebonised base the girl 51cm.; 20ins high; the satyr 38cm.; 15ins high Both based on Bromsgrove guild originals. £200-400 585 † A pair of plaster copies of putti representing Autumn and Winter 61cm.; 22ins high These are copies of the earlier Hope models. £200-400

584

586

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586 † After Giambologna: A plaster model of Mercury’s foot and the mask of Aeolus early 20th century 75cm.; 29ins high together with a plaster model of the Townley vase 69cm.; 27ins high £350-550

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588

587

587 †

589 †

A set of four oval plaster plaques representing the Seasons

A pair of lead models of squirrels

2nd half 20th century

tallest squirrel 30cm.; 12ins high

63cm.; 25ins high £400-600 588 †

mid 20th century

together with a plaster figure of Robin Hood, 69cm.; 27ins high

late 19th/early 20th century

The lead squirrels were originally intended to stand on roof ridge tiles.

on later Portland stone bases

£200-400

A pair of lead falcons

55cm.; 22ins high £1000-1500 589 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 8 3

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592 † A lead lion’s head roundel together with two lead panthers, a boar’s head and a plaster bracket 20th century the lion mask roundel 28cm.; 11in diameter £100-200 593 † 590

A terracotta torso of a Roe Deer

593

590 †

circa 1900

A bronze lion’s head fountain mask

on later stand

early 20th century

£150-250

69cm.; 27ins long

mouth drilled for water 23cm.; 9ins diameter

594 †

£150-250

A plaster grotesque mask mid 20th century

594 591

591 †

41cm.; 16cm high

A pair of plaster circular plaques

together with a plaster satyr mask

depicting cherubs

35cm.; 14ins high

53cm.; 21ins diameter

£150-250

together with a lead cherub’s head based on a Bromsgrove original mounted on a later composition stone base, 36cm.; 14ins high £150-250

592

595

595 † A plaster plaque of cherubs and a goat mid 20th century 30cm.; 12ins high by 53cm.; 21ins wide together with a smaller lead plaque of Rebecca at the Well £150-250

2 8 4 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

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597

596 †

598 †

A rare composition stone wall plaque of Neptune attributed to Austin and Seeley

A Georgian style lead cistern

2nd half 19th century 94cm.; 37ins high

the front circa 1900 and bearing the date 1776 with later sides and back

£1200-1800

45cm.; 18ins high by 69cm.; 27ins wide by 28cm.; 11ins deep

597 †

£400-600

After Thorwaldsen: A set of four circular lead plaques representing the Seasons 2nd half 20th century 69cm.; 29ins diameter £2000-4000

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599

599

599 †

600 †

A pair of Georgian lead cisterns

A lead fountain figure of a young Triton by Hope

dated 1738 and with the initials I.S.F., the sides and backs made up later

early 20th century

51cm.; 20ins high by 72cm.; 28½ins long by 33cm.; 13ins deep

66cm.; 26ins high

The 18th century fronts of these cisterns were discovered

by Paul Crowther during the emptying of the vaults under the front of his premises in Chiswick High Road and he has now made up the backs and sides. £1500-2500

conch shell plumbed for water The Hope leadworks were established in the early 20th century by Henry Hope in Jamestown, New York with showrooms in Park Avenue, Montreal and Toronto. £1000-1500 601 † A lead figure of a young girl on composition stone pedestal mid 20th century 114cm.; 45ins high

600

601

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£400-600

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602

602 †

603 †

A Georgian style lead cistern

After John Cheere: A pair of lead musicians

mid 20th century

mid 20th century

bearing the date 1721 and initials MS

on composition stone pedestals with applied lead plaques

75cm.; 29½ins high by 107cm.; 42ins wide by 58cm.; 23ins deep £2000-3000

201cm.; 79ins high Until his death in 1787, John Cheere, was the leading producer of lead statuary as well as working in plaster.

Contemporary accounts of his yard, which was situated on Hyde Park Corner indicate that his oeuvre was very varied and included rustic figures as well as classical statues and busts from antiquity. £4500-7000

603 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 8 7

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604

607

605

604 †

606 †

A pair of lead peacocks 2nd half 20th century

A unique lead rectangular planter

69cm.; 27ins high

early 20th century

£600-800

24cm.; 9ins high by 60cm.; 24ins long by 21cm.; 8½ins deep

605 †

This unique piece was based on an original 19th century French terracotta example but proved too expensive to reproduce in quantity.

A pair of William and Mary style lead urns 2nd half 20th century 59cm.; 23ins high

£200-400

£600-1000 607 † A Georgian style lead cistern the front circa 1900 with later sides and back

606

56cm.; 22ins high by 76cm.; 30ins long by 30cm.; 12ins deep £800-1200

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608 † A pair of lead figures of children 2nd half 20th century 78cm.; 31ins high, on composition stone pedestals 128cm.; 50ins high After original models produced by J P White £1200-1800 609 † A lead figure of a girl in Elizabethan dress mid 20th century on associated stone base 115cm.; 45ins high This model was taken from an original early 20th century lead figure at Rudyard Kipling’s home, Batemans in East Sussex. This copy was granted by special arrangement with Kipling’s granddaughter in 1960 in exchange for restoration work on the same figure by Jim Crowther, Paul Crowther’s father. £600-1000

608

610 † After Verrocchio: A lead fountain figure of a cherub and fish

609

610

example was commissioned for the centrepiece of Chris Beardshaw’s Gold Medal Winning Chelsea Garden in 2009 which was a recreation of Boverage Park Canal Garden designed by Thomas Mason and Gertrude Jekyll

for which H. Crowthers Ltd supplied the original figure.

on plinth 122cm.; 48ins high Modelled after the Renaissance original in bronze by Verrocchio. This model was produced extensively by the Crowthers Lead Foundry and this

£1000-1500

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612

613

611

611 †

612 †

A pair of lead deer

A cylindrical lead planter

mid 20th century

early 20th century

on composition stone pedestals

decorated with frolicking putti on bun feet

207cm.; 81½ins high

61cm.; 23½ins diameter

These are based on a Roman bronze original discovered during the excavations of Pompei.

£300-500

£2500-4000

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614

613 †

614 †

615

An lead oval fountain bowl

After the Antique: A lead bust of Ajax

on later composition stone base

early 20th century

urn 86cm.; 34ins wide; 130cm.; 51ins high overall

2nd half 20th century on composition stone plinth, lions head and centre bowl plumbed for water 55cm.; 21½ins high by 65cm.; 25½ins wide Based on an 18th century Coadestone original £600-1000

81cm.; 32ins high £1500-2500 615 † After the Antique: A lead model of the Warwick urn 2nd half 19th century

The marble original of this urn was discovered in 1771.

It was purchased by Sir William Hamilton and sold after restoration to the Earl of Warwick, who for a long time forbade casts to be made of it.

Eventually bronze and cast iron replica’s were made and

it was copied on a reduced scale in silver, bronze and terracotta by artists using the prints by Piranese. It is perhaps the most famous antique vase after the Medici and Borghese urns. By repute, it headed a list of art treasures compiled by Napoleon Bonaparte, to be appropriated after the conquest of Great Britain. £800-1200

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617

619

617 † A cylindrical lead planter 2nd half 20th century bearing the date 1766 and with St. George and the dragon 45cm.; 17½ins high by 45cm.; 17½ins diameter £300-500 618 † A lead dolphin fountain 618

early 20th century

616 †

with mouth plumbed for water

A lead fountain mid 20th century on composition stone base, top bowl plumbed for water 180cm.; 71ins high Based on a 19th century Coalbrookdale foundry cast iron original £1500-2500 616 2 9 2 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

34cm.; 13½ins high £150-250

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620

621

619 †

621 †

A pair of cylindrical lead planters on ball feet

A lead figure of a girl holding a garland

decorated with frolicking putti, the sides early 20th century later made up in to planters

early 20th century 50cm.; 19½ins high £400-600

37cm.; 14½ins diameter £300-500 620 † Three lead plaques 20th century one decorated with classical figures, the other with Sagittarius and the last stamped property of the National Trust. the largest 27cm.; 10½ ins high by 45cm.; 18ins long £300-500

622 † A rare lead fountain of a Triton late 19th/early 20th century on associated Ketton stone base 75cm.; 29½ins high Unearthed during the recent clearing of the vaults. This is not a model ever produced by H. Crowther and Son and is from an unknown foundry. £1000-1500

622 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 9 3

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623 625

625 † A pair of Belgian fossil marble rectangular pedestals 19th century 43cm.; 17ins high £200-400 626 † 626

623 † A unique D-shaped lead planter early 20th century

624

cylindrical lead urns produced by the Singer Foundry but both probably had their origins in 18th century.

A lead rectangular bas relief plaque of cherubs and a goat early 20th century 26cm.; 10ins by 53cm.; 21ins wide

decorated with mask and acanthus

£400-600

The original mould was taken from an 18th century marble chimney piece tablet.

43cm.; 17ins high by 76cm.; 30ins long by 52cm.; 20½ins deep

624 †

£150-250

Discovered during the clear out in the vaults. The pattern can also be seen on

92cm.; 36ins high

A weathered marble panelled pedestal £200-400

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627

628

627 †

629 †

A near pair of tapering square planters

A lead fountain mask of a Green Man

2nd half 20th century

early 20th century

36cm.; 14ins high by 36cm.; 14ins square

mouth plumbed for water

£300-500

£300-500

628 † A rounded rectangular planter en-suite to the previous lot recently made up

38cm.; 15ins high

630 † An unusual lead cistern circa 1900 and later the front bearing the date 1755, plumbed as a wall fountain cistern

18cm.; 7ins high by 86cm.; 35ins wide by 18cm.; 7ins deep

64cm.; 25ins high by 61cm.; 24ins wide by 32cm.; 12½ins deep

£250-350

£800-1200

629 & 630

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631

632

634

635

631 †

632 †

A set of four figures of putti representing the Seasons

After Verrocchio: A lead figure of the Young Hercules

mid 20th century

mid 20th century

71cm.; 28ins high overall

on composition stone pedestal

£800-1200

142cm.; 56ins high

633

2 9 6 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

£400-600

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633 † A lead fountain figure of the Mannekin Pis early 20th century plumbed for water 58cm.; 23ins high Based on the Manneki Pis fountain in Brussels. £400-600 636

634 †

636 †

A lead figure of a drummer boy

A group of four cylindrical lead herb planters

2nd half 20th century

early to mid 20th century

89 cm 35 high, on fluted composition stone pedestal

the largest 30cm.; 12ins diameter

183cm.; 72ins high overall

£250-350

Base on a Bromsgrove Guild original called the Sentinel.

637 †

£800-1200

A lead urn/birdbath

637

late 20th century 635 † A lead figure of a dancing girl early 20th century on later composition stone pedestal 144cm.; 57ins high £800-1200

on associated composition stone pedestal

638

81cm.; 32ins high

639 †

£400-600

A Doulton terracotta sundial

638 † A pair of lead cranes late 20th century 61cm.; 24ins high Based on Japanese originals from the Meiji Period (18681912) £250-350

early 20th century with later lead dial applied with bees and a snail, the base stamped Doulton Lambeth, London 142cm.; 56ins high A similar sundial pedestal is illustrated in the early 20th century Doulton and Co catalogue figure 748

639

£600-1000

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642 † A pair of lead figures of children holding aloft oil jars early 20th century 48cm.; 19ins high £600-1000 643 † A lead and composition stone sundial early 20th century 150cm.; 59ins high 640

£600-1000 644 † A lead lidded finial 2nd half 20th century on composition stone pedestal

641

644

165cm.; 65ins high

641 †

The urn is based on an original cast iron example from the Val d’Osne foundry in the Haute Marne region in France.

643

A lead armorial unicorn’s head

640 †

late 20th century

A lead model of a French rooster

mounted on earlier limestone base

early 20th century

46cm.; 18ins high

69cm.; 27ins high

£200-400

£500-800

642 2 9 8 • G A R D E N , D E S I G N & N AT U R A L H I S T O R Y S E A L E D B I D A U C T I O N 2 1 S T M AY 2 0 1 4

£1000-1500 END OF SALE

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Take a Seat A timed internet auction of antique, contemporary and designer seating for the house & garden Register your interest at www.the-saleroom.com

Over 130 lots

Auction

Enquiries

Commences 15th April

+44 (0) 1403 331331 info@summersplaceauctions.com

Closes 22nd April

www.summersplaceauctions.com 299

The Alistair Morris Collection Introducing a whole new concept of collecting, Summers Place Auctions are offering a museum quality collection in its entirety. Presented as one lot in a stand-alone sale dedicated purely to this fascinating and unique collection of garden related items.

In what is believed to be a “first”, this sale by sealed bid is a unique opportunity, whether as a private individual, corporation or institution to acquire a complete collection which documents the rise in interest and social history of gardens and gardening. From their primitive beginnings to the sophistication of the Edwardians and beyond, few people have pursued this subject with the passion and enthusiasm that Alistair Morris has devoted to it. He wrote the definitive book to the subject; ”Antiques from the Garden”, first published in 1996 and was collecting at a time when few others appreciated these objects.

The collection comprises over 1600 items of garden related implements, art and memorabilia.

The sale is composed of one lot which is being sold by sealed bid and is expected to reach a six figure sum.

The whole collection will be available to view at www.summersplaceauctions.com Selected items will be available to view at the Gallery, Summers Place Auctions, from 16th May, and a PDF of the whole collection can be emailed by request.

The remaining items can be viewed strictly by appointment only, close to Summers Place in Sussex.

Sealed bids for the entire collection must be with us by 5pm BST on Thursday 22nd May. A limited edition preview of 500 signed and numbered copies is available from Summers Place Auctions.

Cost £5.00 UK./E6.00./$7.00 postage inclusive We believe that this new marketing concept, which includes promotional preview and international advertising, will be another option for collectors wishing to dispose of their collections as a whole and in one lot without having the prime pieces cherry picked. It maintains the integrity of the collection as conceived and avoids protracted negotiations.

Alistair Morris is an Art Asset Consultant, author and former Senior Director of Sotheby's. He formed his collection over more than 25 years.

A consultant to the Museum of Garden History (now The Garden Museum) and The National Museum of Gardening.

Alistair is a Fellow of the Royal Institution of Chartered Serveyors and co-author of numerous books on various collection fields.

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Animals in Art A timed internet auction

Register your interest at www.the-saleroom.com

Auction Commences on 29th April Closes on 6th May

Over 250 lots

Enquiries +44 (0) 1403 331331 info@summersplaceauctions.com

www.summersplaceauctions.com

302

Gavin Gardiner Limited ----------------------------------------------------------------------------------------------------------------

Auctioneers of Fine Modern and Vintage Sporting Guns, Rifles and Accessories

Modern and Vintage Sporting Guns Auction at Sotheby's London 16th April 2014

2014 Sale Dates: 25th August 2014 Gleneagles Hotel, Perthshire 10th December 2014 Sotheby's New Bond Street London

For further information about this sale or to order a catalogue please call: Tel. 01798 875300 View online at www.gavingardiner.com

/Users/gavin gardiner/Desktop/Garden Stat May 2014.icdk - 28/03/2014 17:16 - 1/1

Fine Instruments 13 May 2014

Auction 13th May 2014, 2pm Sotheby’s London 34/35 New Bond Street London W1A 2AA

On view Sotheby’s London Grosvenor Galleries 11th May 2014, 12noon - 5pm 12th May 2014, 9am - 4.30pm 13th May 2014, 9am - 1pm For more information or to order a catalogue please contact

+44 (0)20 7042 7337 | office@ingleshayday.com | www.ingleshayday.com

Violin by Santo Serafin Venice 1743 Estimate: £200,000 - 300,000

Please clearly specify the telephone number or back up mobile phone number on which you may be reached at the time of the sale, including the country code. We will call you from the saleroom shortly before your lot is offered. Telephone bids are operated on a first come first served basis as lines are limited.

FOR TELEPHONE BIDS

Where appropriate your written bids will be rounded down to the nearest amount consistent with the auctioneers bidding increments

“Buy” or unlimited bids will not be accepted and we do not accept “plus one” bids. Please place bids in the same order as in the catalogue.

Alternative bids can be placed by using the word “or” between lot numbers

Bids will be executed for the lowest price as is permitted by other bids or reserve.

FOR WRITTEN/FIXED BIDS

Please note that we may contact you to Request a bank reference. In addition we Will require sight of a government issued ID and proof of address prior to collection of purchases.

New Clients:

Please note that the execution of written and telephone bids is offered as an additional service for no extra charge ,and at the bidder’s risk. It is undertaken subject to our other commitments as the time of the auction. We therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.

IMPORTANT

SCULPTURE & DESIGN FOR THE HOUSE & GARDEN

SALE DATE 20 MAY 2014

SALE NUMBER GS034 & EL040

Summers Place Auctions Ltd

Fax

Email

Lot Description

(tel. bids only)

Maximum Sterling price (excluding premium & VAT)

ONLY)

3

LAST DIGIT OF SECURITY CODE

..............................

✂

Please send this form by post to Summers Place Auctions Ltd, The Walled Garden, Stane Street, Billingshurst, West Sussex RH14 9AB or by Fax to 01403 331340

Signed _________________________________________ Dated ____________________________

ISSUE NUMBER..............(SWITCH

EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TYPE OF CARD AND NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

NAME ON CARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Payment is due immediately after the sale in pounds sterling. Full details on how to pay are included in our Guide for Buyers. If you wish to pay for your purchases by card please complete the details below and your Card will be charged.

I agree to be bound by Summers Place Auctions Ltd “Condition of Business” as published in the catalogue which govern all purchases at auction, and to pay the published Buyer’s Premium on the hammer price plus any applicable taxes.

I consent to the use of this information and any other information obtained by Summers Place Auctions I am aware that all telephone bid lines may be recorded.

TELEPHONE NUMBER DURING THE SALE

Lot No.

LIVE AUCTION BIDDING FORM

Please write clearly and place your bids as early as possible, as in the event of identical bids, the earliest bid received will take precedence. Bids should be submitted in (£) sterling at least 24 hours before the auction.

Mobile

Postcode

Last name

Tel

Address

First name

Title

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GUIDE FOR ABSENTEE BIDDERS If you are unable to attend an auction in person, you may give Summers Place Auctions Bid Department instructions to bid on your behalf by completing the form overleaf.

This service is free and confidential.

Please record accurately the lot numbers, descriptions and the top hammer price you are willing to pay for each lot.

We will try to purchase the lot(s) of your choice for the lowest price possible and never for more than the top amount you indicate.

“Buy” or unlimited bids will not be accepted.

Alternative bids can be placed by using the word “OR” between lot numbers.

Bids must be placed in the same order as in the catalogue.

This form should be used for one sale only - please indicate the sale number, title and date on the form.

Please place your bids as early as possible, as in the event of identical bids the earliest received will take precedence. Wherever possible bids should be submitted at least twentyfour hours before the auction.

Where appropriate, your bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Absentee bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or fax to the Bid Department on +44 (0)1403 331 340.

Please note that the execution of written bids is offered as an additional service for no extra charge at the bidder’s risk and is undertaken subject to Summers Place Auctions other commitments at the time of the auction; Summers Place Auctions

306

therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.

Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods.

All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue.

We reserve the right to seek identification of the source of funds received.

In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as "sensitive", they agree that Summers Place Auctions may use it for the above purposes. Summers Place Auctions will not use or process sensitive information for any other purpose without the client's express consent.

In order to fulfil the services clients have requested, Summers Place Auctions may disclose information to third parties (e.g. shippers). Some countries do not offer equivalent legal protection of personal information to that offered within the EU. It is Summers Place Auctions policy to require that any such third parties respect the privacy and confidentiality of our clients' information and provide the same level of protection for clients' information as provided within the EU, whether or not they are located in a country that offers equivalent legal protection of personal information.

By signing this Absentee Bid Form you agree to such disclosure. Clients will please note that for security purposes, Summers Place Auctions premises are subject to video recording. Telephone calls e.g. telephone bidding/voicemail messages may also be recorded.

Please mail or fax up to 19th May 2014.

The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331 Fax +44 (0)1403 331 340

New Clients Please note that we May contact you to request a bank reference. In addition we will Require sight of a government Issued ID and proof of address prior to collection of purchases

Clients wishing to bid on an “either or” basis should list the lots they are interested in with the price they are prepared to pay in order of preference with “OR” written between each one.

The winning bid will be the highest left on each lot above the reserve.

Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final.

IMPORTANT

Lot Description

Sealed bid Sterling price (excluding premium & VAT)

ONLY)

3

LAST DIGIT OF SECURITY CODE

..............................

Signed _________________________________________ Dated ____________________________

ISSUE NUMBER..............(SWITCH

EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TYPE OF CARD AND NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

NAME ON CARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Payment is due immediately after the sale in pounds sterling. Full details on how to pay are included in our Guide for Buyers. If you wish to pay for your purchases by card please complete the details below and your Card will be charged.

I agree to be bound by Summers Place Auctions Ltd “Condition of Business” as published in the catalogue which govern all purchases at auction, and to pay the published Buyer’s Premium on the hammer price plus any applicable taxes.

I consent to the use of this information and any other information obtained by Summers Place Auctions I am aware that all telephone bid lines may be recorded.

Lot No.

SEALED BIDDING FORM

Please write clearly and place your bids as early as possible, as in the event of identical bids, the earliest bid received will take precedence. Bids should be submitted in (£) sterling at least 24 hours before the auction closes.

SCULPTURE & DESIGN FOR THE HOUSE & GARDEN

Fax

Mobile

Postcode

Last name

Email

Tel

Address

First name

Title

✂

BIDS OPENED ON 21ST MAY 2014

SALE NUMBER GE035

Summers Place Auctions Ltd

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GUIDE FOR ABSENTEE BIDDERS FOR SEALED BID AUCTION SEALED BID AUCTION LOTS 301-644 All sealed bids must be with us, at the latest, by 21st May 5.00pm BST since the bids will be opened on the 22nd May. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence.

Summers Place Auctions decision on which is the winning bid shall be final.

Winning bidders will be invoiced after the bids are opened.

Sealed bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or fax to the Bid Department on +44 (0)1403 331 340.

Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods.

All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue.

We reserve the right to seek identification of the source of funds received.

In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as "sensitive", they agree that Summers

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Place Auctions may use it for the above purposes. Summers Place Auctions will not use or process sensitive information for any other purpose without the client's express consent.

In order to fulfil the services clients have requested, Summers Place Auctions may disclose information to third parties (e.g. shippers). Some countries do not offer equivalent legal protection of personal information to that offered within the EU. It is Summers Place Auctions policy to require that any such third parties respect the privacy and confidentiality of our clients' information and provide the same level of protection for clients' information as provided within the EU, whether or not they are located in a country that offers equivalent legal protection of personal information.

By signing this Sealed Bid Form you agree to such disclosure. Clients will please note that for security purposes, Summers Place Auctions premises are subject to video recording. Telephone calls e.g. telephone bidding/voicemail messages may also be recorded.

Please mail or fax up to 21st May 2014 5.00pm BST. The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331 Fax +44 (0)1403 331 340

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Forthcoming Sales in 2014 at Summers Place Auctions

April 22 Internet Sale of Seating Commences 15 May 6 Internet Sale of Animal Art Commences 29 May 20-21 The Garden and Natural History May 22 Alistair Morris Collection Commences 12 June 17 Internet Sale Son et Lumiere Commences 10 September 23 Internet Sale of Interior Sculpture Commences 16 October 21-22 Sculpture and Design for the House and Garden

For more information please go to

www.summersplaceauctions.com

November 26 Evolution

THE WALLED GARDEN SUMMERS PLACE BILLINGSHURST WEST SUSSEX RH14 9AB WWW.SUMMERSPLACEAUCTIONS.COM

01403 331331