Garden, Natural History and Tribal Auction - 12/13th June

Summers Place Auctions Ltd

Summers Place Auctions Ltd

Home & Garden 12th/13th June 2018

Garden Natural History and Tribal Art

Viewing 10th & 11th of June 10a.m.- 4p.m.

Auction starts at 1p.m. on 12th June

at Summers Place Auctions, The Walled Garden, Stane Street, Billingshurst, West Sussex, RH14 9AB For more information, further images and videos please refer to

www.summersplaceauctions.com

C.I.T.E.S.

Rupert van der Werff

James Rylands

All the relevant lots in this sale have been carefully vetted, mindful of current C.I.T.E.S. regulations, concerning the sale of endangered species. We are happy to provide advice on any lots, to overseas buyers concerning export restrictions.

However, it is ultimately the buyers responsability to satisfy themselves that the correct licenses can be obtained prior to bidding.

Specialist

Specialist

+44(0)1403 331 333

+44(0)1403 331 334

rupert.werff@summersplaceauctions.com

james.rylands@summersplaceauctions.com

Errol Fuller

Kate Diment

Curator for Natural History

+44(0)1403 331 336

errol.fuller@summersplaceauctions.com

kate.diment@summersplaceauctions.com

Letty Stiles

Lindsay Hoadley

+44(0)1403 331 335

+44(0)1403 331 337

letty.stiles@summersplaceauctions.com

lindsay.hoadley@summersplaceauctions.com

Absentee Bids

We have extensive experience arranging shipping internationally and within the U.K. We would be happy to obtain quotes from leading shippers and facilitate shipping and transport for you.

Absentee bids can be submitted by post or E-mail. If you are a new client Summers Place Auctions will require proof of identity before the bids can be accepted.

Please Post bids to; Summers Place Auction The Walled Garden, Stane Street, Billingshurst, West Sussex, RH14 9AB

Condition of Lots Condition is only noted in the catalogue where an item is severely distressed. We are happy to provide additional images and condition reports on request.

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

Please E-mail bids to; info@summersplaceauctions.com

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 practicable.

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

Important Notice Please note all lots are sold subject to our conditions of business for buyers and Authenticity Guarantee, which are set forth in the centre of this catalogue.

For Telephone bidding +44(0)1403 331 331

Please note there is a 3% surchage for using this facility

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Shipping and Transport

Each one of our sales has a different flavour, and in this June sale offering we are pleased to be offering an important collection of African tribal artefacts.

The Tribal Art section features a number of diverse and unusual works selected from many individual collectors as well as two small collections from African Kingdoms in the Cameroon Grasslands and the Kasai Area of the Democratic Republic of Congo.

The selection of authentic individual pieces has been made to show the diversity of art from Central and West Africa, South America and Alaska at different levels of the market. The highlights are two Magnificent Mother and Child sculptures; one by the Mabea people with Ratton provenance and one by the Kongo people with Pareyn provenance.

In addition, a number of superb classic works of Primitive Art by the Dan, Lovale, Bamana, Ejagham, Teke and Yoruba people will be offered for sale. High quality Ethnographical objects by the Yaka, Ngombe, Yakoma, Konda, Yombe, Ashanti and Eskimo people are being auctioned. A rare Salampasu Puppet and Mask and a variety of colorful objects by the Baule, Baga and Rikbaktsa people emphasize the powerful decorative presence of these unusual pieces of Art. The sale includes two small “Kingdom” collections. The Royal Beaded Regalia from the Cameroon Grasslands people (Bamileke, Bamoum, Bangwa and Tikar) were made with Colorful Venetian Trade Glass Beads and had no limits when it came to Creativity and Colors. Even today the Fon (King-Chief) of most of the 100 Kingdoms maintain this ancient culture intact with annual Dancing Festivals. The Kuba Kingdom in the Kasai Area of DRC reached its apex during the mid-19th century. Europeans first reached the area relatively late because of the kingdom’s relative isolation; therefore it was not as affected by the slave trade as was the Coastal area. Up to today the reigning monarchs continued the annual festivals and special occasion events to keep their ancient culture intact.

These two “Kingdom” collections speak to a high-level of selectivity on behalf of their rulers and the juxtaposition of the works emphasizes their high level of creating Beauty and Refinement to support their power.

The “Toys for Boys” section has some interesting Stuart model steam engines as well as a varied marine section of instruments, portholes and telescopes. Of particular mechanical rarity is a late 19th century Patent Express cast iron gold changer by W & T Avery, which was the Victorian forerunner of a cash in the wall machine.

The garden section includes a rare pair of period 18th century lead figures of a shepherd and shepherdess by the eminent lead sculptor of the time, John Cheere, whose yard was on Hyde Park Corner in London….somewhat changed in appearance today!

One of the famous tourist attractions in Florence is the bronze Fontana del Porcellino (Piglet fountain) in the Mercato Nuovo where rubbing the animal’s nose would bring good luck and ensure that you return to Florence.

The Renaissance original by Pietro Tacca (1577-1640) has now been moved to the Uffizi gallery. The life size bronze copy replacing it is identical to one we are offering and cast by the same Florentine foundry of Ferdinando Marinelli.

On a monumental scale and from across the pond are an impressive pair of 12 ft high bronze entranceway lanterns from the Gloria Crest Estate in New Jersey, which was once occupied by the Hollywood screen legend Gloria Swanson and is where she had a much publicised affair with Ambassador Joseph Kennedy, the father of President John Kennedy.

We pride ourselves on the diversity of the material we offer and in this sale we have a real show stopper, namely a collection of highly important crime memorabilia relating to Albert Pierrepoint, the last hangman in England, together with his father Henry, including both their execution books. In Albert’s book from 29 December 1932 to 27 July 1955, hundreds of names are recorded. Among them, some notable names are listed, including Lord Haw-Haw, Ruth Ellis, Mahmood Hussein Mattan, Elizabeth Volkenrath and F. E. Hensmann. Also included are plaster casts of Pierrepoint’s face and both hands. The plaster casts have preserved an incredible level of detail whereby each facet of his countenance, each pore and wrinkle, are immortalised.

As ever we are always happy to provide condition reports on any lot and if you want to visit before the official viewing times, just give us a ring.

James and Rupert

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1 A pair of Victorian sandstone architectural elements carved in high relief with bats circa 1870 91cm high by 91cm long by 37cm deep ÂŁ1500-2500

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2 A pair of monumental bronze standing lights early 20th century fitted with globes 356cm high Provenance: The Gloria Crest Estate, Englewood, New Jersey, USA Dubbed Gloria Crest and built in 1926 by Count Stefan Poniatowski, heir to the Polish throne, the 24,000-square-foot mansion is rumoured to have later been occupied by Gloria Swanson while it was owned by Lincoln Savings Bank, whose President was Ambassador Joseph Kennedy, father of President John Kennedy, during the two years of his much publicized affair with the Hollywood screen idol, Gloria Swanson.

Swanson, who starred in many 1920s silent movies, was nominated for an Academy Award for Best Actress three times, including for her role in 1950 film “Sunset Boulevard.”

These monumental lights originally stood outside the mansion flanking the main entrance. Finely cast with classical motifs their design is based on smaller standing bronze lamps discovered in Pompeii during the excavations of 1749 and now in the Naples Museum.

Pictures of the lights insitu are available on our website £25,000-40,000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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3 A pair of lead figures of a shepherd and shepherdess attributed to John Cheere mid 18th century on associated stone bases 145cm 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. During the 18th century, masked balls or fete champetres set in Arcadian settings of country houses or in London’s Ranelagh and Vauxhall pleasure gardens, were immensely popular. These were attended by fashionable society dressed as milkmaids, fruit and flower girls or in the costume of the commedia dell’arte. Most popular of all, however, were the costumes of a shepherd or shepherdess.

Numerous contemporary references to their popularity remain. The Spectator of 1711 recounts: “There is not a girl in town but let her have her will in going to a masque and she shall dress as a shepherdess.” J.T. Smith in his “Life of Nollekens” tells of a visit he paid with Nollekens and his wife to an old lady, “quite the old school,” who lived near Hamstead Heath . “ Her evergreens were cut into the shapes of various birds, and Cheere’s leaden painted figures of a shepherd and shepherdess were objects of as much admiration with her neighbours as they were with my Lord Ogleby, who thus accosts his friend in the second scene of the popular current comedy ‘Clandestine Marriage’: ‘Great improvements, indeed Mr Stirling, Wonderful Improvements! .......You have as many figures as the man at Hyde Park Corner” This fascination with Arcadia was reflected in many art forms - for instance porcelain figures, but also in lead statuary in which numerous models were produced. Unlike porcelain however, the depredations of the weather and the intrinsic value of the material have resulted in very few period lead figures from the 18th Century surviving. £15,000-25,000

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For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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4 A Coalbrookdale Lily of the Valley pattern cast iron seat late 19th century fully stamped CBDale and Co and with registration number and pattern number 186cm long See lot 5 for footnote and engraving ÂŁ3000-5000

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5 A Coalbrookdale Lily of the Valley pattern cast iron seat circa 1870 fully stamped CBDale & Co. and with diamond registration stamp, registration number and pattern no. 36 154cm long (See engraving) 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 ÂŁ4000-6000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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6 A Coalbrookdale Nasturtium pattern cast iron seat circa 1870 fully stamped Coalbrookdale and with diamond registration stamp and number.

184cm 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. ÂŁ3500-5000

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7 A composition stone fountain group of Venus and a putto on pedestal 1st half 20th century pitcher drilled for water 154cm high ÂŁ4000-6000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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8 pTom Merrifield Julius Bronze on pedestal stamped Tom Merrifield 180cm high Acquired from the artist’s studio around 30 years ago.

Tom Merrifield trained as a classical dancer and at the age of sixteen joined the Borovansky Ballet as a leading soloist. Three years later, he moved to Britain where he was principal dancer in a number of West End musicals including, On The Town, West Side Story, Man of La Mancha, No Strings and Showboat as well as appearing in numerous television productions. Following a distinguished and rewarding career as a dancer, Tom left the stage and took up drawing and sculpting as a fulltime occupation. He has sculpted many of the world’s most famous dancers, including Agnes Oaks, Thomas Edur, Dame Alicia Markova, Dame Beryl Grey, Natalia Makarova, Dame Antoinette Sibley, Marguerite Porter, Eva Evdokimova, Galina Samsova, Marion Tait, Anton Dolin, John Gilpin, Sir Anthony Dowell, Ivan Nagy, Peter Schaufuss, Wayne Sleep, Ken Wells, the Olympic Skater John Curry and many more. Tom has exhibited and sold his work in London, Paris, New York, Edinburgh, Aberdeen, Brussels, and Monte Carlo. Possibly the most challenging and poignant is the bust of Diana, Princess of Wales, commissioned after her death by the British Red Cross, as a tribute to a remarkable woman and her dedicated efforts to come to the aid of those in need.

This work is displayed at the Red Cross headquarters in London. His work has also been recognized by the Royal Society of British Sculptors who elected him ARBS for Distinction in the Art of Sculpture. £3000-5000

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9 pRaymond Leon Rivoire, (18841966) Echo of the sea Limestone Unique Signed, created c.1930 62cm high by 39cm by 41cm Provenance: The Estate of the Artist Rivoire was a celebrated French sculptor who was born in Cussel in 1884 and died in Paris in 1966. The present work “Echo of the Sea” is a wonderful meditation on the classical theme of mythological femininity, creating a beautifully proportioned 19th century siren in an Art Deco aesthetic.

A pupil of Injalbert, Rivoire participated in the Salon des Artistes Francais from 1905 onwards and received an honourable commendation in 1906 and the Silver medal in 1921 followed by the Gold in 1929. Further success lead to international exhibitions including in London, Rome and Buenos Aires.

The artist is represented in several public collections including a marble statue of a bather in the Luxembourg City Art Museum; his statue of Joan of Arc in Moulins Cathedral; the Brooklyn Museum New York; and “Femme au Lévrier” in the Louvre Museum.

Literature: Western Sculptors in Bronze, James Mackay, 1977; Dictionnaire des Peintres et Sculpteurs, E. Benezit. £1500-2500 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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10 pAudrey Blackman (1907-1990) The Dove Bronze Signed and dated on base, 1934 84cm high by 22cm by 31cm Blackman was an established female sculptor with affinities to both Aristide Maillol and Charles Despiau.

Her sculpture appears classical at first glance, but is intensely modern in its rejection of anatomical academicism in favour of the expression of emotion.

The classical pose is here re-interpreted through a sensitive portrayal of the intimate focus of the figure dwelling on the dove that sits in her hand. The texture of the surface makes no pretension to naturalism, and the treatment of the figure’s hair is further stylized in a manner that relates to the Art Deco aesthetic prevalent in Europe at that time.

Born in London, née Seligman, Blackman studied at Goldsmith’s College of Art, 1926-1930, and Reading University Art School 1931-1935. She exhibited regularly at Royal Academy; National Society of Painters, Sculptors, and Engravers; Society of Women Artists; as well as participating in various national and international exhibitions. She also became renowned for her work in pottery and ceramic and developed a fine type of porcelain known today as Audrey Blackman Porcelain.

The artist’s work is now represented in several public collections.

Literature: Dictionary of Western Sculptors in Bronze, James Mackay, 1977; Dictionary of British Artists Working 19001950, Grant Waters, 1975; Dictionary of British Artists 1880-1940, J. Johnson and A. Greutzner, 1976. £800-1200

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11 A pair of massive lapis lazui veneered obelisks Afghanistan 131cm high ÂŁ2000-3000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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12 A Nephrite freeform 62cm 25.4kg £1500-2500

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13 A massive banded onyx bowl 80cm ÂŁ1000-1500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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A pair of zebra onyx lights

A banded onyx light

63cm high

61cm high

£500-800

£300-500

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16 A nephrite freeform Afghanistan 68cm high 47.5kg ÂŁ3000-5000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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17 A malachite veneer box Zaire 14cm high by 30cm wide by 20cm deep The finest malachite comes from Zaire and has been mined there for over 200 years. ÂŁ1400-2500

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A polished jade freeform

A malachite specimen

Afghanistan

Zaire

34cm high

27cm high

ÂŁ650-1000

ÂŁ750-1000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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20 A large ocean jasper polished freeform Madagascar 48cm high Ocean jasper is so named as only one site has been found on a remote beach in Madagascar, this small outcropping rarely produces large pieces such as this. ÂŁ1400-2500

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21 A large graphic feldspar polished freeform Mahajanga jungle, Madagascar.

This is a rare type of moonstone with smokey quartz inclusions 39cm high ÂŁ750-1000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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A large fossil wood sphere

An obsidian sphere

Indonesia

22cm diameter

about 2 million years ago

£500-800

Mexico

24cm diameter £400-600 23 A fossil wood sphere Madagascar about 240 million years ago 18cm diameter £500-800

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25 A large fossil wood trunk Arizona Permian, 240 million years old 43cm diameter ÂŁ2750-4000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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26 Two large pinolite specimens Austria on wooden stands the largest 94cm overall This stone has only ever been discovered in one location during the 19th Century and its origin was lost until this decade when a small quantity was mined. It is called Pinolite because the patterns resemble pine cones.

See front cover of catalogue ÂŁ700-1000 24

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27 A lapis lazuli square 37cm square 12.3kg Lapis lazuli is found in a very small area of Badakhsham in Afghanistan and the vein has been continuously quarried for over 3000 years. The striking blue colour of lapis lazuli has been admired and coveted since the earliest days of civilization. The ancient Egyptians prized it highly and throughout antiquity it was considered more valuable than gold. Its use as jewellery or crushed and used as a pigment were signs of extreme wealth. The ancient Egyptians used it as a pigment notably in their renditions of the night sky on tomb roofs as famously seen in Tutankhamun’s tomb and inlaid on his funeral

mask. By the Middle Ages it had reached Europe and was used to produce Ultramarine the most expensive of paint colours. Wealthy patrons would supply it to artists and prescribe exactly how much of the painting should be blue as a demonstrating of their power and wealth.

These lots from the Sar-eSang mine deposits are of unusual large size and weight. Famed for the richness of its deep, celestial blue with aventurine inclusions, these are increasingly being appreciated as sculptures in their own right and as stunning additions to any interior. ÂŁ1000-1500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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28 A large lapis sphere 22cm diameter 16.2kg £1000-1500

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29 A set of three labradorite eggs on stands Madagascar the largest 32cm high overall ÂŁ1500-2500 30 A chalcopyrite freeform 32cm Also known as peacock ore, a combination of iron pyrite and copper sulphide from Zacatecas Mexico, it is heated to produce the distinctive colour. ÂŁ600-1000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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31 A NWA Meteorite Bechar L5 discovered Algeria 1998 on bronze stand 15cm high overall It is thought the origin of the L chondrite meteorites are former debris of 433 Eros the near-Earth asteroid which has undergone an intense study by the spacecraft NEAR-Shoemaker recently. The reflectance spectra of this body and the L chondrites on earth appear to be consistent. However, most L chondrites exhibit severe shock metamorphism suggesting a violent history of its parent body.

The Chondrite meteorites contain chondrules. These are microscopic spheres which are reputedly the building blocks of our planetary systems.

Chondrites, by repute, originate from asteroids orbiting our solar system.

Science can identify Chondrite meteorites which contain up to approximately 20% of iron and nickel, these minute iron and nickel sized spherical mineralised chondrules are often found in iron chondrites.

These Chondrules are formed from molten particles of the solar nebula, by accumulation or coalescence, particles merge together to form asteroid belts which in turn fall to earth as meteorites.

These Chondrites differ from iron meteorites due to their low iron content. Most importantly chondrites offer a greater understanding, allowing scientists to further analyse and give great insight into the age of our solar system. ÂŁ800-1200 28

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32 An iron meteorite Campo de Cielo Fall South America probably Argentina 20cm 7.9kg Estimated to have fallen 4-5000 years ago ÂŁ2800-4000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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33 A mahogany boxed mineral collection circa 1900 supplied by S. Henson, Mineralogist, 97 Regent Street London, each numbered specimen with catalogue entry 39cm wide by 26cm deep ÂŁ800-1200 34 Two consecutive large tiger iron slices Western Australia each 53cm wide These deposits were created by Stromatalites about 2 billion years ago. Stromatolites were the earliest forms of life on earth indeed the only forms of life on earth for well over a billion years during which time the oxygen they generated paved the way for all other life forms to evolve. ÂŁ500-800

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35 An extraordinary Trilobite Paradoxides acadoparadoxides Morocco, Cambrian, 540-490 million years ago on bronze stand 46cm high overall Trilobites are named from the Latin meaning of ‘tri’ and ‘lobos’, the three lobes of the trilobites body. The carapace is made up of three main lobes which run longitudinally the length of the doublure (the carapace or exoskeleton). The central lobe is termed the axial lobe, each side of this are the right and left pleural lobes. These lobes run through the cephalon (head shield) and the pygidium, the tail section.

This class of trilobites evolved during the Pre-Cambrian period; this period began around five hundred and forty million years ago. The phylum arthropoda at that time was the most complex form of animal life in the oceans, and the trilobites reign in the oceans of the world lasted over two hundred and seventy million years, and finally came to an end around two hundred and fifty million years ago during the Permian ‘Great death’, a cataclysmic extinction event with saw the demise of almost 90% of life on the planet. £3000-5000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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36 A Hoplitoides discus ammonite Morocco, Lower Turonian Age on bronze stand 38cm high overall ÂŁ2200-3000

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37 An Arietites Bucklandi ammonite Monmouth beach, Lyme Regis, early Jurassic 51cm This species was named after William Buckland one of the forefathers of Palaeolontology ÂŁ1600-2500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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38 A Gonioclymenia speciose Goniotite ammonoid on bronze stand Gonioclymenia limestones, Morocco, Devonian, Famennian age, 372 to 359 million years ago 33cm high overall

Goniatites are ammonoids, which are an extinct type of cephalopod. The cephalopod group include modern day octopi, squids and cuttlefish. Cephalopod named from the Greek, loosely translated to English as head-foot.

The ammonoids range lasted from the Cambrian period around 500 million years ago up to the Cretaceous period around 65 million years ago. An immense period of time which led to much dimorphism between different genera. ÂŁ1800-2500

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39 A very rare fish and plant plaque Morocco, Cenomanian Age, Cretaceous on bronze stand 67cm high overall An exceedingly rare fossil plate displaying a prehistoric Diplomystus Birdi pycnodont bony fish. Originating from the Silex layers near KemKem, Taouz, Western Sahara Desert, Morocco.

This limestone plate is of the Mesozoic era, Cenomanian age, upper Cretaceous period.

The prehistoric fossil fish is of the pycnodont family, a type of Aipichthyoides, bony fish.

Another genus of this region was described by Arthur Smith Woodward, Natural History Museum, London circa 1895, as Diplomystus birdi. ÂŁ1600-2400

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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40 A group of Prognathodon mosasaurus teeth Morocco, Cretaceous on bronze stand 36cm high overall Part of a more ancient group of aquatic lizards, the aigialosaurs group.

Mosasaurs breathed air, gave birth to live young and grew from around 3 feet in length. The Mosasaurs reigned for around 20 million years before the mass extinction which also ended the dinosaurs existence, around 65 million years ago at the K-T boundary event. ÂŁ2000-2500

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41 A fine Long shafted Neolithic hand axe North Africa on bronze stand 28cm high overall A prized possession of an ancestor, this hand or shafted axe probably captivated an ancient as much as we are today by the fine grade of the stone, honed thousands of years ago, preserved kindly by the subsequent centuries. With a smooth surface patina to the touch, derived from continuous handling conditions with partial wear to the edges, exhibiting an exquisite fineness of mastered form and possibly once surmounted onto a wooden shaft and attached by animal sinew or reed straps. ÂŁ2000-4000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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Rulers throughout the many Kingdoms in the Cameroon Grassland region (Bamileke -Bamum -Tikar) employed a range of Regalia to assert their political, economic and religious power. Presented publicly in lavish displays of wealth and power, many court objects were distinguished by their elaborate bead embroidery.

Imported from Venice, Bohemia or Amsterdam, glass beads were considered a luxury material whose use and distribution were controlled by the King. The decoration of objects with vast quantities of brilliantly coloured beads transformed utilitarian objects into symbols of royal status and prestige.

42 Five fine beaded flutes under glass dome Grassland people, Cameroon 1940’s 45cm high Five ceremonial beaded flutes or whistles from the Cameroon Grassland. They come in a variety of geometric form, taking on the shape of a hollowed, stylised figure that combines human and animal features.

Most have a hole or some device for the attachment of a carry strap in string, cloth or leather. Mouthpiece up the flutes resemble buffalo heads; hanging inverted they suggest the human form. Whistles are usually tuned to play up to three notes and may be used alone or played in sets to produce a scale. Sound is made when a player blows air across a sharp edge - in this case between the crescentshaped ends. ÂŁ5200-7000

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For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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43 Beaded double headed snake belt Grassland people, Cameroon, 1930’s 50cm The double headed snake is the symbol of the Bamum Kingdom. Initially the King was the only person to wear the belt made of a raffia woven strip covered with cloth and beads. After the arrival of the Germans, important lineage representatives were also allowed to use these Regalia. The belt is covered with typical animal symbols.

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44 Beaded Ceremonial Head “Atwonzen” Grassland people, Cameroon, 1920’s Beaded heads such as this, called Atwonzen, represent trophy heads: the skulls of enemies felled in battle. Underneath the beading is not bone, however, but wood. Relatively rare works of this kind were associated with powerful otherworldly forces. Atwonzen were found only in the households of the Fon, or King, and their closest allies.

20cm, Certificate Martial Bronsin £16,000-20,000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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45 Five fine beaded ceremonial heads under glass dome Grassland people, Cameroon, 1930’s 55cm high Five beaded ceremonial small trophy heads. They are inspired by the very old and rare Atwonzen beaded skulls created for Bamileke King. They originate from the kingdoms located in the Dschang region. These representations consistently portray the skulls of enemies and are all formed out of a wooden core covered in fabric and decorated with beads, each example offers a unique interpretation. Highly symbolic, these depictions of enemies’ heads, wooden or the real skulls themselves, were carried by rulers on ceremonial occasions and during certain warrior dances such as the tso or nzen. The Small Ceremonial Heads were carried by the representatives of the important families. They were often covered with the same type of beads and designs; whereas the Royal Atwonzens had unique embroideries. One is represented in the The Caroline and Marshall Mount collection. £9000-12,000 46 Beaded fly whisk in the form of a rooster Grassland people, Cameroon, 1950’s 76cm high The Royal Fly Whisks (ethnic names: see leng koko or beuka) used in dances are made of carved wood to which horse tails are attached. These tails are veritable war trophies cut from horses killed in battle against and amongst the Bamoum, Fulbe and Chamba. The handles are covered with burlap and embroidered with European glass beads. Fly Whisks are Royal attributes, and each King possesses several examples.

The King can authorise certain dignitaries or warriors to use them as long as no more than three individuals use the same one. Most of the whisk handles are relatively simple in shape, but other, more complex, handle forms are sometimes encountered including horned animals, monkeys, elephants, birds, person (s), etc. The rooster head is adorned beautifully with different sized glass beads, the mouth is covered with a red material and the lower of the neck is traditional boubou cloth on the end of the animal tail. £4000-6000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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47 Beaded palm wine vessel Grassland people, Cameroon, 1950’s 78cm This example features a long-necked calabash topped with a carved animal wood stopper. The entire assemblage is covered with cloth embroidered with strands of translucent and opaque red and blue glass beads that form intricate patterns. Of the many ritual items in a Grassfields kingdom’s royal treasury, bead-embroidered calabashes are among the most important. These containers were used exclusively by the Fon (chief) to store palm wine served on ceremonial occasions. The ritual consumption of palm wine was considered a sacred activity and reinforced the Fon’s spiritual and political power. Palm wine was also an essential component of sacrificial libations to the ancestors. £4800-6000

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48 Beaded palm wine vessel Grasslands, Cameroon,1950’s 80cm This example features a long-necked calabash topped with a carved facial wood stopper. The entire assemblage is covered with cloth embroidered with strands of translucent and opaque red and blue glass beads that form intricate patterns. Of the many ritual items in a Grassfields kingdom’s royal treasury, bead-embroidered calabashes are among the most important. These containers were used exclusively by the Fon (chief) to store palm wine served on ceremonial occasions. The ritual consumption of palm wine was considered a sacred activity and reinforced the Fon’s spiritual and political power. Palm wine was also an essential component of sacrificial libations to the ancestors. £4000-6000

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49 Beaded ceremonial Royal figure carrying two wine vessels Grasslands people, Cameroon, 1940’s 40cm Beaded Figures were either representatives of Royal Ancestors or of Important Lineage Figures.

Cameroon Art is one of the few to present figures in a non-static way.

This beaded royal Figure, covered in fabric and decorated with original dark blue beads features all the symbols on his head and neck of an important person. The iconography indicate a Royal or Important person holding Palm wine vessels.

Certificate Martial Bronsin ÂŁ8500-11,000

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50 Beaded Gorilla Dance Head Mask Grassland people, Cameroon, 1920’s 42cm This mask was carved from a single piece of wood, before beads and cowries were added.

There are three animals (probably Leopards) standing on the head.

This powerful mask represents a Gorilla. It’s a kind of herald, which marches past in conjunction with other secret societies in order to make their appearance even more interesting. The mask is old and shows beads of different dates. £12,500-16,500

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51 Beaded Royal stool Grassland people, Cameroon 1940’s, 38cm This delicate stool has a round base and plateau covered with cloth and embroidered with red, white, blue and variant colours of glass beads and cowries. Two interlaced servants support the seat. These beaded stools were the prerogative of the Royal family and the notables. They were used during meetings of the secret societies and royal councils. £5500-7500 52 A traditional seven layer Chevron trade bead necklace, 15 beads Bamileke people, Grasslands, Cameroon, 19th century Chevrons beads are made by a multipart process. They start with the making of the cane, then another colour glass is added and then this is usually put into a 12 point star mould. This process is repeated for each additional layer on the bead. Chevron beads, also called “Rosetta”and “Star” beads have been made Venice since the late 1400’s and are still in limited production today.

The Venetian Chevron production with the highest volume of beads was in the late 1800’s and early 1900’s. Chevron beads have been traded throughout the world, but most heavily in Africa.

The Dutch traders were the first to bring Chevron beads to Africa in the late 1400’s.

85cm £3500-5000

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53 Ceremonial Feather Hat “JuJu or Tyn” Bamileke people, Grasslands, Cameroon 1970’s For hundreds of years the Bamileke people have been creating these hats for their tribal chiefs, royal families and dignitaries to wear during tribal ceremonies. Often wearing them with the Elephant Mask, which denotes power and wealth in its wearers. Juju hats are also worn during festivities and ceremonial dances. Intricately made by villagers in rural Cameroon, each hat is unique and takes 2-3 days to complete. They are made during the dry months of the year so the grass and feathers can dry before manufacture. The grass base of the hats are delicately woven to create a strong backing for the wood slats which run up the sides creating a large circular platform for all the cured and dyed feathers which are then fitted one at a time to create the beautiful texture. The Juju hat folds up into itself to be very portable when moving or storing.

88cm diameter £2500-4000

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54 Beaded Royal headdress Bamileke people, Grasslands Cameroon,1930’s The Beaded Royal Headdresses are made of a palm tree fibre structure, covered with burlap cloth embroidered with European glass beads that cover the entire object, imparting geometric symbolic designs. The Leopard figure on top of the headdress and the use of Cowries symbolize attributes of Royal Power. Examples of Beaded Headdresses can be seen in the Field Museum of Chicago.

38cm ÂŁ14,500-20,000

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Figural clay tobacco pipe

Clay tobacco pipe with geometrical designed bowl and stem

Grassland people, Bamoun Cameroon, 1920’s A tobacco pipe bowl modelled with a face. The pipe has been sculptured-not moulded.

39cm £1000-1500

Grassland people, Bamoum Cameroon, 1920’s A tobacco pipe bowl and assorted stem modelled with geometrical motifs. The pipe has been sculptured-not moulded.

45cm £800-1200

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57 Runner mask “Mabu” Wum people, Cameroon, 1930’s The secret association, Kwifon, in each kingdom has a runner mask called Mabu, that serves as the voice of Kwifon.

Members on their dayand nightime missions are preceeded by this mask, which serves to announce Kwifon’s approach and to correct improper behaviour. In some Western Grassfield kingdoms of the past, Mabu was also the mask of executioners. Wonderful exaggerated facial features with a nice dark finish, prominent shield-like projecting headdress, round cheeks and open mouth, the “Mabu” performed at funerals and commemorative celebrations for important men of the village.

32cm £5500-7500

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58 Mother and child sculpture Mabea, Cameroon, 1920’s-1930’s 82cm Standing Fang Mabea Maternity of Museum quality, holding a pestle with both her hands. The mother’s head is slightly turned to the left, while the child, which she carries on her back, has his head turned to the right. Her left leg indicates a walking movement, which is not frequent for African sculptures. The eyes are inlaid with glass, the mouth has fine metal teeth and her hair dress, in leather, is fixed with indigenous little nails. The statue has a brown patina typical for the region. The statue dates from the beginning of the 20th century and is supposed to be made for a Colonial Exhibition in France.

Provenance: R. Caillois (1913-1978), writer, sociologist and member of the “Académie Française” initially owned the Sculpture. He was in contact with Andre Breton in the 1930s and befriended Salvador Dali, Paul Eluard and Max Ernst. He breaks with the Surrealist movement in 1935 and starts the magazine ‘Inquisitions’ with Tzara and Aragon. After his death the sculpture stays in the family. P.Ratton certifies the sculpture, owned by the widow (second wife) of R.Caillois on the 27/10/1995. I dispose of the original of this certificate. Barones Josephine Sloet tot Everlo owned the sculpture until the 31/12/2014.

Certificate P.Ratton £45,000-60,000

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59 The Salampasu people live east of the Kasai River, on the frontier between the Democratic Republic of the Congo and Angola. The Salampasu are homogeneous people governed by territorial chiefs, who supervise village chiefs. A people with a reputation as fearless warriors, the Salampasu have retained the custom of a rough and primitive life. Warring and hunting are privileged occupations. Salampasu masks were integral part of the warriors’ society whose primary task was to protect this small enclave against invasions by outside kingdoms. Wooden masks covered or not covered with copper sheets are worn by members of the ibuku warrior association who have killed in battle. Salampasu masquerades were held in wooden enclosures decorated with anthropomorphic figures carved in relief.

A ritual dancer puppet Salampasu people, DRC, 1930’s The puppet is wearing a “mukinka” mask in front of the face, costume and conical headgear from plant fibre, small missing part (left foot tip).These masked dancer figures were adopted from the Chokwe.

45cm £1750-2200

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60 An Initiation Mask “Ibuku “ Salampasu people, DRC 1930’s Salampasu masks made for initiation purposes are characterized by a bulging forehead, slanted eyes, a triangular nose and a rectangular mouth displaying intimidating set of teeth. The heads are often covered with bamboo or raffia or rattan-like decorations.

Presented in a progressive order to future initiates, they symbolize the three levels of the society: hunters, warriors, and the chief. Certain masks provoke such terror that women and children flee the village when they hear the mask’s name pronounced for fear they will die on the spot. Filing teeth making part of many wooden masks was part of the initiation process for both boys and girls designed to demonstrate the novices’ strength and discipline. The costume, composed of animal skins, feathers, and fibres, is as important as the mask itself. It has been sacralised, and the spirit dwells within it. Masks are still being danced as part of male circumcision ceremonies.

30cm £3500-5000

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61 A miniature mask “Ma Go” Dan people, Ivory Coast, 1930’s ‘Deangle’ mask type. The men of the Dan who have the right to appear with a very specific mask type - in the present case a ‘Deangle mask’ - can carry ‘their’ mask with themselves in a small format in everyday life or when travelling.

The miniature version functions as an amulet or ‘identification’ and are called ‘Ma’ or ‘Ma go’.

17cm £1350-1800

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62 A female figure “Lu Me” Dan people, Ivory Coast 1930’s In Dan society, sculptures of women are prestige objects that reflect positively both on their owners’ and their subjects’ reputations. Among the most costly of Dan expressive forms, they are commissioned by men to honour an especially esteemed wife. The sculptures are conceived of as portraits of the women they depict, although this and other examples suggest an overarching emphasis on established Dan ideals of feminine beauty. In some instances ‘lu me’ sculptures are made public to the village during a ceremony in which the man who commissioned the carving is recognized and gaining social prestige.

These figures may also be kept in small houses and only publicly shown on special occasions 38cm £4000-6000

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63 A female face mask “Deangle” Dan people, Ivory Coast, 1920’s This ‘Deangle’ mask type, with slit eyes decorated with metal, serves as friendly and caring ‘mediator’ and ‘supervisor’ during the initiation of young men who must spend a certain period of time in an isolated bush camp outside the villages and are taught there. The ‘Deangle masked dancer’ provides young men with food from the village, takes them to the village on visits and entertains the young initiates during their difficult, unusual time.

25.5cm £1700-2200

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64 A Hyena mask “Suruku” Bambara or Bamana people, Mali, 1930’s The Suruku mask, with full body costume, takes care of the male initiates of the ‘Korè’ association, while the elders introduce them to the rites and traditions of their tribe in the ‘bush’.

It’s features (bulging forehead, two very large ears, long nose, huge eyes, mouth slightly open or jaw widely open) are meant to symbolize the supernatural intelligence, alertness and vitality, flair and vision of things and finally sharpened appetite for learning and knowledge.

40cm £2700-3500

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65 A female mask “Mwana Pwevo” Lovale people, Zambia Chokwe, DRC 1900’s A mask made of hard wood with an indigenous repair and good usage patina on the outside as well as on the inside.

Despite featuring the incised tribal mark of the Chokwe people (so-called ‘Cingelyengelye’) on the forehead, the present mask must be attributed to the neighbouring tribe of the Lovale on the grounds of its gentle lines, a tendency toward naturalism, and a taste for round, full forms. This wooden mask portraying a young female is danced at the completion of the initiation ceremonies 27cm £4200-5500

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66 A Helmet mask Luba-Hemba people, DRC, 1st half 20th century This unusual mask reproduces the feature of the sculpture of the northeastern Hemba. The mask was collected at Karambare in the 1930’s by the Roman Dr. R. Sulsenti, at the time practicing in the area.

23cm Sulsenti collection Provenance: Collected by Dr.R.Sulsenti in the 1930’s; acquired by Alberto Galaverni who constituted his collection with the support of his friend Franco Monti.

Publication:-49 Sculture Africane della Collezione, Alberto Galaverni fotografate da Mario Carrieri ,1978.fig.26-La mia Africa, Karen Blixen, Olivetti,Milano, 1981,fig. 48.- Emilio Tadini, Mario Carrieri,Milano,Gabriele Mazzotta editore, 1981,fig. 12.Exposition: Padiglione d’Arte Contemporanea, Milan, 1982. £5500-7500

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67 A Helmet Mask “Goli Glin” Baule people, Ivory Coast, overpainted in 1960’s 80cm high The Goli Glin mask, representing the Senior male, is aggressively complex and three-dimensional. It has a strong, older nature spirit and takes the form of a bush cow, antelope and crocodile combination. They were painted red, symbolizing blood, danger and aggression. Women and children were not allowed to look at them closely. When worn horizontally over the head, the masquerader performs fast, strenuous but controlled stamping movements under the weight of a heavy raffia costume. When not in use, goli masks are kept in the bush. The mask has been repainted - not unusual for headdresses that were valued and thus used and re-used. It retains a good patina and fair condition. Picasso had a similar mask in his collection, which was supposedly the model for the zoomorphic head of the ‘Guernica’.

The Baule are one of the Akan peoples. They moved west to the Ivory Coast more than 200 years ago and adapted masking traditions from their neighbours, the Guro, Senufo and Yaure peoples. There are four basic types used in a special dance of rejoicing called Goli, a recent import from the Wan ethnic group, believed to come into use among the Baule after 1910. Goli is a day long celebration usually performed during the funeral of high ranking and respected community members. Sources point to the Goli dance providing not only entertainment but also protection for the village in which it is performed. Baule goli performances consist of four red/black, male/female dance mask pairs appearing in a pre-defined order.

The masks appear in the following social order: first, a pair of disk masks called kple kple (the junior male; representing youth and weakness), second, a pair of animal helmet masks called goli glin (the ‘father’ or ancestors; representing strength, amwim bush spirits and forest buffalo), third, a pair of horned masks called kpan pre (the junior female; representing girls), fourth, two human-faced masks with crested coiffure called kpwan (the senior female, representing goli glin’s wife, the ideal woman). £2200-3000 64

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68 Helmet Mask “Bo Nun Amuin” Baule people, Ivory Coast, overpainted in 1960’s This sacred and fearsome bush cow/antelope men’s mask, kept in the bush and hidden from women and children, show the serious and powerful potential of Baule spirits. Considered the most sacred of masks, the Baule make use of the bo nun amuin mask (meaning ‘gods of the bush’ or ‘gods risen from the bush’) to protect the village from outsider threats.

The mask is also used during funerals of important male elders, former dancers and chiefs. Danced only at night, it is believed that the mask helps deceased elders become ancestors in the afterlife; these ancestors bring good fortune to the community and aid in the prevention of external threats.

This double mouthed variety, that allows the spirit to see in all directions,has random elements attached: crocodile, leopard, antelope, etc. The mask has been repainted - not unusual for headdresses that were valued and thus used and re-used. It retains a good patina and fair condition.

80cm high £2200-3000

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69 A standing female figure Senufo, Ivory Coast, 1930’s Delicate female Senufo figure with facial scarifications. Wonderful patina. One foot missing and the other damaged.

There is a similar statue in the Helena Rubinstein collection.

32cm ÂŁ1350-1800

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70 Mother and child figure “Phemba” Kongo, DRC, early 20th century Her legs crossed, the mother sits on a little stool and holds the child on her knees, staring in the distance. She’s wearing a knitted headdress and bracelets; attributes of a Chief’s wife. The open mouth shows her filed pointed teeth. The object shows signs of age and has a wonderful Patina.

The left ear has been restored before the previous owner inherited the piece.

22cm Certificate Jan Paryn £12,500-18,000

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71 A Village Mask “Mbuya” Pende people-Kwango, DRC, 1930’s The Western Pende have large, theatrical dances that are performed during the initiation feasts of young men. For these they have more than 15 different mask types that represent various characters, such as chieftains, women, old men, invalids, jesters etc. These different types are known as ‘mbuya masks’. The mask face shows all the characteristic features of a Pende ‘mbuya mask’: the wide, forward protruding forehead is decorated with a scarification mark on this mask, the eyebrow arches reach horizontally across the entire face and the eyes that lie below with their accentuated ‘hanging’ lids show the typical ‘bedroom eyes’ of the Pende masks. It has small ears, a small upward curving nose and two characteristic scarification marks on each wide cheek. The open mouth above the narrow, pointed chin displays rows of teeth. The hairline, the inner ear, the tattoos on the cheeks and the teeth were all originally coloured in white (by means of kaolin). This is a very typical piece in perfect condition, with a good, shiny patina on the front and shiny areas on the inside due to protracted use.

26.5cm £1350-1800

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72 Chief staff “Mwaala” Yombe people, Bakongo, DRC, 19th century A Wooden Yombe Mwaala Chief Staff, with three globular elements. The Finial is a finely carved female figure kneeling, the hands resting on the knees and with raised scarification marks above the prominent breasts. The head carved powerfully with filed teeth and a typical ceremonial hat.

Brown-black brilliant patina.

88cm Provenance: Collection of Dona Bronson, USA-Publication: Kongo Art Magique, Yann Ferrandin, Paris, 2009 £2200-3000

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73 A standing power and protective figure “Yiteke” Yaka people,DRC, 1930’s Statue is wrapped with magical substance in a canvas cloth and bound with plant fibre strands. Among the Yaka, these types of small wooden sculptures are known as Yiteke and they serve a ritual function as receptacles for powerful substances employed to avert, contain and control malevolent forces. One of the most striking features of most Yiteke is the prominent up-turned nose, which perhaps references the elephantone of the most powerful animals in the bush. This figure holds both arms up to its chest or beard, wears a hat, has protruding ears, closed eyes, and a roughly cylindrical body with bulging stomach, bent knees and large feet. Their small power figures, called ‘Yiteke’, serve as protective amulets against misfortune, witchcraft, illness and death.

Powerfully carved with strong features, this Yaka figure wears a wrap around the middle of its body. In such wraps, the ‘ritual specialist’ of the community (priest, magician, healer etc.) packs his ‘magic material’ out of plants, earth and small objects, through which the ‘power’ of the figure first becomes effective. The present power figure ‘Yiteke’ displays the typical style of the Yaka: with expressively executed head and characteristic profile, with a pointed nose slightly curving upwards, and accentuated mouth-chin area, with protruding ears, hairstyle and headdress. Slightly bent legs.

It is carved of hard wood, coloured dark brown. The visible parts made of wood display a good, old patina. Age-related cracks on the body.

25.5cm £2000-3000

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74 Fetish figure “Butti” Teke people, DRC, 1920’s This small fetish figure is meant for personal use (communal fetishes are bigger) and displays the Teke characteristics: slightly bent legs, a columnar torso, an enlarged head with a trapezoidal beard, a typical teke headdress and the left over of fetish material in an abdominal cavity. It was probably enveloped with more fetish material covered with a sack from which the head and feet protruded. Each figure has its own specific purpose not related directly to its appearance. For example, when a figure is carved for a newborn child, part of the placenta is placed in the stomach cavity of the figure while the rest is buried inside the father’s hut (where the family’s fetish figures are kept). The figure serves to protect the child until puberty. Figures of identical appearance serve also for success in hunting, trading, and other activities, each figure’s purpose being known only to the owner. These figures protect and assist the Teke. Often the magical substance “bonga” is placed all around the body with a cloth. The bonga is composed of various materials, but one of the main ingredients is whitish clay or chalk, which, for the Teke, represents the bones of their ancestor, thus conveying protective power. Often it is mixed with the nail clippings or the hair of a venerated person, with leaves of specific plants, various parts of snakes or leopards, etc.

21cm £2500-4000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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75 A standing female carrying a vessel Bamana, Mali, 1920’s Fine Bamana standing female figure, arms above her head carrying a vessel, incised band of zigzags below the breasts, age cracks and with an old patina.

41.5cm ÂŁ1350-1800

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76 A standing female figure, Nyeleni” or “sickness fetish ?”

Bamana, Mali, 1930’s Such standing, female figures were called ‘Nyeleni’ or ‘Jo-Nyeleni’ (this translates as ‘small, beautiful girl’) by the Bambara people in the Mali savanna.

For the male initiates they embody the ideal female beauty and grace of young women who are of marrying age. The young men always carry these figures with them and place them on the edge of the place of worship for song and dance performances. The present crusted ‘Nyeleni figure’ is carved from hard, heavy wood and displays a tall crested coiffure decorated with cauries, prominent protruding ears, with a long, straight nose and a sketched mouth.

The arms point straight backwards, with delicate hands. Her breasts point directly forwards as a sign of her fertility and the hips are distinct. The ‘Nyeleni’ stood on relatively large feet. A stylistically perfect piece with a very good, old crusty patina as a result of protracted use. Because of the crusted patina and the direction of the lower arm,the statue could also have been a sickness fetish.

53cm £2700-3500

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77 The Kuba Kingdom, was a pre-colonial kingdom in Central Africa. The Kuba Kingdom flourished between the 17th and 19th centuries in the region bordered by the Sankuru, Lulua, and Kasai rivers in the southeast of the modern-day Democratic Republic of the Congo. The Kuba are most famous for their monumental helmet masks, featuring, exquisite geometric patterns, stunning fabrics, seeds, beads and shells. With a lot of all Kuba men holding titles in the 1880s, competition for influence was sometimes fierce, and it found expression in the elaboration of these regalia objects into works of extraordinary beauty.

A decorated backrest Kuba people, DRC, 1940’s These backrests were exclusiveley used by Dignitaries. The diamond design on the seat can also be found on the Kuba tissus called “Velours du Kasai” 58cm £550-800

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78 A Helmet mask “Bongo” Kuba people, DRC, 19th century This mask is a carved wooded helmet that is given a very wide forehead, a big nose, strong chin and sunken cheeks. The person wearing the mask looks out through the nostril holes because there are not any eye holes present; the mask is supposed to give the feeling of being blind. This type of mask resembles the Mboom mask but instead of beads and cowries, it’s decorated with paint.

36cm £5200-7000

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79 A drum “Ngeende” Kuba people, DRC, 19th century A human face, in the form of a mask, finishes the handle in the form of a hand. Kuba drums with outward curved legs are rare and intended for the elite.

The Kuba carved many different types of drums, many having a hand on the front, which was associated with the “iyol” soldier’s society. To join, one killed an enemy and presented their hand as proof. The elaborate surface designs reference textile patterns.

75cm £1850-2500

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80 A tobacco pipe Kuba people, DRC, 19th century 55cm This elaborately carved and ornamented tobacco pipe was not merely a functional smoking implement, but was also emblematic of its owner’s status. The wooden pipe stem was carved separately and attached at an angle via a

hole in the lower back of the pipe bowl. The stem curves gently upwards into a fluted mouthpiece. The designs on the stem are reminiscent of those on embroidered Kuba raffia fibre prestige textiles. The wood of both the bowl and stem is an even medium brown with some darker brown in the deeper carved areas. By the time that European and American observers first visited the Kuba kingdom in the nineteenth century, tobacco smoking was a well-established social practice there. ÂŁ1350-1800

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81 A feathered face mask “Ishyeen Imaalu” Kuba people, DRC, 19th century The Ishyeen Imaalu mask is ranked within a hierarchy of masking that perform during activities associated with

the men’s initiation society called Babende. Ishyeen Imaalu appears most often at funerals of members of the initiation society. This very fine Kuba mask represents a warrior and is decorated with feathers reservated for that purpose.

44cm £4000-6000

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82 A feathered helmet mask “Mwaash aMbooy mu shall” Kuba people, DRC, 19th century These prestigious masks belong to only a small number of aristocrats; they represent the King and are used when they are installed in their function. It’s the oldest

mask shortly following the Mboom mask. The Mwaash aMbooy is made of wood, elephant hide, and raffia cloth.

46cm Austrian collection £5800-7500

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83 A female half figure Fetish, Kusu people, DRC, 1920’s Female Fetish figure with wooden pegs on head. The cloth to fix the magical charge on the pegs is lost in time. Typical Kusu honey patina and raffia skirt.

35cm ÂŁ2000-3000

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84 A figural pipe bowl Teke people, DRC, 1950’s 14cm £1000-1500

85 Two Hunting bells “Dibu” Kongo people, DRC, 1920’s These bells were attached to the dogs in order to keep track of them during hunting.

13-16cm £1000-1500

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86 An Anthromorphic figural terracotta vessel Mangbetu people, DRC, 1900’s This fine, round, dark grey vessel depicts a complete figure which is rare. The Mangbetu ethnic group lives deep in the centre of Africa; they were famous for their hair styles that defied nature.

They practiced Lipombo, the art of head elongation that denoted majesty and status. The people of this tribe produced a large variety of highly developed art. The smaller pots were used for more specific tasks such as cooking, cleaning, and pouring. Mangbetu pots are handmade out of clay and fired in its natural form in open fire.

34cm ÂŁ1000-1500

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87 A Vodun pole figure Ewe people, Togo-Ghana, 1940’s Figure posts like these were placed outdoors and sunk into the earth and were intended for Vodun rites (as shrine figure, as a guard post at houses or at the entrance of a shrine). Heavy and crusty with sacrifice patina.

56cm ÂŁ1750-2200

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88 A hunter with bow bronze figurine Bete people, Ivory Coast, 1920’s An uncoated figurine of a Bete Hunter with bow and probably a pack with arrows on his back.

9.8 cm ÂŁ950-1200

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89 A female bronze figurine Dogon people, Mali, 1930’s An uncoated bronze figurine depicting a standing Dogon female figure with long slim sinuous limbs and a braided hairstyle on top of her head.

13.4cm ÂŁ1200-1800

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90 Two Dogon door lock of anthropomorphic form Dogon, Mali, 1930’s Dogon Doorlock are used to protect houses and granaries, and they range from the abstract and symbolic representations of myths to ancestors and scenes of life.

Placing an image of an ancestor on the doorlock offered

additional protection by making the door sacrosanct.

The masterful art of the Dogon is characterized by the rendering of the human body in an abstract way, reducing it to its essentials. Some are extremely elongated with emphasis on geometric forms. Their art deals with the myths whose complex ensemble regulates the life of the individual sacrosanct.

48-50 cm ÂŁ800-1200

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91 Man and wife bronze figurine Vere people, Nigeria, 19th century The bodies of the Vere couple are very nicely decorated with motifs in low relief.

12-14 cm ÂŁ1000-1500

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92 Three ringed neck terracotta heads Ashanti culture, Ghana, date unknown 9-13 cm The heads, with the typical ringed necks, are probably handles from memorial receptacles believed to be created by elderly female artists after the death of a prominent leader and placed in asenie (meaning ‘place of pots’) shrines on the outskirts of towns. What is generally agreed however is that nsodie heads are not exact representations of leaders past but instead depict certain characteristics of the deceased (such as the individuals hairstyle or scarification marks). £480-650

93 Three scarified terracotta heads Bura culture, Niger, date unknown 12-14cm The heads are flat, oblong in shape with typical face scarification marks £480-650

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94 Standing intact 2000 year old terracotta figure Nok Culture, Nigeria 1st century Thermo Luminescance certificate done in 2013 states 2080 +/- 180 years old. In excellent condition for its age.

28cm ÂŁ15,000-20,000

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95 A millstone Ashanti people, Ghana, date unknown 66cm £1700-2200

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96 Hinged jaw mask “Elu” Ogoni people, Nigeria, 1930’s A mask of the Ogoni, who live in the hinterland of the Niger delta in southeastern Nigeria. The mask displays the characteristic features of the Ogoni style: it is carved from light-coloured wood and relatively small. Its face, with the small, wide, upwards curved nose, is coloured in white. Above, it wears a high, rounded and black-dyed ‘towering hairstyle’ (or cap?). Also the scarification marks between the eyebrows, the outlines of its slit eyes and the wide mouth are black. Typical for the masks of the Ogoni are the common, large hinged jaws, which allow an Ogoni mask to ‘speak’. The movable lower jaw is attached to the mask head at left and right by means of fibre cords. Elu masks, such as this one, are danced by young members of secret men’s societies that have social, religious, or governmental functions. The small masks are attached to cone-shaped caps of fibre and cloth that cover the heads of the dancers. They are usually danced at annual festivals or at funerals of members of the societies.

22cm £1350-1800

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97 The Ekoi-speaking peoples (Anyang, Boki, Ejagham, Keaka, and Yako) live in the Cross River region in southeast Nigeria and Cameroon and are best known for their skin-covered masks, which may have one, two or even three faces, and for their smaller headpieces, which represent a head or an entire figure. The heads and skin-covered helmet-masks are unique in Africa.

Earlier skins of slaves, later skins of antelopes, were used. When the mask is made fresh animal skin is stretched and tacked over the soft wood from which it is carved. After the skin dried, it was stained with pigments made from leaves and bark. Crest masks do not cover the head but rather sit on top of it. They are attached to the basketry cap, which is held on the wearer’s head. It is presumed that all masks represented ancestors. The skin covering of a mask served as a magical agent to invoke ancestral spirits, thus eroding the barrier between living and dead participants in communal rituals.

Headdress anthropomorphic figure Ekoi Ejagham people, Cross-River Area, Nigeria-Cameroon, 1920’s The present Ekoi Ekpe head is unusually large, covered in dyed black leather. The eyes preserve remains of an original white colouring. In its large, open mouth teeth are inserted. The coiffure consists of glued, real human hair. Rattan wickerwork are attached to the base as a holder. A very expressive object with good, old usage patina.

Minor age damage. In former times, their warriors are said to have danced

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with the actual heads of their killed enemies. However, this cult changed long before the arrival of the Europeans on their territory: since then the Ekoi people have manufactured these heads carved in wood, covered with antelope leather and dyed. The men wear these heads, called ‘Ekpe’, as dance crests on their own heads during ceremonies.

Thus clad, they dance on the occasion of fertility rites and funerals. £12,500-18,000 98 Monolith “Akwanshi” Ekoi people, Cross-River Area, NigeriaCameroon, 19th century or earlier The oldest date from the 16th century and they measure between 14 and 200cm. With the death of a Spiritual Leader a representative Monolith is carved. The idea, to endow a Phallus with human traits, or in the reverse case, to see a person as a phallus, finds its African analogy only in Ethiopia and in the Niger Delta. These Akwanshi were chieftain priests who, after their death had to perform a mediating role and there by travel to the world beyond the grave, for which human sacrifices were offered to them turning them into half-God like beings. The object has a nice patina and is mounted on a rotating base.

27cm £3000-5000

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99 Headdress anthropomorphic figure Ekoi Ejagham people, Cross-River Area, Nigeria-Cameroon, 1920’s Starting from a wicker base, the figure is covered with Antelope hide and further “embellished” with applied human hair and teeth. Its power is enhanced by added paraphernelia including magical substances. They stretched antelope, sheep or goat skin over a rattan form; the limbs were made separately. Eyes and teeth were coloured white, and the scalp covered with human or monkey hair.

Before each performance the headdress was treated with palm oil, hence its dark colour.

32cm Publication:’Afrika; De Ten Houten collectie van Afrikaanse kunst ‘Hans van Witteloostuyn,Eersel,1997,n° 14 Provenance: Ten Houten collection £3000-5000

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100 Carved twin figure “Ibeji” Yoruba people, Nigeria, 1920’s 27cm Provenance: Jef Verstraeten A finely carved big Yoruba Male Ibeji figure with tall headdress, expressive eyes, original bead belt and heavy wear and polish from native use. Areas of encrusted cam wood powder between arms and around feet. Though the cause of the high rate of twin births among Yoruba women has not been established, the cultural grieving process is well documented and may be observed in the carving of a figure known as Ere Ibeji, which both represents the lost child and serves as a ritual point of contact with the soul of the deceased. The carving of the Ere Ibeji is commissioned under the guidance of an Ifa diviner, a Babalowo, whom the parents consult in selecting the particular artist who will do the work. The sculpture itself represents a deceased infant, but is carved with features and attributes of an adult. The sculptural features of genitalia, pubic hair, wide hips, developed breasts, gender specific facial scarification and mature coiffures exude an erotic sexuality, uncommon for infants. The completed ibeji figure is carved as an adult, rather than as the deceased infant, in a mythological form that depicts the concentrated calm of a Yoruba artist. When the carving of the Ere Ibeji is completed, the artist is given a feast and payment as determined by the Orishas. Once the figure is brought to the family dwelling, it is placed on a shrine dedicated to Elegba with the hope that the Orisha or soul, which was split in two parts when the twins were born, will now again reside in the figure that represents the dead twin. The sculpted figure is treated and cared for as if it were alive. It is rubbed in sacramental oil, washed, fed, clothed, sung to and prayed to. It is kept standing during the day, and is laid down at night. Often it will be dressed in the same clothing as the living twin, or be decorated in a beaded vest or shown with raised sandals, indicating possible royal connections. They attend to the figure as if it was their child, they feed and wash it. It will be constantly rubbed with indigo and red wood powder. The responsibility of caring for the Ibeji is borne by the mother and female family members of subsequent generations. The sculpture is expected to avert evil from the household, strengthen the manifestations of family love, stare down death, illuminate the pathway through the valley of immortality, and bring good fortune to all who treat it with respect and offer it tokens of affection. £1800-2500 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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101 Mother and Child figure Drum “A-Ndef” Baga People, Guinea, overpainted in 1960’s This drum originates with the Baga peoples, who occupy a narrow stretch of marshy lowland along the Atlantic coast of the Republic of Guinea, West Africa. The Baga, one of the smallest ethnic groups in Guinea, have lived relatively isolated from their inland neighbors and foreign visitors due to the vast swamps that surround them. Yet the Baga have created a significant artistic legacy that includes magnificent headdresses, figurative sculptures, masks, and functional objects as well as musical instruments. The Baga are known for their dynamic performances and ceremonies, both religious and secular, in which music and art play an integral role.

Owned and played by members of the Baga women’s association known as A-Tekan, this drum, called a-ndef, demonstrated female power. The initiation into such institutions of female solidarity and cohesion was generally restricted to women who had bore children.

The drum was played at annual week-long initiation ceremonies for new members, as well as at the funerals of members and the marriages of members’ daughters.

While A-Tekan officers played the drum, its members danced to its beat, accompanied by other instruments.

The drum is distinguished from other drums used in A-Tekan rituals by its large size, which requires its player to stand. While such drums were carved by men, only women would have designed, commissioned and played them. This drum was carved from a single piece of wood and would have been repainted, since the time of its creation.

90cm £2200-3000

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102 Dog mask “Suaga” Mambila people, Mumuye, Nigeria, 1940’s This carved wood mask does not represent a single, identifiable animal. It is composed of elements from different animals and represents a “bush spirit,” emphasizing that it has no counterpart on earth. It is a thing of the “bush” and things of the bush are male and ungovernable. The mask represents a hybrid animal and bears some of the classic details of a bovine and a dog’s head. This mask is wonderful for its creativity. The top of the mask is punctuated by eyes treated with great originality. The patina is brown crusty grey.

25cm £1200-1800

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103

104

Prestige throwing knife

A Ritual knife

Ngbaka people, DRC, 1940’s

Ngombe people, DRC, 1930’s

The throwing knives of the Ngbaka have become icons of central African weaponry. The knife, which could be thrown overhand from a standing position or sidearm from either a standing or crouched position, is perfectly balanced around a central point of gravity. This balance allowed for incredible accuracy when throwing the weapon. In addition to their practical application as a weapon, beautiful blades and copper decoration were symbols of wealth that enhanced the prestige

61cm Provenance: Leo Meurens

44cm £950-1200

The knives were handmade with heavily decorated forged iron blades with embellished wooden handles.

They would use brass or leather wrappings and tacks that turned their weapons into insignia of prestige, ceremonial dance implements, and valuables used for exchange. Some of the engravings were done on the heated blade while the ones that run along the whole length were made with a sharp metallic tool on the cold blade. Warriors were widely respected for their courage in protecting the villages. £1700-2200

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105

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A sickle knife

A sword in original sheath

Ngbandi-Yakoma people, DRC, 1930’s

Yaka people, DRC, 1930’s, 65cm

41cm

The knives were handmade with heavily decorated forged iron blades with embellished wooden handles.

They would use brass or leather wrappings and tacks that turned their weapons into insignia of prestige, ceremonial dance implements, and valuables used for exchange. Some of the engravings were done on the heated blade while the ones that run along the whole length were made with a sharp metallic tool on the cold blade. Warriors were widely respected for their courage in protecting the villages.

Provenance: Leo Meurens £1700-2200

£1600-2200 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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A short sword

Figural ritual dance staff

Kundu-Konda people, DRC, 1930’s

Pende people, DRC, 1930’s

55cm

43cm

£1700-2200

£800-1200

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109 Neck covering headdress “Myhara” Rikbaktsa people, Brazil, unknown The colourful headdress is made out of a woven crown covered with feathers, and human hair. Rikbaktsa, the group’s selfdenomination, can be translated as “the human beings”. Locally, they are also called Canoeiros (Canoe People), alluding to their aptitude in canoe use, or-more

rarely-Orelhas de Pau (Wooden Ears), alluding to their practice of enlarging their earlobes with wooden plugs. The Rikbaktsa’s territory is within the Brazilian state of Mato Gro 65cm £8000-12,000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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110 Eskimo Model Kayak wood covered with seal skin, lined with bone Eskimo, 1930’s What makes this model so special is that all the hunting devices are still present: spears, harpoons, spear thrower, wood float board, and bladder, paddles and other equipment used for seal hunting. Please note how well these are made in a stunning combination of wood and bone and lashed on deck under bone and sinew spear securers. Despite the kayak frame traditionally being made by the men, it was the Eskimo women who tanned the seal hides and sewed them together to make the waterproof skin of a kayak. The women would grease the seams with seal blubber and fish oil to make sure they were watertight. The outer skin had to be renewed at least every two years. It had a driftwood or bone frame.

Apart from the double paddle used to propel the kayak in the water, a harpoon, spear and swimming skin was also fastened to the kayak when hunting. The harpoon and spear would be tied to the boat using leather straps and would often trail in the water besides the hunter when not in use. The swimming skin or bladder would be fastened behind the paddler tied to the harpoon to prevent a speared seal from diving away from the hunter.

The main use of an Eskimo kayak was for hunting, and seals, walruses, birds and even reindeer were all hunted using kayaks at sea. Eskimo people still use kayaks to hunt from today. In the past, kayaks were even used to deliver mail to the more remote parts of Greenland.

The famous ‘Eskimo Roll’ manoeuvre was developed by traditional kayak users to enable them to raise a capsized kayak in rough seas with a single stroke of their paddle.

155cm £5500-7000

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111 A large exhibition standard scale model beam engine based on a Stuart design with fulcrum beam, 2¾ins diameter piston x 5ins stroke and 18½ins fly wheel, with many aluminium castings 68cm high by 86cm wide £1200-1800

112 A Samuel G Jowett Major poppit valve engine based on a Chelston “No 28” with twin 7 inch diameter flywheels and governor 1½ inch bore £500-800

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113

115

A horizontal model mill engine Stuart “No 9” with governor and feed pump

A model steam engine Stuart “Half Beam”

1½ins diameter by 1½ins stroke in associated glass case

32cm wide

1 inch diameter by 2 inch stroke £600-1000

40cm wide £300-500 114 A model twin cylinder steam engine Stuart “Score” ¾ins diameter by ¾ins stroke 16cm wide £300-500

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116 A scratch built WW1 field gun with working breech 92cm long with 30cm wheels £800-1200

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A model steam engine Stuart “Sirrus” which was developed for flash steam hydroplane racing

A vertical model steam engine Stuart “No 4” with reversing gear

A steam boiler based on a Stuart “501”

1 inch diameter by 1 inch stroke

1½ inch diameter by 1¼ inch stroke

with safety valve manual feed pump etc. £200-300

£300-500

£200-300 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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120 The Pierrepoint Collection A collection of highly important crime memorabilia relating to Albert Pierrepoint, the last hangman in England, together with his father Henry comprising; plaster casts of Pierrepoint’s face and both hands. The plaster casts have preserved an incredible level of detail whereby each facet of his countenance, each pore and wrinkle, are immortalised.

Henry Pierrepoint’s execution book, 6.75in by 4.5in, include personal details of those hanged from 1 November 1901 to 14 July 1910. The prisoner’s name, age, height, weight and drop are documented.

The sites of the executions, along with remarks, are also recorded. Remarks detailed the physical frame of the prisoners and calibre of their necks, for example: “very heavy body, ordinary neck; wirey, very thin neck; strong neck, little flabby”.

Albert Pierrepoint’s large execution ledger, 6in by 9.5in, is leather bound and embossed with his name, “A. Pierrepoint”. Like his father’s execution log, personal details are included, with some additional notes of some prisoners, such as: “the German, Dutch and Belgium spies; French Canadian; Jew; USA Negro; IRA; Cypriot; German POW; British Soldier,” etc.

From 29 December 1932 to 27 July 1955, hundreds of names are recorded. Among them, some notable names are listed, including Lord Haw-Haw, Ruth Ellis, Mahmood Hussein Mattan, Elizabeth Volkenrath and F. E. Hensmann.

Also included is a delicate amber and ivory cigar holder which is in very good condition and measures 3.2in in length. It comes with its original leather, silver velvetlined, case, 3.5in long, which has some age marks to its exterior clasp. The item belonged to Henry A. Pierrepoint, Albert’s father and British hangman.

A silver watch chain worn by Albert, his father and his uncle (also a hangman), at hundreds of executions between 1900 and 1956 is also included. It measures 17in in length, including the silver bar.

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Documents and photographs relating to Pierrepoint’s term as executioner include: the “Memorandum of Conditions to which any Person acting as Executioner is required to conform”; a letter from the War Office; and photographs of the Pierrepoint men, Robert Fabian (Fabian of the Yard), John Ellis and JRH Robertson.

The letter of thanks from the War Office refers to the case of Golby, Hensmann and Smith, three men who, in 1950, were charged with murdering an Egyptian nightwatchman. Only Hensmann pulled the trigger, but all three were sentenced to death. The letter, 8in by 6.5in, written by Lieut-Colonel JRH Robertson, R.E. Assistant Adjutant General, reads: “Dear Mr Pierrepoint, I wish to convey my sincere thanks for your willing co-operation in the case of Hensmann, Smith and Golby. I hope you were well looked after in HELF and led (apart from business) an enjoyable trip”.

No witnesses appeared in their two-day trial. No appeals were allowed and a plea to King George for clemency was ignored. This treatment greatly affected the troops serving in the Suez and they rioted. The executions took place in a secluded area in the desert, away from the hyped media attention.

A note on the last recorded hangings betrays the awareness that the last ever execution would be of great significance. Rather than have one man stand as the last executioner, two hangings took place at the same time and date, so that the legacy would be split in two, perhaps to divide its potency.

Provenance: Christies, South Kensington 29th May 1992, The Forman Archive of Crime and Punishment, including the Albert Pierrepoint Collection. PFC Auctions, 12th December St Peter Port, Guernsey.

Albert Pierrepoint (1905-1992) The longest serving and most famous hangman of Britain, Albert Pierrepoint, was preceded in his time as executioner by his uncle and his father. After pursuing the Home Office for some time, the elder Pierrepoint, Henry, was eventually granted the opportunity to follow his unusual ambition to be an executioner.

After establishing himself as a dedicated and proficient employee, Henry encouraged his brother Thomas to train as an executioner. This career path suited Thomas well and he continued working until his seventies.

At the tender age of eleven, the young Albert Pierrepoint professed his desire to follow in his father’s footsteps, writing at school: “When I grow up…. I should like to be the official executioner” Ten years after Henry’s death, Albert trained under his uncle Thomas, assisting him with hangings throughout the 1930s. In total, the three men were involved in some 800 hangings. They were respected for their serious application to the post, administering the death penalty in a humane and dignified manner.

As Britain’s Chief Executioner, Albert Pierrepoint was cautious to lead a discreet life, as laid out in the “Memorandum of Conditions to which any Person acting as Executioner is required to conform”: “He should avoid attracting the public attention in going to or from the prison; he should clearly understand that his conduct and general behaviour must be respectable and discreet, not only at the place and time of execution, but before and subsequently; in particular he must not give to any person particulars on the subject of his duty for publication.”

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During his career, Pierrepoint followed this rule exactly.

Although his wife had known of his part-time career for many years, the couple never discussed it until his return from performing executions in Gibraltar in 1944. He greatly admired her discretion stating: “I knew that she must have been aware for a very long time of what I did in the intervals when I told her ‘I shan’t be seeing you for a couple of days.’”

Pierrepoint conducted the last execution in the Republic of Ireland and that of the last woman to be hanged in Britain, Ruth Ellis. At only 28, the beautiful model provoked a media frenzy and 500,000 members of the public signed a petition for clemency.

There has always been some doubt as to the exact numbers of those executed by Pierrepoint, especially considering his reluctance to speak on the topic. His execution ledger provides the definitive answer to this question. Pierrepoint notes that he was engaged in approximately 606 executions, including some 200 convicted Nazi war criminals after World War II. Of all the names listed, approximately 173 were reprieved.

Many concentration camp guards and staff were put to death at the hands-on Pierrepoint, including the ‘Beast of Belsen’, Josef Kramer, convicted after the Belsen Trial in 1945. At Hamelin Prison, the guilty met their fate: women were hanged individually, while the men were executed in pairs, all on the same day. Elisabeth Volkenrath, the youngest guard convicted for crimes at Bergen-Belsen and Auschwitz, was one of the three women executed.

Likewise, notorious traitors John Amery and ‘Lord Haw-Haw’, William Joyce, met their end under Pierrepoint’s gaze. Joyce was a fascist politician, Nazi propaganda broadcaster and writer who distributed propaganda leaflets to British prisoners of war.

The term ‘Lord Haw-Haw’ was the nickname for pro-fascist English-speaking broadcasters from 1939, but by 1945 it came to denote Joyce exclusively.

In adulthood, Amery began to chase pro-fascist ideals and formed a British Branch of the SS, gaining short-term support from the Germans. Only after his execution was it revealed that his father, Sir Leopold Amery, was Jewish and had helped create the Balfour Treaty that authorised the founding of the Jewish State in Palestine. The innocent too, like Derek Bentley, Mahmood Mattan and Timothy John Evans, were executed by Pierrepoint (all three were posthumously pardoned).

Pierrepoint never questioned his instructions while employed, but he believed that the punishment did not deter others from serious crime. In his autobiography he wrote: “The fruit of my experience has this bitter after-taste: that I do not now believe that any of the hundreds of executions I carried out has in any way acted as a deterrent against future murder. Capital punishment, in my view, achieved nothing except revenge.”

There is some contention as to the exact reasons for Pierrepoint’s resignation in 1956. The most likely impetus behind this decision is that when he travelled to Manchester to perform an execution, a reprieve was granted, and he was not paid in full, even though he had incurred expenses.

Pierrepoint died in July 1992, aged 87. His legacy has influenced modern culture, most notably in a 2005 film release based on his life and centred on the execution of Ruth Ellis, together with a recent documentary on BBC4 about Ruth Ellis. £25,000-40,000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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GLOSSARY OF TERMS

In renaissance style

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.

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

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.

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.

Manner of Antonio Canova 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.

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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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.

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).

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 (iii) 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:(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.

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.

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.

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Property with a @ symbol

From 200,000.01 to 350,000 1%

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.

From 350,000.01 to 500,000 0.5%

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 and a fee of £30 plus VAT will be charged for this service. For advice, please contact us on 01403 331 331 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 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 p 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%

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.

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C.I.T.E.S.

Live Auctions

All the relevant lots in this sale have been carefully vetted, mindful of current C.I.T.E.S. regulations, concerning the sale of endangered species. We are happy to provide advice on any lots, to overseas buyers concerning export restrictions. However, it is ultimately the buyers responsability to satisfy themselves that the correct licenses can be obtained prior to bidding.

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.

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.

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, 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.

Telephone bids If you cannot attend the auction, it is usually possible to bid on the telephone. 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.

Online Bidding If you cannot attend the auction, you may wish to bid using the.saleroom.com, which will incur an additonal 3% of the hammer price plus VAT at the rate imposed

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Sealed bid For further information please see pages at the end of this section.

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.

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 using mobile banking, debit cards or by cheque. Thereafter payments may also be made by electronic transfer to our bank, by post or by debit card transactions by telephone.

Cash will not be accepted.

Sterling Banker’s Draft or Building Society Cheque and Electronic or Wire Transfer

RH14 9AB, Monday to Friday between 9.30am and 12.30pm and 2.00pm and 4.00pm. Collection of lots is strictly by prior appointment and must be arranged at least 48hours in advance. If Lots have not been collected within 35 days of the auction date then storage charges may be applied at a rate of £10 per Lot per day.

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.

Summers Place Auctions also reserves the right to charge storage fees of £10.00 per lot, per week, for any pieces left at Summers Place over a longer period than six months irrespective of whether they have been entered into a sale or not.

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

Wire transfers can be made directly to our bank. Please contact us for further details. Sterling Banker’s Drafts and Building Society Cheques drawn on a recognised UK bank or building society are also accepted.

1. INTRODUCTION

Credit/Debit Card

(i) these Conditions of Business for Buyers;

We are pleased to accept all major personal debit cards.

Regrettably we are no longer able to accept credit cards

(ii) the Conditions of Business for Sellers displayed in the saleroom and available from Summers Place Auctions Ltd

Sterling Cheque

(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.

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.

(a) The contractual relationship of Summers Place Auctions Ltd and Sellers with prospective Buyers is governed by:-

(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.

Collection and Storage

2. DEFINITIONS

On receipt of cleared funds, lots can be collected from the Walled Garden, Stane Street, Billingshurst, West Sussex,

“Bidder” is any person making, attempting or considering making a bid, including Buyers; 115

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“Buyer” is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent;

(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;

“Seller” is the person offering a lot for sale, including their agent, or executors;

(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;

““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.

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:-

(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.

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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 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 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.

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(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.

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 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.

Sealed bid- How it works Our sealed bid auctions close at 4.oopm on the day after the live auction, but are on view at the same time and are included in the same catalogue with an illustration, description and estimate. Clients wishing to leave bids should do so in writing 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.

Sealed bids, when placed by telephone, are accepted only at the the caller’s risk and must be confirmed by letter or e-mail to info@summersplaceauctions.com. You can also e-mail the completed sealed bid form to sealedbids@summersplaceauctions.com 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 and IDs may also be sent by e-mail. If you choose to send the bid electronically please email 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.

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.

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 22nd March; 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.

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: 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.

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.

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

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.

In the event of two identically highest bids, the earliest bid received will take precedence.

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 payable. Lots marked with p 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 †.

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Sealed bid auction Lots 200-567 All sealed bids must be with us, at the latest by 4pm GMT on the 13th June since the bids will be opened on the 14th June. 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. For further information on sealed bids and how they work see our conditions of business.

200 A Victorian cast iron gate late 19th century 122cm high by 91cm wide £300-500 201 A similar gate late 19th century 122cm high by 91cm wide £300-500

202 A wrought iron gate 20th century 185cm high by 122cm wide £250-400

203 An estate made wrought iron gate 1st half 19th century 164cm high by 103cm wide £300-500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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204 A substantial pair of Victorian wrought iron gates 274cm high by 348cm wide Removed from St Pancras Station.

St Pancras Station was opened in 1868 and is one of the wonders of Victorian engineering.

Along with the former Midland Grand Hotel, it is a masterpiece of Victorian Gothic Architecture and one of the most elegant stations in the World.

It was designed by one of the leading Victorian architects George Gilbert Scott.

These gates were removed during the recent refurbishment to accommodate the Eurostar trains to the continent. ÂŁ3000-5000 205 A pair of wrought iron gates early 20th century 158cm high by 300cm wide overall ÂŁ400-600

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206 A wrought iron estate gate 19th century 146cm high by 270cm long £200-400 206A A Gothic style crocketed finial French, 19th century £150-250 207 A Victorian wrought and cast iron estate gate mid 19th century 156cm high by 245cm wide £400-600

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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208 A pair of large carved stone gate pier balls modern 57cm diameter £700-1000 209 A pair of unusual low composition stone stools/tethering posts circa 1900 with iron fittings 43cm high £600-800

210 A similar single composition stone stool/ tethering post £300-500 211 A lead finial modern on earlier carved marble pedestal 129cm high £500-800

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212 A pair of composition stone gate pier balls mid 20th century 40cm diameter £300-500 213 A similar pair of composition stone gate pier balls £300-500 214 A similar pair of composition stone gate pier balls £300-500

215 A similar pair of composition stone gate pier balls £300-500 216 A similar pair of composition stone gate pier balls £300-500 217 A set of 10 cast iron bollards early 20th century with linking chain 66cm high £1200-1800

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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218 A pair of rare early Victorian cast iron parapet lamp bases circa 1840 170cm high, the base 63cm square ÂŁ1500-2500

219 A pair of composition stone lamp bases cast with frolicking putti 2nd half 20th century 110cm high ÂŁ800-1200

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220 A pair painted sheet copper lanterns late 19th century with cast iron wall brackets 150cm £500-800

221 A pair of unusual sheet brass tea light lanterns 20th century fitted with taps 167cm high £600-1000 222 A near pair of metal mounted and glass lanterns early 20th century 50cm high £200-300

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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223 An unusual Beechwood sleigh early 20th century 217cm long £200-400

224 A wall tack/harness stand Swiss/German 19th century or earlier 77cm high, and a wooden bed warmer 31cm high Before the advent of copper bedpans in the 18th century metal bottomed wooden frames were used. £200-300

225 Two pairs of Venetian painted sheet metal lanterns late 19th/early 20th century 64cm high £150-250

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226 An Edwardian brass lantern early 20th century with convex glazed oval panels 45cm high by 35cm square ÂŁ600-800

227 An Edwardian brass lantern early 20th century with cut glass panels 131cm high by 35cm square ÂŁ1500-2500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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228 A pair of bronze lanterns circa 1860 96cm high £3000-5000

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229 An iron and brass wall light made up from a 1950s Bill Royal 3 phase fuse box and associated piping, shade and brass pressure gauge 95cm high by 16cm wide ÂŁ400-500

230 An iron and brass wall light made up from a 1950s Bill Royal 3 phase fuse box and associated piping, shade and brass pressure gauge 95cm high by 22cm wide ÂŁ400-500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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231 A set of four Cotswold stone staddlestones 82cm high £1500-2500

232 A carved stone base now adapted as a mounting block 52cm high by 82cm long £400-600

233 † A pair of carved stone crowns modern 46cm high £400-600

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234 An unusual carved limestone Medieval style panel early 20th century depicting a wizard being roasted in a fire by a devil and surrounded by clerics 61cm high by 136cm long £800-1200 235 A 17th century style composition stone plaque mid 20th century of putti and cherubs working a wine press 79cm high by 134cm wide £400-600 236 A carved limestone plaque modern with applied lead mounts 47cm high by 70cm wide £200-300 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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237 † A pair of carved stone capitals modern 41cm high £300-500 238 A Victorian iron anchor 19th century 153cm high £300-500 239 A small wrought iron boot scraper, 19th century on stone base 30cm square £100-200

240 A painted brass plaque from Camden Lock Market with a Royal Coat of Arms and titled “The Stables Since 1854” 27cm high by 31cm wide 12 available £80-120 241 An unusual ciment fondu medieval style grotesque gargoyle making obscene gesture mid 20th century with mouth plumbed for water 46cm high by 55cm long together with another medieval style ciment fondu bust of a man, 43cm high £300-500

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242 A cast iron Terrier boot scraper early 20th century 64cm high £400-600

243 A Victorian wrought iron and copper weathervane late 19th century 130cm high £300-500

244 A sheet copper and wrought iron weather vane late 19th century/early 20th century on iron stand 100cm high £500-800

245 An unusual Victorian copper and wrought iron pump 1st half 19th century on wooden back plate 183cm high £800-1200

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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247 A wrought iron arbour 2nd half 20th century 300cm high by 192cm wide £250-400 248 A Victorian cast iron boot scraper circa 1860 35cm long, together with a stone ball £150-250

246 A rare painted composition stone group of toadstools French, mid 20th century 85cm high by 170cm wide, together with a similar single toadstool 84cm high £1200-1800

249 A large quantity of terracotta pots late 19th/20th century (approximately 200) £300-500

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250 A Victorian brass lozenge shaped funeral directors sign, late 19th century inscribed Funeral Director Cremating and Embalming, Internments 46cm high £100-150 251 An unusual Ox vertebrae 19th century or earlier painted with a clergyman 15cm high £200-400 252 A quantity of plaster roundels and ovals 19th century largely after Clodion and classical scenes £100-200

253 A hardwood capstan 19th century or earlier 121cm high £500-800

254 A pair of carved oak chimneypiece jambs 17th century carved oak 150cm high £2000-3000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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255 A fibreglass and wood fairground ride rocket 1950s with iron fitting 250cm long £400-600 256 A painted Passe-Boule game board of a French Revolutionary in comic dress modern 81cm high by 32cm wide Passe-boule (ball-toss) was a very popular fairground game in France from the 19th century onwards.

These recent creations by

the leading fairground artist, John Dupret, in hand painted antique reclaimed wood feature typical characters of the time. His work can be seen in the Musem de musique Mechanique in Lesgets, whilst original examples are on view in the Musee des Arts Forains, Paris. £300-500 257 A painted Passe-Boule game board of a Turkish Sultan modern 85cm high by 40cm wide £300-500

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258 A rare 1940s painted sheet metal child’s pedal boat French, late 1940s/ early 1950s made by Eureka with maker’s plaque, French flag and pedal mechanism together with chrome fittings named Miss Minnetonka now mounted on mahogany stand 254cm long by 107cm wide £7000-10,000 259 An iron and nickel plated veterinary operation anaesthetist’s trolley mid 20th century with oxygen and nitrogen gauges and glass tubes 120cm high £200-400

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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260 A ship’s aluminium 4 dog rectangular porthole, salvaged from a 1970’s ship now refurbished as a mirror 65cm wide by 52cm high by 10cm deep £350-450 261 A similar ship’s aluminium 4 dog rectangular porthole, salvaged from a 1970’s ship now refurbished as a mirror 65cm wide by 52cm high by 10cm deep £350-450 262 A ship’s aluminium 2 dog circular porthole, salvaged from a 1970’s ship now refurbished as a mirror 24cm diameter £300-400 263 A similar ship’s aluminium 2 dog circular porthole, salvaged from a 1970’s ship now refurbished as a mirror 24cm diameter £300-400 264 A rare cast iron and brass wine bottle corker French late 19th/early 20th century with makers stamp 115cm high 60cm wide

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A very well preserved antique corker originally manufactured in Paris.

Its large size is quite unusual. The large original wooden handle provided the leverage to easily plunge corks into the bottle. One by one, a bottle is placed on the iron platform and the lever cracks down to plunge the cork into the bottle. Any spilt wine was collected in the basin underneath. It is marked LA MEILLEURE on its vertical support, which means ‘the best’, and ECHAUDER LES BOUCHONS, ‘fire to corks’, around its bowl.

Although using cork wood to cork wine was in use since the 1600 (started by Dom Perignon) it wasn’t until the last quarter of the 19th century that the wine bottling industry really expanded. Production boomed between 18901917, the industrial workforce more than doubled and by 1930 it has increased five-fold, to a total of 10,000 workers.

This particular wine corker was most likely made and used in a winery in France during this period.

Mechanically advanced yet endearingly rustic, this corker perfectly embodies the time - honoured traditions of French wine-making. £700-900

265 A carved limestone rectangular trough 51cm high by 170cm long by 112cm deep £2000-3000 266 A carved stone wellhead French 18th/19th century 68cm high by 110cm diameter £1500-2500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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267 A carved stone rectangular trough 60cm high by 173cm long by 92cm deep £3000-5000

268 A rounded rectangular carved sandstone trough 40cm high by 236cm long by 70cm deep £2000-3000

269 A rounded rectangular carved sandstone trough 46cm high by 186cm long by 65cm deep £1500-2500

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270 A Gothic style composition stone font planter 2nd half 20th century 118cm high £300-500 271 † A carved stone trough 90cm high by 155cm long by 88cm deep £1500-2500 272 A near pair of carved stone D-shaped troughs the larger 45cm high by 78cm wide by 64cm deep £1000-1500 273 A carved stone irregular oval shaped trough 33cm high by 110cm long by 70cm deep, together with a Victorian cast iron roller £300-500 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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274 A rounded rectangular carved sandstone trough 46cm high by 112cm long by 74cm deep £500-800

277 A copper vat 19th century with side handles and tap 62cm high by 110cm diameter £600-1000

275 A rounded rectangular carved sandstone trough 40cm high by 55cm long by 81cm deep £250-400 276 A composition stone wall fountain with lead lion mask spout modern 150cm high by 82cm wide by 48cm deep £1500-2500

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278 A Gothic style composition stone wellhead frame modern with wrought iron overthrow 200cm high by 130cm wide

279 † A carved stone wellhead with sectional base and wrought iron overthrow 225cm high £2000-3000

This model is based on tracery originally removed from the palace of Westminster. £1500-2500 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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280 A lead fountain last quarter 20th century 156cm high £800-1200 281 A pair of Victorian lead hoppers circa 1860 71cm high £200-300 282 A carved white marble dolphin fountain mask Italian, circa 1900 drilled for water 47cm high £500-800 283 A lead fountain figure of a putto supporting a shell mid 20th century on associated composition stone base 100cm high, together with a pair of square lead planters 30cm high by 27cm square £400-600

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284 A carved Istrian stone wall fountain early 20th century with bronze fountain spout 160cm high by 104cm wide by 57cm deep on sectional stone base 151cm wide ÂŁ1500-2500

285 A carved white marble panel now adapted as a fountain with steel fitting 163cm high by 64cm wide ÂŁ500-800

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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286 A Coade stone fountain base early 19th century 80cm high Although no designs for fountains appear in the 1784 Coade catalogue, by the early 19th century a number of commissions for fountains often incorporating tritons, shells and coral work are recorded. The one which relates closest is one ordered by Mr Fector of Kearnsley Abbey near Dover in October 1814 and described as “ornamental stone fountain, coral tripod stand, coral top supporting a shell, three shells etc. 35 guineas”. For other coral/stone grotto fountains see Alison Kelly’s Mrs Coade’s Stone pages 202-204. £2000-3000

287 A carved white marble cherub Northern European, late 17th century now drilled as a fountain 60cm high £500-800

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288 A large composition stone bowl 2nd half 20th century 50cm high by 184cm diameter £600-1000 289 A similar large stone bowl £600-1000 290 † A pair of substantial sandstone cylindrical wellhead/planters modern 75cm high by 90cm diameter £1200-1800

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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291 †A pair of carved stone urns on pedestals after a design by William Kent modern 255cm high £6000-8000

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292 A pair of Victorian carved stone urns circa 1870 on later composition stone socles 100cm wide ÂŁ5000-8000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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293 A pair of carved stone planters mid 20th century with lug handles, two handles missing 62cm high £800-1200 294 A pair of composition stone circular planters 2nd half 20th century 62cm high by 76cm diameter £300-500

295 † A pair of sandstone cylindrical planters modern 50cm high by 85cm diameter £700-900 296 A pair of large Louis XIV style composition stone urns 20th century 130cm high £1500-2500

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297 A pair of carved marble urns 19th century 73cm high ÂŁ500-800

298 A carved white marble urn on pedestal French, 19th century 230cm high ÂŁ3500-5000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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299 † A pair of carved stone bowls modern 65cm diameter £400-600 300 A pair of unusual composition stone urns early 20th century 68cm high £500-800 301 An unusual carved serpentine type marble urn Swedish, 19th century 48cm diameter £250-350

152

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302 A pair of rare composition stone planters Spanish stamped J Piquet Sevilla, 1914 124cm high ÂŁ1800-2500

One of a pair

303 An extremely rare carved Bath stone urn on helix pierced and carved pedestal circa 1840 234cm high ÂŁ4000-6000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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304 A pair of Stiff & Sons stoneware urns late 19th century each stamped J Stiff & Sons, Lambeth 43cm high by 51cm diameter £300-500 305 A pair of rare Doulton terracotta planters early 20th century stamped Doulton, Lambeth, London 44cm high by 80cm long by 40cm deep £1200-1800 306 A pair of composition stone campana shaped urns 2nd half 20th century 79cm high £250-400

307 A set of four Compton Pottery Apple pattern pots early 20th century one with small circular makers stamp 43cm 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. £600-1000

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308 A suite of four cast iron and wood Versailles planters modern each with internal zinc tray and makers’ stamp Les Jardins du Roi Soleil 2010 75cm high by 52cm square £1000-1500 309 A substantial pair of cast iron urns 1st half 20th century 98cm high A similar urn is illustrated in the Val d’Osne foundry catalogue late 19th century, plate 248, No 10350 £3000-5000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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310 A carved stone fluted column pedestal surmounted by a bronze armillary sphere modern 268cm high £1500-2500

311 † A substantial carved stone column pedestal modern 137cm high, diameter of top 62cm £400-600

312 A Georgian carved Portland stone sundial early 19th century the replaced bronze dial signed Tomlinson Thame 170cm high £1200-1800

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313 A green serpentine marble pedestal late 19th century 110cm high £200-300

314 A serpentine marble column pedestal late 19th century 112cm high £300-500

315 A carved limestone and brass noonday canon sundial modern 112cm high £500-800

316 A bronze and roughly hewn semi-hemispherical sundial

by David Harber 140cm high £800-1200

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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317 A carved limestone seat modern 183cm wide £1500-2500 318 A carved limestone Neo Classical style seat late 20th century 167cm long £2500-3500 319 An unusual Purbeck stone seat early 20th century 107cm square £1500-2500

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320 † A pair of stone stools modern 52cm wide £300-500

321 A carved granite table 20th century 120cm long, together with two benches en suite 120cm long £1200-1800 322 † A carved stone bench modern 122cm long £300-500 323 † A similar bench £300-500 324 A carved Istrian stone bench circa 1900 with later slate top 110cm long £500-800

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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325 A pair of carved limestone benches modern 140cm long £800-1200

326 A grey marble table modern on carved oak base 210cm by 90cm £1500-2500

327 A carved white marble bench circa 1900 with later slate top 110cm long £500-800

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328 A marble table on carved limestone supports modern 235cm high by 104cm wide ÂŁ2000-3000

329 A carved oak seat modern 200cm long ÂŁ1000-1500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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330 A substantial carved hardwood seat late 20th century 340cm wide £800-1200

331 † A suite of carved hardwood furniture modern comprising extending parasol table 242cm long extended by 100cm, together with eight elbow chairs £1200-1800

332 A hardwood seat by Lister 2nd half 20th century with maker plaque 188cm long, together with another smaller seat, 165cm long £200-400

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333 A suite of hardwood furniture mid 20th century bearing title plaque inscribed made by Hughes Bolckow Limited, Blyth, Northumberland of teak taken from SS Reino Del Pacifico table 84cm square £300-500

334 A set of six carved hardwood cockpen chairs mid 20th century £800-1200 335 A root wood seat 187cm wide £600-1000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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337 A root wood console table 85cm high by 200cm wide by 50cm deep £600-800 338 A lapis lazuli veneered low table on gilt metal base 20th century 148cm wide £800-1200

336 A studio workshop made fumed oak and maple coffee table late quarter 20th century 141cm long £800-1200

339 A driftwood chair by Bill Ayres 1990’s Bill Ayres based in New Zealand specialises in making artefacts and furniture out of recycled materials. £400-600

164

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340 A giant root wood table Indonesian hardwood with glass top 83cm high by 200cm wide by 200cm deep ÂŁ2000-3000

341 A carved hardwood double steamer chair late 20th century 195cm long by 120cm wide ÂŁ600-800

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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342 A pair of carved hard wood seats 2nd half 20th century with makers plaque RA Lister Ltd 93cm long £400-600

343 A rare and unusual cast iron seat early 20th century with swan terminals, now with single plank oak seat 136cm long £1500-2500

344 A bronze seat modern 153cm long This model was originally made by the firm of A.D Berry & Sons of Regent Street, Westminster. The seated camel is the device of the Grocers company. Victorian examples of this seat may be seen on the Embankment, London. £800-1200

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345 A Coalbrookdale style cast iron seat 20th century 125cm long £150-250 346 A Coalbrookdale style cast iron Fern and Blackberry pattern seat mid 20th century 120cm long £300-500

347 A rare Coalbrookdale cast iron and wooden seat late 19th century 145cm long This seat is illustrated in the 1894 Coalbrookdale catalogue No. 82.

See inside back cover £300-500 348 A suite of cast iron and wooden slatted Carron Foundry furniture early 20th century comprising seat and two chairs the seat 150cm long This seat is illustrated in the Carron Foundry catalogue No. 15. £300-500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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349 A rare Coalbrookdale cast iron seat late 19th century with walnut slats stamped with registration number 397749 pattern number 71-2 and diamond registration.

195cm long This design, number 397749, was patented and registered by the Coalbrookdale Iron Foundry at the Public Record Office on 5th May 1883 and still featured in the Coalbrookdale Illustrated Catalogues of Garden and Park Furniture in 1894 and 1907. (See engraving) ÂŁ2000-3000

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350 A Coalbrookdale Nasturtium pattern cast iron seat circa 1870 stamped CBDale & Co and with indistinct registration number and diamond registration stamp 180cm long (See engraving) ÂŁ2000-4000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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351 A pair of wrought iron seats 2nd half 20th century 112cm wide £600-1000

353 A wrought iron slatted seat modern 240cm £500-800

352 A wrought iron table with mosaic top early 20th century 142cm long by 91cm wide £600-1000

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354 A wrought iron seat mid 19th century 179cm long ÂŁ1200-1800

355 A wrought iron seat late 19th/early 20th century 244cm long together with an Edwardian wirework and wrought iron seat, early 20th century 173cm long ÂŁ450-700

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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356 A carved alabaster model of the Taj Mahal Indian, circa 1900 23cm square £80-120

358 A carved white marble Jain Libation Altar Indian, 19th century or earlier 122cm square £1000-1500

357 † A hand carved black marble Shiva Lingam and Yoni Rajasthan, modern 74cm high The union of the Yoni and Lingam represents the eternal process of creation and regeneration, the union of male and female principles, and all existence. Believed to be the ultimate bonding between male and female, its seen as good luck and longevity for marriage. £400-600

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359 † A large wrought iron Kadai on stand modern 165cm diameter together with a pair of carved hardwood and wrought iron curved benches en suite 150cm wide £1500-2500 360 A bronze Urli Indian, 19th century 107cm diameter £500-800 361 A similar bronze Urli 100cm diameter £500-800 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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362 A Japanese style zinc crane early 20th century 180cm high £400-600

363 A carved granite kasuge lantern Japanese, Meji Period (1868-1912) 174cm high £600-1000

364 A carved marble duck weight possibly ancient the underside with old label inscribed Babylonian, circa 1000 B.C. duck weight *** collection 15cm long £100-200

365 An unusual iron bound wooden trunk possibly East African, 19th/early 20th century 40cm wide by 21cm deep £200-300

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366 A carved marble sarcophagus lid Ottoman, 19th century or earlier 98cm long ÂŁ250-400

367 A marble carving of a dragon in front of a mountain with cloud bands Chinese, 2nd half 20th century 94cm high, together with a marble dog of Fo, Chinese, 2nd half 20th century 75cm long and a marble carving of a stylised fish and a dragon, Chinese, 2nd half 20th century 104cm high ÂŁ400-600

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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369 A similar marble gravestone turban finial £250-400 370 A similar marble gravestone turban finial £250-400 371 A similar marble gravestone turban finial £250-400 372 A similar marble gravestone turban finial £250-400 373 A similar marble gravestone turban finial £250-400 368 A marble gravestone turban finial Ottoman, 19th century or earlier Turbans were such an essential part of the Ottoman costume that they came to represent the wearer even in death.

Outdoor tombs were surmounted by carved turbans, giving them an almost human presence.

Particular details in the carving would provide an insight into the lives

of the deceased. The appearance of the rose within the material folds, for example, might suggest affiliation with the Qadriyyah order of Dervishes. Turbans of the orfi type such as these were worn by members of the religious elite.

For further information and diagrams of Ottoman tombstones, see Frederic Hitzel, L’Empire Ottoman XVe - XVIIIe siecles, Paris, 2002, pp. 142-45. £250-400

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374 A pair of pink granite and marble obelisks 19th century 66cm high £400-600 375 A similar pair of obelisks 66cm high £300-500

377 A brass ships overhead compass in binnacles late 19th century in mahogany case with examination stamps for 1944 & 1951 the case 27cm square £50-80 378 An anodised brass “Kima” monocular student microscope early 20th century

by W. Watson and Sons Ltd No. 55439 in wooden carrying case 33cm high £40-60

376 A brass and anodised brass theodolite by Hall Bros No. 3015 379 with levelling screws and sight prisms, on A T Walker and Sons patent associated adjustable Harpoon brass ships log wood tripod in pine case with paper labels 57cm long the scope 28cm long £80-120 £100-200 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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380 An H. Hughes and Sons brass sextant no. 15037 on the arc with makers’ name H Hughes and Sons Ltd, 59 Fenchurch St. London EC and reading from -5 to 150 degrees on a silvered scale the index arm with magnifying lens, and fitted with horizon and sunshades in mahogany carrying case with scope and sight tubes the case 27cm square Henry Hughes is recorded as working at 58 Fenchurch Street between 1859 and 1875. £200-400

381 A brass two drawer telescope late 19th century 6cm diameter £100-150 382 Two brass cased ships bulkhead clocks 1930’s with ocean painted 8 inch and 6 inch dials, the movements with platform lever escapements 27cm diameter and 21cm diameter £100-150 383 A model ship based on an 18th century Dutch vessel circa 1980, 89cm wide £80-120

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384 A wooden model whaler late 20th century 64cm long £60-100 385 A rare Patent Express cast iron gold changer by W & T Avery circa 1890 numbered 53 48cm high by 46cm wide by 19cm deep The interior of the gold changer houses six columns, each containing fourteen change pots, three columns giving change for a gold sovereign and three for half sovereigns. When a gold coin is inserted it dispenses pots of change with an equivalent value and once emptied the pots can be returned through a small opening in the door.

The total value of its contents was more than sixty pounds, which was a large sum in 1890, when compared to the annual wage for a shopkeeper or clerk was less than £50 and a common labourer would earn three shillings and nine pence per week.

This nicely cast and functionally ingenious example is, in effect, the Victorian forerunner of the ATM or hole in the wall cash machine.

For extra images see our website. £1200-1800 386 A Dollond brass telescope and fixtures including tripod in mahogany case signed Dollond, London telescope 104cm long, case 116cm long £500-800

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387 A unique Robert Stubbs wood and composition Tudor style dolls house with numerous fittings and furniture including some silver pieces 84cm high by 92cm wide by 61cm deep ÂŁ900-1200

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388 A ‘try your grip’ arcade game made

by Samson 1950s penny operated with scales from weak to terrific in metal case 46cm high £100-200 389 A rare Victorian Gaskell and Chambers change dispenser oak with brass fittings and glass change tubes, the fitted drawer with maker’s ivorine plaque 30cm high by 30cm wide £200-400 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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390 †An impressive humidor by Glyn Lockett applied with crocodile skin and gilt mounts the top surmounted with a crocodile with sapphire eyes next to an undulating lapis lazuli panel simulating a river, the cedar wood fitted interior with silver gilt cigar cutter and piercer above a drawer fitted with paraphernalia including a gilt metal razor blade, small oval box, straw, spoon and mirrored panel 17cm high by 28.5cm long by 23cm deep £8000-12,000

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391 A carved white marble Venus and child Low Countries, 17th century 63cm long £500-800 392 A Victorian carved marble figure of John the Baptist circa 1870 100cm high £800-1200 393 A carved white marble figure of a fisher girl Italian, circa 1860 81cm high £3000-5000

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394 R. Schiwanthala A marble bust 19th century Signed 56cm high by 40cm wide by 28cm deep

396 A fragmentary marble Roman bust lacking head 17th century or earlier restorations 76cm high £1000-1500

£1200-1800 395 A white marble bust, probably of Marie Curie early 20th century 50cm high £300-500

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397 † After the Antique: A composition stone bust of Ajax modern 80cm high £250-400 398 A cast iron bust of an Odalisque 20th century 60cm high £200-400

399 † After John Cheere: A lead sphinx head modern on composition stone base 66cm high This head is based on John Cheere’s full size 18th century lead sphinxes which may be seen at Chiswick House and on Pall Mall. £250-400 400 An unusual cast iron putto late 19th century 62cm high £500-800

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401 A lead figure of Punch circa 1900 on associated stone plinth 160cm high The Punch and Judy show can trace its roots to the 16th century to Italy.

The figure of Punch derives from the stock character of Pulcinella, which was Anglicized to Punch. He is a manifestation of the Lord of Misrule and Trickster figures of deep-rooted mythologies. Punch’s wife was originally “Joan”.

9th May 1662 is the day traditionally reckoned as Punch’s UK birthday, for that was the first recorded date on which the figure who later became Mr. Punch was seen in England. The diarist Samuel Pepys observed a show featuring an early version of the Punch character in Covent Garden in London. It

was performed by an Italian puppet showman, Pietro Gimonde. Pepys described the event in his diary as “an Italian puppet play, that is within the rails there, which is very pretty.” In the British “Punch and Judy” show Punch wears a jester’s motley and is a hunchback whose hooked nose almost meets his curved jutting chin. £3000-5000 402 † A lead figure of a child mid 20th century, 66cm high £250-400 403 A lead figure of a putto representing Summer late 19th century, 68cm high £500-800

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404 A lead figure of a boy representing Winter early 20th century 82cm high £600-800 405 † After John Cheere: A painted lead figure of a shepherdess modern 137cm 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. 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. During the 18th Century, masked balls or fete champetres set in Arcadian settings of country houses or in London’s Ranelagh and Vauxhall pleasure gardens, were immensely popular.

These were attended by fashionable society dressed as milkmaids, fruit and flower girls or in the costume of the commedia dell’arte.

Most popular of all, however, were the costumes of a shepherd or shepherdess. Numerous contemporary references to their popularity remain. The Spectator of 1711 recounts: “There is not a girl in town but let her have her will in going to a masque and she

shall dress as a shepherdess.” J.T. Smith in his “Life of Nollekens” tells of a visit he paid with Nollekens and his wife to an old lady, “quite the old school,” who lived near Hamstead Heath.” Her evergreens were cut into the shapes of various birds, and Cheere’s leaden painted figures of a Shepherd and Shepherdess were objects of as much admiration with her neighbours as they were with my Lord Ogleby, who thus accosts his friend in the second scene of the popular current comedy ‘Clandestine Marriage’: ‘Great improvements, indeed Mr Stirling, Wonderful Improvements! .......You have as many figures as the man at Hyde Park Corner”

A similar figure may be seen in the recently restored Grecian Valley at Stowe where a circle of shepherds and shepherdesses surround a bronze Faun. £1500-2500

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406 A lead putto late 17th century 78cm high on later carved limestone pedestal 140cm high overall The Larson family of sculptors and painters were active in the Hague in the 17th century. The inventory of Johan Larson

of the Hague drawn up after his death in 1664, details about 275 lead figures and plaster casts produced in Holland in the middle of the 17th century. This model is recorded as one of twelve putti drawn by Johann Elsholtz which originally stood in the Lustgarten in Berlin and which were commissioned by Frederich Wilhelm, Elector of Brandenburg, completed by Willem and George Larson, in 1654. £5000-8000 407 † A pair of lead figures of a shepherd and flower girl late 20th century on composition stone bases 90cm high £1000-1500

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408 An unusual lead figure of a monkey holding a bowl early 20th century on associated painted faux marble wooden base 127cm high £800-1200

409 p Hubert Yencesse Bronze torso of a man 1900-1987 signed Hubert Yencesse and bearing the stamp Alexis Rudier, Fondeur, Paris 70cm high In 1919, Hubert Yencesse entered the School of Fine Arts in Dijon, where his father taught, the medallist Ovide Yencesse.

He exhibited for the first time at the Salon d’Automne in 1921 and received the Blumenthal Prize in 1934. After meeting Aristide Maillol, he collaborated with him until 1936. He exhibited in Paris at the Petit Palais in 1935, at the Salon des Tuileries and participated in exhibitions of French sculpture in Amsterdam and Brussels In 1972, the Musée Rodin in Paris devoted a retrospective exhibition to him. He was received as a member of the Institute on March 20, 1974, at the headquarters of Henri Navarre in the sculpture section of the Academy of Fine Arts.

He was the father of the sculptor Dodie Yencesse, and the brother of the sculptor Jacques Yencesse.

His wife Cécile died in 1999. £3000-5000

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410 Two bronze stags 20th century each with twelve point antlers 182cm high ÂŁ6000-10,000

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411 A cold painted spelter jardinière in the manner of Louis Hottot with a woman in Arab dress circa 1900 indistinctly signed and incorporating a zinc liner 84cm high £1000-1500 412 p Ludwig Vierthaler (1875-1967): A bronze female nude figure German, early 20th century signed L Vierthaler weathered green patination with traces of gilding to the hair 143cm high Ludwig Vierthaler first came to prominence around 1906 as a metalwork designer in Munich and for a brief time worked in New York for Tiffany & Company. £1500-2500

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413 A bronze figure of a Neapolitan fisher boy holding a crab 2nd half 20th century 117cm high ÂŁ1500-2500

414 A bronze model of a galleon early 20th century fitted with cannon, sails and rigging 35cm high by 36cm long ÂŁ800-1200

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415 A bronze model of the Uffizi boar circa 1990 signed Fuse Ferdinando Marinelli Firenze 128cm high, the base 162cm by 190cm Known variously as the Florentine Wild Boar and Il Porcellino (Little Piglet), this full size lost wax cast bronze fountain by the Florentine foundry Ferdinando Marinelli is a replica of the original.

He was commissioned by Ferdinando II de Medici from Giambologna’s one-time assistant Pietro Tacca (1577-1640). The model being based on the Antique, the animal plant and insect strewn base is pure Renaissance invention and forms a pool for the water to collect from the boar’s mouth. His nose, like the foot of the statue of St Peter’s in Rome, is worn smooth by the many hands stroking for good luck.

Originally intended for the Boboli Gardens, another replica by the same foundry resides in the Mercato Nuovo, with the original now removed to the Uffizi Museum. £20,000-40,000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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416 A composition stone elephant mid 20th century 62cm high £400-600

418 A pair of composition stone eagles 2nd half 20th century 91cm high £400-600

417 Two composition stone owls 20th century the larger 73cm high £200-300

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419 A pair of carved stone gate pier eagles 19th century 70cm high by 125cm wide ÂŁ3000-5000

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420 After the Antique: A composition stone figure of a faun playing the pipes last quarter 20th century 136cm high £500-800

421 After Falconet: A composition stone figure of Venus 2nd half 20th century 158cm high £500-800

422 After Michelangelo: A composition stone figure of David 2nd half 20th century 169cm high £500-800

423 A composition stone figure of Bacchus 2nd half 20th century 146cm high £500-800

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424 A composition stone figure of a classical maiden holding pitchers 178cm high ÂŁ500-800

425 A composition stone figure of a girl entwined with a garland of flowers 2nd half 20th century 165cm high ÂŁ500-800 426 A pair of composition stone figures of Hercules and Leda and the swan on pedestals 2nd half 20th century 174cm high ÂŁ1000-1500

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427 A substantial slate obelisk modern 297cm high, the base 80cm square £5000-8000

428 A rare papier mâché stallion French, late 19th century on wooden base with enamel makers plaque inscribed Cheval Granduer Naturelle Ch. Sharpentier, Paris 147cm high £5000-8000

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429 p Maida Crowe A carved Forest of Dean stone figure 203cm high Maida Crowe was born in Axminster, Devon in 1915.

After a private education, she studied at the City and Guilds of London Art School from 1957-1962. She became a member of the Free Painters and Sculpture movement working in both wood and stone. Established in 1952, FPS was originally associated with the ICA (Institute of Contemporary Arts). Founding members featured many high profile and influential artists, including Roy Rasmussen, Lyall Watson and Maurice Jadot. FPS played a significant part in the establishment of abstract art in the 1950’s and 60’s and was the first of a number of post war movements that freed artists from the orthodoxy of rigid and purely technical judgements.

In 1981 there was an exhibition of sculpture by Maida Crowe in Southwark Cathedral.

Roy Rasmussen in the preface to the History of Free Painters and Sculptors commented; “Her wood carvings were at home in any modern collection, and graced many FPS exhibitions. But the deeper implication of her sculptures was religious; and for her it was appropriate that they should be shown in the place where she worshipped. She worked mainly on a scale of two to six feet. Her sculptures were not overtly religious, she did not use obvious religious symbols. A woman who was comfortable and tolerant in the company of diverse opinions, she could reveal a sparkling humour.”

“She was passionately involved in the endless debate over forms of modern expression. She described her own work as an inward search.”

She showed at the RBA as well as in the provinces and had solo exhibitions at the Cockpit and Loggia galleries.

A copy of Maida Crowe’s book of her work; First and Last: A Search for Meaning, A Spiritual Journey Through Sculpture in 1994 is included in this lot which gives a full account of the carving of this statue and the placing of it in her garden. £1000-2000

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430 p Bruno Locatelli “Le Bagnanti” (The Bathers) Bronze, signed B. Locatelli, Fond Art Battaglia Milano 1981 on the base with later painted and gilded patination 235cm high by 195cm wide by 145cm deep Bruno Locatelli was born in Milan in 1908 and attended, the Umanitaria School in Milan where he learnt to be a goldsmith and engraver. Later he took courses in painting and sculpture at the Brera Academy and also the School of Design of the Castello Sforzesco.

Subsequently, he worked as a medallist and sculptor at the Art Institute of Parma. Many of his sculptures are located in different Italian cities and in private collections.

In 1966 the Municipality of Milan, awarded him the gold medal of merit, and in 1969 he became an associate of the Tiber academy.

This lot is sold with original photographs.

Collection of Senator Walter Fontana, President of the Brena Fine Arts Academy and Senator of the Italian Republic.

Sold Summers Place Auctions 23rd October, 2012, lot 59 £5000-8000

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431 p Bruno Locatelli “Donna al Vento” (Woman in the Wind) Bronze, 1974 signed Bruno Locatelli, variegated green patination 180cm high by 160cm wide by 200cm long This lot is sold with original photographs showing the piece on location and certificated by the Walter Fontana collection Collection of Senator Walter Fontana, President of the Brena Fine Arts Academy and Senator of the Italian Republic.

Sold Summers Place Auctions 23rd October, 2012, lot 60 £4000-6000

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432 p Ernest Shone-Jones A carved white marble group of Adam and Eve signed E. Shone-Jones ARBS 1953 on stone pedestal the marble 137cm high ÂŁ3000-5000

433 A carved marble swan 20th century 62cm high ÂŁ500-800

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434 An unusual marble bird Hungarian, Art Deco 1930’s possibly by Bela Kadar 38cm high £300-500 435 David Harber The Kernel Pebbles, steel and iron with fittings for an internal light 122cm high by 120cm diameter £2000-4000

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436

438

After A. G. Woolne

After Giacometti

A plaster bust of Charles Dickens

Walking Man

Modern

Signed

68cm high by 36cm wide by 27cm deep

46cm high by 27cm wide by 10cm deep

£400-600

£600-800

437

439 p Guy Buseyne Innocence Bronze 80cm high £800-1200

Bear Sculpture Bronze 75cm high by 67cm wide by 36cm deep £800-1200

Bronze sculpture

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440 p Ian Rank Broadley Natura Pudoru Virium Contegit (Nature covers up the shame of strength) Bronze resin Original artist’s models with sculptor’s monogram, 168cm high Sold with a copy of a letter from the sculptor to the purchaser dated November 2001 relating to casting rights. £800-1200 441 p Michael Speller “Balance” Bronze on slate, 200cm high Michael Speller studied at the Chelsea College of Art and design. £3000-5000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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442

443

John Cox

Timothy Rukodzi

Gorilla Striding

Hippopotamus

Bronze sculpture

Opal stone sculpture

114cm high by 145cm wide by 90cm deep

Signed

£4000-6000

26cm high by 45cm wide by 25cm deep £1200-1800

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444

445

Mislav Katalinic

Alun Heslop

Wire dog sculpture Unique

The Boar an imaginary hunting vehicle for the 21st century, the corporate head hunter.

81cm high by 160cm wide by 62cm deep

Oak, sweet chestnut and stainless steel

ÂŁ6000-8000

Unique

Steel, wood base

80cm high by 290cm wide by 85cm deep ÂŁ800-1200 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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p 446 A unique polished stainless steel Archimedes water feature by William Pye Originally commissioned in 1997 for the West Indian Quay in London’s docklands.

Archimedes is made of mirror-polished stainless steel, and is named after the ‘Archimedes Screw’ developed by the pre-eminent Greek mathematician and inventor, Archimedes (287-212 BC). The sculpture takes the form of a giant corkscrew (4.5metres in length) which emerges from the water whilst slowly turning to lift water to the top before disgorging it on to a stainless-steel cone which also seems to rise from the water, although it is in fact static. Originally conceived to float on the water with a complex system of buoyancy tanks, it can now be easily placed in a pond or lake. It was removed due to redevel-

opment a few years ago. The engineers who originally installed can facilitate its installation anywhere in the world.

William Pye is known internationally today for his innovative sculpture with water; for more than four decades he has worked on private and public commissions, both in Britain and abroad, and it is appropriate that his twin cones, the Slipstream and Jetstream water sculptures of the late 1980s, are seen by thousands of travellers at Gatwick Airport every day. Pye was born in London in 1938 and, after National Service, attended Wimbledon School of Art from 1958 to 1961, and then spent three years in the Sculpture School at the Royal College of Art studying with Bernard Meadows. After leaving the RCA in 1965, he had an eight-year series of successful oneman exhibitions at the Redfern Gallery. In the 1960s and 1970s he taught in London at the Central School of Art

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and at Goldsmiths’ College of Art; and also at Norwich School of Art, and in the USA as Visiting Professor at California State University.

Public collections holding Pye’s works include the Arts Council of Great Britain; Museum of Modern Art, New York; Contemporary Arts Society; Greater London Council; University of Warwick; Graves City Art Gallery, Sheffield; Middlesbrough City Art Gallery; National Museum of Wales; Wakefield Art Gallery; Birmingham City Art Gallery; Aberdeen Art Gallery; and the Government Art Collection. He has exhibited in the USA, Hong Kong, Japan, France and Italy, notably in Turin and in Venice at the Peggy Guggenheim Museum.

For a video of the piece working please go to our website Being sold in situ in Kent Viewing by appointment Estimate on request For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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448 David Norris Circus seal with ball Bronze sculpture 447

Signed 2 of 8

David Cooke, Born 1970 Giant Iguana Sculpture

34cm high by 28m wide by 17cm deep

Cold cast bronze

£3000-5000

Signed and numbered 1 of 15 185cm high including stand £3000-5000

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449 Charlie Mallon A large and small Druid sculpture Corten steel Large sculpture 295cm high by 215cm wide by 160cm deep Small Sculpture 230cm high by 160cm wide by 115cm deep ÂŁ6000-8000

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449A Henri Payen Reynard Art Deco Silvered bronze and marble Signed 43cm wide £2000-3000

450 Mike Wood Siberian Falcon Hand carved wood sculpture with glass eye Unique 39cm high by 49cm wide by 32cm deep £800-1200

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451

452

453

A composition stone monk on pedestal

Fairground mirror II

Emmanuel

Wood and glass sculpture

Homage to Hepworth

detachable head with birdbox

193cm high by 68cm wide by 12cm deep

Opal stone sculpture on springstone base

with lead mounts

£1200-1800

60cm high by 34cm wide by 30cm deep

156cm high by 35cm wide by 25cm deep

Unique £1200-1800

£1200-1800

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454 A pair of sheet metal reliefs of stylised trees modern 84cm diameter £400-600

456 A carved limestone head of a girl mid 20th century 46cm high £250-400

455 A set of three sheet iron pigs modern 92cm long £500-800

457 An unusual iron slag freeform 64cm high by 70cm wide This would have come from an iron foundry and is the naturally formed concretion of iron accumulated from years of iron sparks next to a welding bench. £200-400

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458 Pan Theodosiou Serpent Fish Carved stone sculpture 48cm high by 34cm wide by 25cm deep £1200-1800

459 † Infinity Curve Stainless steel on marble plinth 54cm high £800-1200 460 p Robin Connelly, born 1970 Oak Spiral 1991 210cm long Purchased from The Cass Sculpture Foundation, Goodwood, circa 1995. £400-600

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461 Puppet Theatre Wooden sculpture 95cm high by 100cm wide by 21cm deep £800-1200

462 Angler Fish Lamp Mixed media Unique 73cm high by 53cm wide by 37cm deep £400-600

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463 A Luba carved wood maternal figure Congo, 1st half 20th century 66cm £250-400 464 A wooden and rope mask Chokwe, Angola, early 20th century 56cm £400-600 465 A carved wooden figure Chokwe, Angola on later stand 35cm £300-500

466 An unusual carved wooden head with human scalp Ejagham tribe, Cross River area, Nigeria, 19th Century 29cm high Provenance: A letter accompanying this piece states that it was bought at the dispersal sale of the Pitt-Rivers family Farnham museum at the sale held there by Sotheby’s in the 1970’s. £500-800 467 A Kuba mask with feather top Congo 34cm £200-300

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468 A Vili fetish Chimpanzee skull circa 1910 32cm by 27cm With A10 £900-1200 469 A rare mother of pearl trolling hook Marshall Islands, 19th century 15cm £500-800 470 A New South Wales boomerang 61cm long £120-180

471 A wooden and gourd musical instrument probably Senegal, circa 1900 81cm £180-250 472 An unusual half Coco de Mer hanging lamp early 20th century 30cm wide These large nuts caused a great deal of mystery for hundreds of years. They were found floating on the sea and no-one knew where they came from. Eventually it was discovered that they originated in the Seychelles.

They are much sought after due to their decorative an erotic appearance. This is a particularly beautiful and spectacular example. £100-200

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The following lots are mainly from the Sepik River area of New Guinea

473 Two carved wooden food hooks the larger 146cm £150-200

476 A carved wooden “Devil” figure 84cm high £150-200

474 A carved and painted ancestor figure together with a wooden food hook the larger 123cm £150-200

477 A carved wooden canoe prow on stand 92cm high £150-200

475 A carved wooden ancestor figure on stand 97cm, together with an ancestor head £200-300

478 A wooden animal head West African mounted with embossed copper decoration and hung with cowrie shells and glass beads 166cm high £400-600

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479 Three Sepik river carved wooden food hooks the largest 92cm £100-150

480 Three carved wooden food hooks the larger 103cm £150-200

481 Two painted wooden carved heads 81cm £200-300

482 A slit drum/Garamut 112cm £80-120

484 A large painted wood ceremonial mask 104cm £150-200

485 A painted wooden child’s slit drum 50cm £100-200

483 A carved and painted wooden crocodile mask 75cm £200-300

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486 A carved wooden ancestor figure on stand 104cm high together with a wooden figure £200-300 487 Two wooden ancestor house figures on stands the larger 69cm £120-180 488 Two wire bound ceremonial clubs Southern African, possibly Nguri the larger 53cm £500-800

489 Two bamboo and wooden flutes on stands 140cm £150-200 490 Two wooden spears and a club 218cm long £100-150 491 Two large carved wooden spears 219cm £150-200

492 A large tribal carved wood WakaTaua (War Canoe) with Oarsmen 15cm high by 14cm wide by 152cm long £200-300 493 A large bamboo flute together with a carved wooden house post 208cm £80-120

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494 An ancestor skull Dayak Tribe on wooden stand 30cm high The Dayak, from Borneo are feared for their ancient tradition of headhunting practices. They believe in a “sacred jar,” which is only to be opened by Dayak warriors, who have obtained a human head, or can present a human head, which was acquired in a fight; or by a warrior who has returned from a sojourn into enemy territory.

As a practice, headhunting has been the subject of intense discussion within the anthropological community as to its possible social roles, functions, and motivations. Themes that arise in anthropological writings about headhunting include mortification of the rival, ritual violence, cosmological balance, the display of manhood, cannibalism, prestige, and as a means of securing the services of the victim as a slave in the afterlife. Contemporary scholars generally agree that its primary function was ceremonial and that it was part of the process of structuring, reinforcing, and defending hierarchical relationships between communities and individuals. Some experts theorize that the practice stemmed from the belief that the head contained “soul matter” or life force, which could be harnessed through its capture.

The Iban Dayak’s “Ngayau” ritual headhunting rules specify that the first time a warrior takes a head or captures a prisoner, he must present that head or captive to his superior to acknowledge his leadership. In addition, the Dayak Ngayau headhunting regulations dictate that if a warrior takes two heads or captives, one must be given to his leader; the other is kept by the warrior responsible for the kill or capture. £2000-3000

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495 A carved ancestor skull with headdress Dayak Tribe mounted on wooden stand 31cm high ÂŁ1500-2500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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496 A jewel beetle encrusted model human skull under glass dome modern 55cm high £800-1200

497 A ‘unicorn’s head’ modern 137cm high £1200-1800

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498 A collection of Coeloplurus sea urchins and a murex shell under a glass dome £200-400

500 A collection of chicoreum shells under a glass dome 44cm high £250-400

501 A collection of Blaschka sea urchins under a glass dome 63cm high £650-1000

499 A Giant Clam (Tridacna gigan) unusually both upper and lower shells are present 74cm wide Reputedly collected in the Cooke Islands, circa 1800 and thence by descent. £800-1200

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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502 A leopard skin by Rowland Ward with Jungle label 1st half 20th century 244cm long by 160cm wide £1000-1500

503 A full mount Jaguar 129cm wide £3000-5000

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504 A pair of Tibetan snowcocks by Rowland Ward circa 1883 103cm high by 76cm wide by 31cm deep 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. ÂŁ1000-1500 505 A case of Himalayan Snowcock by Rowland Ward circa 1883 103cm high by 76cm wide by 31cm deep ÂŁ1200-1800

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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506 A mounted barn owl with outstretched wings with DOE number 09328 76cm high £100-200 507 A mounted Tawny Owl in glass dome with DOE number 36539 55cm high £100-200 508 A stuffed hornbill under glass dome circa 1900 60cm high £700-900

509 Two Pheasants in unusual plumage in a glass case by James Gardner 19th century with Gardner label on reverse 62cm by 92cm wide James Gardner was one of Victorian London’s most successful taxidermists and operated from premises in Oxford Street. £120-180

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510 A moose trophy on wooden oval wall plate early 20th century damages 96cm across the antlers £300-500 511 An early full mount wild boar on wooden carriage with inscribed brass plaque with details and date 1897 170cm overall £600-1000 512 John Cooper & Sons: A rare and large otter in bow fronted case with trade label early 20th century 68cm high by 110cm wide £300-500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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513 A large bow fronted case of four Rainbow trout dated 1922 and with details of capture, the largest 17lb 10oz 86cm high by 166cm wide by 26cm deep £300-500

516 A glass sided case of Pike mid 20th century labelled “Clumber Lake 18lb & 28lb” 95cm high by 125cm wide by 23cm deep £300-500

514 A stuffed King Salmon weight 42lbs August 1953, Kenai River, Alaska on oak wall plate 130cm wide £300-500 515 A Moosehead trophy Scandinavian, circa 1880 carved softwood with real antlers 79cm wide by 71cm deep £500-800 230

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517 A Mammoth molar Pleistocene 28cm wide £300-500 518 A Mammoth tusk Pleistocene, probably Siberia 62cm £400-600

519 A lower Woolly Mammoth jaw with molars Pleistone, probably Siberia 40cm wide £300-500 520 A Neolithic chert hand axe Tenere, Sahara with characteristic pink colour and wind polished desert patina, on bronze stand 20cm high overall £500-700

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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521 A fossil crayfish 26cm £400-600 522 A Mammoth tooth in case Siberia, Pleistocene, Ice Age 33cm high overall The large open plates of enamel show the growth of the mammoth which have been laboratory polished to show off the different colours of the tooth. £500-700

523 A fossil crab (Harpactocacinus punctatus) Verona, Italy, Eocene period collected in 2003 13cm wide £500-700

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524 A Mantelloceras ammonite Morocco, Jurassic, 205-135 million years ago on bronze stand 44cm high overall £1000-1500

525 A pair of cut and polished Cleoniceras ammonite halves Madagascan, Oxfordian Age, 165-156 million years ago on bronze stands 29cm high £600-800 526 A Calycoceras (Newboldiceras) asiaticum ammonite S.W. Madagascar, Middle Cenomanian Age, Cretaceous 28cm high £1200-1800

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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527 A Megalodon shark tooth U.S.A, Miocene 14.5cm £400-600 528 A Crinoid Scyphocrinites Elegans Morocco, early Devonian, 400 million years ago on bronze stand 57cm high overall Fossil crinoids are often found attached to fossilised wood. It is thought that they were suspended from pieces of driftwood and sifted materials from the ocean, before becoming waterlogged and sinking to the sea floor where they occasionally became fossilised over a long period of time. £1000-2000

529 A pair of nautiloids Madagascan, Triassic to Mid Jurassic one featuring rare quartz-calcite inclusions, on bronze stands 16cm high £600-1000

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530 A Calycoceras (Newboldiceras) asiaticum ammonite Madagascar on bronze stand 19cm high £500-700 531 A ‘Coquille St. Jacques’ Pecten plaque France, Miocene, 23-15 million years ago on bronze stand 46cm high overall

Discovered in the carbonate levels of the Miocene period. The large sizes of these molluscs, are in a well preserved state. £1200-1800 532 A group of three Cadoceras sp. ammonites on matrix these are still in their original nodule 21cm £600-1000

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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533 An Anguinun ammonite commune Isle of Skye, Jurassic, 205-135 million years ago on bronze stand 25cm high overall ÂŁ400-800

534 A rare group of brittlestars and ammonite Bridport, Dorset, Jurassic, 205-135 million years ago on bronze stand 20cm high overall 190 million year old brittlestar situated in the upper part of a large hard siltstone pebble. This has been prepared to reveal the specimen along with an Amaltheus margaritatus ammonite. ÂŁ300-500

535 A rare Arnioceras semicostatum ammonite commune block Whitby, North Yorkshire, Jurassic, 205135 million years ago on bronze stand 21cm high overall ÂŁ700-1000

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536 Sixteen spinosauras teeth Morocco, Jurassic the largest 10cm £150-250

537 A pair of fossil wood book ends Arizona 24cm high £350-600 538 Two square blue calcite boxes Argentinian, the larger 20cm wide, together with a fluorite goblet, Argentinian, 21cm £300-500 539 A near pair of rock crystal and black marble obelisks early 20th century 29in high, together with two pairs of later souvenir sandstone obelisks, 29cm £150-250

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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540 A serpentine sphere 20cm diameter £200-300

541 A lapis lazuli sphere 14cm diameter 4.4kg £250-400

542 A mangano calcite sphere 10cm diameter 2.1kg £120-180

544 A nephrite sphere 11cm diameter 2.5kg £200-300

543 A pair of ruby and zoisite spheres 10cm diameter 5.2kg £300-500

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545 A collection of four quartz single points on stands Brazil the largest 33cm high £800-1200 546 Two malachite specimens Congo the largest 23cm high £500-800 547 Two banded tiger iron slices Western Australia the larger 37cm wide £500-800

548 Two polished “silvered sheen” obsidian freeforms Mexico the largest 28cm £550-800 549 A lapis lazuli freeform 28cm high 6.8kg £550-850

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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550 A polished fossil wood slice Arizona, from the Araucaria (monkey puzzle) tree, Triassic period, 240 million years ago 51cm wide £600-1000

552 A fossil wood slice Madagascar 49cm £400-600

551 An unusual vertical fossil wood slice Madagascar 49cm £700-1000

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553 A fossil wood veneered table top Indonesia, Pliocene 46cm square £350-500

554 A pyrite egg 19cm high £800-1200 555 A pink calcite specimen 35cm wide £350-500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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556 A collection of mineral and coral specimens with bronze wall brackets originally these formed an impressive wall display (qty) £300-500 557 A lapis cube Afghanistan 8cm 1.3kg £100-200 558 Two ruby and zoisite cubes 9cm and 10cm 4.9kg £200-300

559 A yellow mangano calcite cube 9cm 1.9kg £100-200 560 Two pink mangano calcite cubes 11cm and 12cm 8.1kg £500-800 561 A collection of seven mineral bowls including agate, quartz, rock crystal, carnelian etc the largest 25cm £500-800

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562 A collection of eighteen mineral eggs including unikite, quartz and malachite the larger 3cm £250-400

563 A collection of fifteen mineral spheres including jasper, fuschite, fluorite, K2 etc the largest 9cm diameter £700-1000 564 A ruby in fuschite and kyanite sphere India 20cm diameter £1500-2500

For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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565 A pair of lapis lazuli spheres Afghanistan 16cm diameter 13.2kg £1000-1500 566 A large slice of mookaite Western Australian 34cm wide £100-200 567 A mangano calcite freeform 29cm high 5.2kg £250-400

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Signed _________________________________________ Dated ____________________________

..............................

LAST DIGIT OF SECURITY CODE

3 ONLY)

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.

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

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.

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

Lot No.

FOR TELEPHONE BIDS

FOR WRITTEN/FIXED BIDS

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.

NAME ON CARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DEBIT CARD NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

New Clients:

GARDEN, DESIGN & NATURAL HISTORY

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.

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.

Tel

SALE NUMBER

FOR TELEPHONE BIDS

(tel. bids only)

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.

IMPORTANT

Email

Address

First name

Summers Place Auctions Ltd

Title

TELEPHONE NUMBER DURING THE SALE

Bids will be executed for the lowest price as is permitted by other bids or reserve.

Maximum Sterling price (excluding premium & VAT)

ISSUE NUMBER..............(SWITCH

Lot Description

TELEPHONE NUMBER DURING THE SALE

Lot No.

(tel. bids only)

LIVE AUCTION BIDDING FORM

FOR WRITTEN/FIXED BIDS

Where appropriate your written bids will be rounded down to the nearest amount consistent with the auctioneers bidding increments

EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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.

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.

“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

TYPE OF CARD AND NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Fax

NAME ON CARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Mobile

Email

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.

Tel

Lot Description

Fax

Mobile

New Clients:

Postcode

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.

Address

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.

Postcode

Last name

IMPORTANT

Last name

Bids will be executed for the lowest price as is permitted by other bids or reserve.

SALE DATE 12th June GARDEN, DESIGN & 2018 NATURAL HISTORY

First name

Maximum Sterling price (excluding premium & VAT)

GS075

Title

LIVE AUCTION BIDDING FORM

SALE NUMBER

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.

✂

Summers Place Auctions Ltd

EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ISSUE NUMBER..............(SWITCH

ONLY)

3

LAST DIGIT OF SECURITY CODE

..............................

Signed _________________________________________ Dated ____________________________ Please send this form by post to Summers Place Auctions Ltd, The Walled Garden, Stane Street, Billingshurst, West Sussex RH14 9AB

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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.

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

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.

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 post or e-mail up to 12th June 2018 The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331

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.

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Lot No.

Sealed bid Sterling price (excluding premium & VAT)

3

Lot Description

ONLY)

Lot No.

ISSUE NUMBER..............(SWITCH

SEALED BIDDING FORM

LAST DIGIT OF SECURITY CODE

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.

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.

Signed _________________________________________ Dated ____________________________

..............................

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.

Fax

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.

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.

IMPORTANT

Email

Tel

Address

First name

Mobile

Email

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

Summers Place Auctions Ltd

Title

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.

Postcode

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.

Tel

SEALED BIDDING FORM

Fax

Mobile

Postcode

Last name

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.

Last name

Address

BIDS MUST BE RECEIVED BY 13th June 2018, 4PM BST

IMPORTANT

Sealed bid Sterling price (excluding premium & VAT)

First name

Lot Description

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.

SALE NUMBER GE076

Title

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.

✂

Summers Place Auctions Ltd

NAME ON CARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DEBIT CARD NUMBER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ISSUE NUMBER..............(SWITCH

ONLY)

3

LAST DIGIT OF SECURITY CODE

..............................

247

Signed _________________________________________ Dated ____________________________

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SEALED BID AUCTION LOTS All sealed bids must be with us, at the latest, by 13th June 4.00pm BST since the bids will be opened on the 14th June. 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 e-mail to the Bid Department.

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.

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 post or e-mail up to 13 June 2018, 4.00pm BST. The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331 Email sealedbids@summersplaceauctions.com

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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Invitation to consign to our next Home and Garden auction to be held on 25th September 2018 closing for receipt of entries Mid July 2018

For further details or to ask for a valuation please do not hesitate to contact us on Tel: +44(0)1403 331 331 or E-mail info@summersplaceauctions.com

Summers Place Auctions Ltd

SUMMERS PLACE BILLINGSHURST

Home & Garden

THE WALLED GARDEN

WEST SUSSEX

+44(0)1403 331 331

www.summersplaceauctions.com

12th/13th June 2018

RH14 9AB