Summers Place Auctions April sale 2015

Garden & Natural History 14 & 15 April 2015

Summers Place Auctions Ltd

Garden & Natural History Live Auction

SPECIALISTS AND AUCTION ENQUIRIES

Sale No GS047

Tuesday 14th April 2015 at 1.30 pm

Viewing

James Rylands MRICS

Rupert van der Werff MRICS

Specialist

Specialist

Tel +44 (0)1403 331334

Tel +44 (0)1403 331333

james.rylands@ summersplaceauctions.com

rupert.werff@ summersplaceauctions.com

Errol Fuller

Alistair Morris FRICS

Curator for Natural History

Consultant

errol.fuller@ summersplaceauctions.com

alistair.morris@ summersplaceauctions.com

Letty Stiles

Katharine Diment

letty.stiles@ summersplaceauctions.com

kate.diment@ summersplaceauctions.com

Tel +44 (0)1403 331336

Tel +44 (0)1403 331335

Sunday 12th to Monday 13th April 2015 and on the day of the sale 10 am to 4 pm or by appointment

Sealed Bid Auction

Sale No GE048

Bids opened on Thursday 16th April 2015 Bids should be with us by 5pm BST 15th April 2015

Viewing Sunday 12th to Wednesday 15th April 10 am to 4 pm Cost of catalogue £10 at the gallery; £15 by mail; £20 overseas

Front cover lot 85 Bidding online available at The saleroom.com with additional fee of 3%.

Back cover lot 94

Facebook.com/SummersPlaceAuctions Shipping enquires

Twitter.com/SummersAuctions

Tel: +44 (0)1403 331331

Instagram.com/summers_place_auctions Plus.google.com/s/summers_place_auctions Pinterest.com/summersauctions issuu.com/summersplaceautions

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

Fax: +44(0)1403 331340

IMPORTANT CONDITIONS RELATING TO THIS SALE C.I.T.E.S. 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.

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

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

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

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

Payment of Purchases Payment is due in sterling immediately after the sale and before purchases can be released.

Payments in person can be made in the saleroom on the day of the auction and thereafter. Payments may also be made by post, card transactions by telephone or electronic transfer to our bank.

Cash will not be accepted. For further details please see Buyers conditions of business in the back of the catalogue.

Collection and Storage On receipt of cleared funds, lots can be collected from the Walled

Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. Collection of lots by appointment. If Lots have not been collected within 35 days of the auction date then storage charges may be applied at a rate of £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.

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

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

is received in cleared funds.

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

by Summers Place Auctions Ltd 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.

Some items can be large and/or heavy and can be dangerous if mishandled. Should you wish to view or inspect any items more closely please ask for assistance from a member of Summers Place Auctions staff to ensure your safety and the safety of the property on view. Some items on view may be labelled “PLEASE DO NOT TOUCH”. Should you wish to view these items you must ask for assistance, from a member of Summers Place Auctions staff, who will be pleased to assist you.

Thank you for your co-operation.

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

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

For all lots marked with a †, ‡, α or Ω please refer to the VAT information pages at the back of the catalogue. For all lots marked with s and ´ please refer to the Guide for Prospective Buyers.

1

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

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

2

1 A pair of carved gritstone eagles late 19th/early 20th century 94cm.; 37ins high; 104cm.; 41ins wide ÂŁ3000-5000

3

2

3

A carved Portland stone armorial mythological beast

A pair of substantial carved stone gate pier balls

2nd half 19th century

19th century

107cm.; 42ins high

on associated granite socles

ÂŁ2000-3000

74cm.; 29ins high by 56cm.; 22ins diameter ÂŁ800-1200

4

4 A pair of carved Cotswold stone eagles 19th century 70cm.; 28ins high by 132cm.; 52ins wide ÂŁ6000-10,000

5

5

6

A rare carved stone armorial

A pair of fine bronze architectural fittings, possibly door knockers

probably Italian, 16th/17th century 76cm.; 30ins high ÂŁ1000-1500

French, 2nd quarter 19th century both indistinctly stamped Brigard, Paris 40cm.; 16ins high ÂŁ800-1200

6

7 A rare pair of painted bronze and cast iron boot scrapers circa 1840 with opposing bronze griffin monopodiae, set in cast iron oval base 28cm.; 11ins high by 33cm.; 13ins long

Most examples are made from cast iron and it is likely that this and the following pair would originally have stood within a covered portico or entranceway of a substantial residence and being made of bronze, they would be less exposed to the vagaries of the British weather.

8 A similar pair of bronze and cast iron boot scrapers ÂŁ600-1000

ÂŁ600-1000

7

9 A pair of terracotta caryatids Continental, 19th century restored 172cm.; 67½ins high £4000-6000

8

10 A rare Coalbrookdale hall stand circa 1870 fully stamped CBDale Co. and with diamond registration stamp and number 221cm.; 87ins high by 107cm.; 42ins wide Both illustrated in the 1875 Coalbrookdale cast iron catalogue section II the top as number 115 and the base as no. 26 page 201. (see engraving) ÂŁ2000-3000

9

11 A rare Victorian cast iron conservatory table circa 1870 the end stamped Welcome with associated slate top 165cm.; 65ins long ÂŁ2000-3000

10

12 A large painted pine slatted conservatory table early 20th century 347cm.; 137ins long ÂŁ1500-2500 13 A similar slightly smaller painted pine conservatory table early 20th century 309cm.; 122ins long ÂŁ1500-2500

11

14 A pair of rare Falkirk Foundry cast iron chairs circa 1860 each fully stamped Falkirk with plate numbers, pattern numbers 30 and 31 and diamond registration stamps Workers from the nearby Carron foundry established the Falkirk foundry in 1819. The foundry was close to the Carron Company and Andrew McClaren and company on the Firth of Forth on the east coast of Scotland. They maintained warehouses and retailing premises on Upper Thames Street in London to which the seats and other cast iron products could be transported by sea and then up the river Thames. Falkirk published a catalogue with Carron in 1900 in which it offered decorative iron ranging from benches and urns to hallstands. ÂŁ500-800 12

15 A pair of rare cast iron chairs circa 1870 with wooden seat 97cm.; 38ins high ÂŁ2000-3000

13

16 A Coalbrookdale Horse Chestnut pattern cast iron seat circa 1870 stamped Coalbrookdale 186cm.; 73ins wide

The design of this seat, number 217568, was registered and patented by the Coalbrookdale Iron Foundry at The Public Record Office on 23rd March 1868, and is number 46 in their 1875 Casting’s Catalogue, Section III, page 256 (see engraving). £4000-6000

14

17 A Coalbrookdale Horse Chestnut pattern cast iron and wooden seat circa 1870 fully stamped Coalbrookdale and with diamond registration stamp and number 186cm.; 73ins wide See footnote to previous lot ÂŁ1200-1800

15

18 A Coalbrookdale Laurel pattern cast iron seat circa 1870 fully stamped CBDale and Co and with model number and diamond registration stamp 120cm.; 47ins wide 16

This design, number 129358 was registered and patented at the Public Records Office on the 25th of May 1860 and is seat number 31 in their 1875 catalogue of castings, section III page 263. (see engraving). ÂŁ3000-5000

19 A Coalbrookdale Passion Flower pattern cast iron seat circa 1870 with diamond registration stamps and number 105cm.; 41½ins wide

This design, number 149230, was registered and patented at the Public Records Office on the 8th of February 1862 by Coalbrookdale and is seat number 32 in their castings catalogue of 1875. (see engraving) ÂŁ4000-6000

17

20 A Coalbrookdale Water Plant pattern cast iron seat designed by Christopher Dresser late 19th century stamped Coalbrookdale 191cm.; 75ins wide This design by Christopher Dresser no. 206162 was registered and patented by the Coalbrookdale Foundry at the Public Records Office on 18th February 1867 and is seat no.

45 in their 1875 Casting’s Catalogue, section II page 251 (see engraving) 18

Importantly, Christopher Dresser became the first ‘product designer’ in the modern sense. He founded a studio in 1860 which soon employed a dozen people, creating designs for ceramics, glass, metal, fabrics, carpets, linoleum, wallpaper and furniture. At the 1867 Universal Exhibition he exhibited a few of his own works, including this Water Plant pattern seat for Coalbrookdale.

George Himmelheber, Cast Iron Furniture, published Philip Wilson 1996, plate 166 £2500-4000

21 A Coalbrookdale cast iron seat late 19th century 122cm.; 48ins wide with diamond registration stamp and registration number 90929 This design number 90929

was registered and patented by the Coalbrookdale Foundry at the Public Records Office on 20th April 1853 and was seat no. 20 in their Castings catalogues

were normally reserved for export pieces being sent out to the colonies where the more common wooden seat slats were vulnerable to termites and other vermin.

(see engraving)

ÂŁ1000-1500

Unusually this seat has iron seating slats which

19

22 A Regency reeded wrought iron seat early 19th century 110cm.; 43ins long ÂŁ1000-1500

20

22A A rare Coalbrookdale cast iron stick stand circa 1870 with lift out tray, fully stamped CB Dale and diamond registration number and pattern number 64cm.; 25ins high by 66cm.; 26ins long Unusually it appears to retain its original ‘bronzed’ painted finish £800-1200

21

23 A pair of Coalbrookdale Fern and Blackberry pattern cast iron seats each indistinctly stamped CBDale and Co and with registration number and pattern number

Office on the 30th of April 1858 by Coalbrookdale and is seat number 29A in the castings catalogue of 1875, Section III page 254. (see engraving)

155cm.; 61ins wide

ÂŁ3000-5000

late 19th century

22

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

24 A pair of rare and monumental cast iron urns Spanish, late 19th century on later cast iron pedestals one bearing the manufacturer’s stamp J Comas Herms Barcelona the urns 114cm.; 45ins high by 153cm.; 60ins wide; 183cm.; 72ins overall £10,000-15,000

23

25 A pair of Val d’Osne foundry cast iron lidded urns on associated pedestals French, late 19th/early 20th century 160cm.; 63ins high overall A similar pair of urns are illustrated in the late 19th century Val d’Osne catalogue, plate 483, No. 19. (see engraving) Founded by J.P.Andre in 1835 and based at the Val d’Osne, in the HauteMarne, the company took over rival firms such as Barbezat and Ducel. The company exhibited at the Great Exhibitions of 1851 and 1862 as well as the Chicago Great Exhibition of 1893. £3000-5000

24

26 A pair of cast iron urns first half 20th century 115cm.; 45ins high A similar urn is illustrated in the Val d’Osne foundry catalogue late 19th century, plate 248, No 10350, (see engraving) £4000-6000

25

27

28

A cast iron fountain figure of the young Pan circa 1870

A rare and impressive Val d’Osne cast iron fountain

74cm.; 29ins high

late 19th century

£2000-3000

300cm.; 118cm high by 124cm.; 49ins wide The Val d’Osne foundry was established by J.P.Andre in 1835 and based at the Val d’Osne, in the Haute-Marne region of France. Over the coming decades the company took over rival firms such as Barbezat, J.J. Ducel and Durenne, becoming far and away the largest manufacturer of cast iron in France. The company exhibited at the Great Exhibitions of 1851 and 1862 as well as the Chicago Great Exhibition of 1893.

In 1889 the Societe Anonyme des Hauts Fourneaux and Fonderes du Val d’Osne published a mammoth 3 volume catalogue of engravings illustrating thousands of cast iron pieces across a huge spectrum, from railings and lamp posts to sculpture urns and fountains, in which this fountain is illustrated on plate 542 (see engraving). £20,000-30,000

26

Detail of underside of bowl

27

29

30

early 19th century

A Regency reeded wrought iron seat

A Regency reeded wrought iron tree seat in two halves

restorations

186cm.; 73ins wide

outside diameter 147cm.; 58ins, internal diameter 44cm.; 17ins

ÂŁ1200-1800

ÂŁ3000-5000

early 19th century

28

29

31 A Regency reeded wrought iron seat early 19th century 190cm.; 75ins wide ÂŁ1200-1800

30

32 A pair of carved white marble urns Italian, late 19th century 74cm.; 29ins high ÂŁ5000-8000

31

33 A pair of carved white marble urns 2nd half 19th century 73cm.; 29ins high by 62cm.; 24½ins diameter £2000-3000

32

34 An unusual carved Istrian stone trough Italian, 19th century 94cm.; 37ins high by 232cm.; 91ins long by 115cm.; 45ins wide ÂŁ4000-6000

33

35 A carved white marble urn Italian, late 19th century 109cm.; 43ins high ÂŁ5000-8000

36 A carved stone cylindrical trough 71cm.; 28ins high by 100cm.; 39ins diameter ÂŁ1800-2500

34

35

36

37 A white marble composite order capital wellhead carved in the antique manner 2nd half 20th century 85cm.; 33ins high by 94cm.; 27ins square ÂŁ5000-8000 38 A carved white marble fountain Italian, late 19th century 140cm.; 55ins high ÂŁ8000-12,000

37

39 A particularly large carved limestone trough 70cm.; 27½ins high by 236cm.; 93ins long by 110cm.; 43ins deep £3000-5000

38

40 A large rectangular carved stone trough 64cm.; 25ins high by 183cm.; 72ins long by 92cm.; 36ins deep ÂŁ5000-8000

39

41 A pair of Victorian carved Cotswold stone basket planters on stands circa 1870 117cm.; 46ins high ÂŁ3000-5000

40

42 A Blashfield stoneware urn on pedestal circa 1870 the urn and pedestal fully stamped The Stamford Terra Cotta Company (Blashfield’s Limited, Stamford) 155cm.; 61ins high John Marriott Blashfield, remarked in his essay Account of the History and Manufacture of Ancient and Modern Terracotta (1855) that he had been inspired to make a kind of artificial stoneware by seeing the kind of pieces for which Mark Blanchard had been awarded prizes at the Great Exhibition of 1851. He obtained Letters Patent in 1854 for “Improvements in the Manufacture of China, Pottery, Bricks” and other articles, made for the most part from clay and again in 1860 for “improvements in burning pottery and china ware”. He had a manufactory in Millwall, Poplar with a sales outlet at No. 1 Praed Street, Edgware Road, London, but moved to Stamford, Lincolnshire in 1859, to be nearer the clay-beds. He won medals for Terra Cotta, in the glass and pottery and architectural objects classes at the International Exhibition in 1862 and a silver medal at the Paris International Exhibition of 1867. One of the most important commissions with which he was involved was supplying architectural terracotta for the decoration of the new Museum of Fine Arts in Boston, but this undertaking stretched his resources too far and by 1874 the Stamford Terracotta Company works, machinery as well as models and moulds were for sale; it finally closed in 1875. £2500-4000

41

43 After the Antique: A pair of rare and monumental Coade stone Medici and Borghese urns stamped Coade Lambeth, one indistinctly dated 1815, on Portland stone pedestals 259cm.; 102ins high Eleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769, and appointed the sculptor John Bacon as its manager two years later.

She was employed by all the leading late 18th Century architects. From about 1777 she began her engraved designs, which were published in 1784 in a catalogue of over 700 items entitled A Descriptive Catalogue of Coade’s Artificial Stone Manufactory. Then in 1799, the year she entered into partnership with her cousin John Sealy, she issued a handbook of her Pedlar’s Lane exhibition Gallery. The firm became Coade and Sealey from

42

this date and following Sealey’s death in 1813, it reverted to Coade and in 1821 with the death of the younger Eleanor Coade, control of the firm passed to William Croggan, who died in 1835, following bankruptcy. Coade’s manufactures resembling a fine-grained natural stone, have always been famed for their durability.

The Medici and Borghese urns are illustrated in the 1784 Coade catalogue, Nos 81 & 82. (see engraving).

The Borghese Urn was recorded in the garden of Carlo Muti in 1594 by Flaminio Vacca who added that it had been discovered along with the Silenus and Infant Bacchus on Muti’s estate near present day Casino Massimo. In 1645 the urn had found its way into the Villa Borghese where it stayed until purchased by Napoleon in 1807. By 1811 it was on display in the Louvre where it remains today.

43

From the mid 17th to the late 19th Century the Medici and Borghese urns or “vases” were the most admired of all the antique models and were often paired together.

The Medici urn is first recorded in 1598 in the inventory of the Villa Medici, Rome although there is evidence that it was there at least thirty years earlier. In 1780 it was removed to Florence and soon entered the Uffizi where it remains today. It is believed that the original was executed in the second half of the first century A.D.

Urn in situ extreme left of image at Newtown Park House

Provenance: Newtown Park House, Dublin, Bought on 20th September 1976, at an auction held by Christie, Manson & Woods Ltd., and Hamilton and Hamilton and thence by descent.

A photocopy of the catalogue title page and photographs of the urns are available to the purchaser.

For further information on Newtown Park House, go to; http://www.newtownparkhouse.ie/about-us/history £50,000-80,000

44

45

The following six lots would have originally stood in the triangular pediment of a Victorian building with standing figures in the middle and the reclining figures forming the left and right hand ends

44

45

46

A carved Portland stone figure of a reclining classical maiden holding an armorial shield

A carved Portland stone figure of a seated maiden

circa 1900

circa 1900

107cm.; 42ins high

145cm.; 57ins high

A similar carved Portland stone figure of a girl in Elizabethan dress holding a model castle

ÂŁ1000-1500

ÂŁ800-1200

183cm.; 72ins high ÂŁ1500-2500

46

47

48

49

A carved Portland stone figure of a classical maiden

A carved Portland stone figure of Plenty holding a cornucopia

A carved Portland stone figure of a classical maiden holding a floral festoon

circa 1900

110cm.; 43ins high

147cm.; 58ins high, together with a carved stone architectural element carved with a griffin head

ÂŁ1000-1500

circa 1900 176cm.; 69ins high ÂŁ1500-2500

circa 1900

30cm.; 12ins high ÂŁ1000-1500

47

50 After the Antique: A Chiurazzi Foundry bronze figure of Bacchus Italian, circa 1900 weathered green patination, on marble base 60cm.; 24ins high The original bronze was discovered in the excavations at Pompeii and is now in the Naples Museum. A similar bronze is illustrated in the Chiurazzi Foundry catalogue, published in the early 20th century, No 89 ÂŁ1500-2500

48

51 A bronze figure of a boy bagpipe player circa 1900 variegated green patination 34cm.; 13ins high ÂŁ1200-1800

49

52 An unusual lead figure of a girl Northern European, circa 1900 148cm.; 58ins high ÂŁ3000-5000

50

53 A carved white marble group of a boy and a kid circa 1860 Indistinctly signed Spencer **** 91cm.; 36ins ÂŁ4000-6000

51

54 After Gayrard: A terracotta model of a Lurcher early 20th century 33cm.; 13ins high by 66cm.; 26ins long After an original in bronze by Paul Joseph Gayrard, 1807-1855, this model was first exhibited in 1848 ÂŁ1500-2500

52

55 A large terracotta Griffin circa 1900 seated supporting an armorial shield 160cm.; 63ins high ÂŁ2500-4000

53

56 A pair of Royal Doulton stoneware figures of Flora and Pomona modelled by John Broad circa 1900 stamped Doulton Lambeth 115cm.; 45ins high These figures are illustrated in the early 20th Century Doulton & Co. Ltd catalogue figures no 722 & 723. ÂŁ2500-4000

57 A set of three Compton terracotta apple pots early 20th century with small circular manufacturer’s stamp 41cm.; 16ins high by 53cm.; 21ins diameter 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 54

Association, a voluntary movement launched by Earl Brownlow in 1885 to revive the dying art of handicraft among the working classes. The idea was that young uneducated artisans should have their eyes opened to the wonders of art. They would be rescued from idleness, gambling and drinking – so the notion ran – during

long winter evenings.

Uplifted and taught how to use their hands with skill they would acquire a hobby to be proud of and develop this hitherto unknown talent, where possible to professional standards. The Pottery Art Guild continued from strength to strength, winning medals at the Royal Botanical Society and the Home Arts’

highest award, the gold cross. They received architectural commissions from Lutyens, Clough William-Ellis and Goodhart Rendel.

Recommended by Jekyll, they made miniature versions of their pots for the garden of Queen Mary’s dollshouse in the early 1920’s. The Guild became a limited company run by George

Aubertin and continued to produce works based on Mrs Watts’ designs until after her death in 1938.

These Apple pattern pots are illustrated in the Art Potters Guild catalogue page 11.

Literature: The Watts Chapel, An Arts and Crafts Memorial by Veronica Franklin Gould, Arrow Press, Farnham, Surrey £1500-2500 55

58 A carved marble table 1950s 200cm.; 75ins long ÂŁ2000-3000

56

59 Sergio Bustamante 1960’s Fox Copper 97cm.; 38ins long

Born in Mexico, Sergio Bustamante had his first exhibition in 1966 and in 1975 along with other artists, established the "Family Workshop Studio" in Tlaquepaque, Jalisco, Mexico.

Over the subsequent years, his style has developed to include everything from jewellery to large scale sculpture.

produced a wide variety of metal animal sculptures of which the most well known were parrots on perches.

The style of this fox is typical of his early work in the 1970’s when he

£2000-3000

57

60 ▲ Clare Sheridan: An Art Deco bronze fountain group of four fish signed Clare Sheridan and dated 1938, fish mouths plumbed for water, weathered variegated green patination 122cm.; 48ins high Clare Sheridan (born as Clare Consuelo Frewen; also known as Clare Consuelo Sheridan), was born in London in 1885, the daughter of Moreton Frewen of East Sussex and his American wife, the former Clarita “Clara” Jerome. Her mother was the elder sister of Lady Randolph Churchill. She married Wilfred Frederick Sheridan in 1910; they had three children.

Wilfred Sheridan was a Lieutenant in the Rifle Brigade, who was killed while leading his men at the Battle of Loos in 1915.

Her godmother and namesake was Consuelo Vanderbilt, Duchess of Marlborough.

After the death of her second child, Elizabeth, in 1914, Sheridan sculpted a weeping angel as an outpouring for her grief. It was from this piece of art that she discovered an ability for sculpting, and after the death of her husband a year later, she

58

moved from France to London to study under John Tweed and Professor Edouard Lanteri.

While visiting America, Sheridan had a love affair with Charlie Chaplin and enjoyed friendships with Princess Margaret of Sweden, Lord and Lady Mountbatten, Lady Diana Cooper, Vita SackvilleWest and Vivien Leigh.

Her famous bust of her first cousin Sir Winston Churchill, can be found at Blenheim Palace, Chartwell, Harrow School and Hastings Town Hall.

She enjoyed an amicable relationship with Churchill, though her support for the October Revolution caused them to break ranks politically in the 1920s during which time she was invited by a Soviet Russian trade delegation on a visit to London to travel to Moscow and make busts of notable revolutionaries including Vladimir Lenin and Leon Trotsky. The author Robert Service, in his 2009 book, claims that she had an affair with Trotsky who signed and dedicated a painting of himself to her.

Sheridan’s dalliance with known Soviet agents earned her the suspicions of the Security Service.

She earned an MI5 file

that noted: “She has conducted herself in a disloyal manner in various foreign countries, adopting a consistently anti-British attitude.” In 1925 Sheridan moved to Algiers, where it was noted by MI5 that “she appeared to be comfortably off and debtfree for the first time in 10 years”. After returning to live in Belmont House in Hastings, Sussex where she died in 1970 at the age of 84, having outlived two of her three children. £5000-8000 61 A pair of unusual stoneware seated hounds late 19th century 56cm.; 22ins high, with later ebonised wood and brass lamp fittings £1200-1800

59

62

by 259cm.; 8ft 6ins long

Andy Sinclair

Andrew has lived in South Africa and worked in Europe and as in this example is influenced by the sculptors of the renaissance. He lists the Earl and Countess of Leicester, Oldham City

Durer’s Rhino Bronze resin Signed and numbered from an edition of 3 193cm.; by 6ft 4ins high

60

Council, Christopher Moran of Crosby Hall, publisher Felix Dennis, Georgio Logothetis of Lomar Shipping, Royal Ascot racecourse and Royal Caribbean amongst his clients.

He has work in private and corporate collections in the UK, USA, Norway, Greece, Holland and South Africa and has exhibited in London and the Home Counties. ÂŁ20,000-30,000

63 Dido Crosby Iron Stag Cast iron signed edition 5 of 6 205cm.; 80½ins high by 222cm.; 87½ins wide by 110cm.; 43¼ins deep £12,000-18,000

61

64

65

Martin Williams

Martin Williams

Resting

Seasonally Plump

Portland stone

Bronze on Portland base

Signed

32cm.; 12½ins high by 15cm.; 6ins wide by 13cm.; 5ins deep including base

Unique 52cm.; 20½ins high by 35cm.; 13¾ins wide by 22cm.; 8½ins deep £2000-3000 62

£1200-1800

66 Lynn Warren Thought Wave Bronze Signed and numbered 3 of 9 145cm.; 57ins high by 58cm.; 23ins wide by 28cm.; 11ins deep ÂŁ3500-4500

63

67 Chang Feng Gallop Bronze Signed edition 54 of 99 40cm.; 15½ins high by 62cm.; 24½ins wide by 17cm.; 6½ins deep £3000-5000

64

68 Chang Feng Outstanding Bronze Signed edition 21 of 66 40cm.; 15½ins high by 62cm.; 24½ins wide by 17cm.; 6½ins deep £3000-5000

65

69 Tessa Cambell-Fraser Bishop and Bear Marble resin 34cm.; 13¼ins high by 57cm.; 22½ins wide by 28cm.; 11ins deep £4000-6000

66

70 Isaac Kahn, Born Lithuania 1950 Bird on Chair Bronze Signed and numbered from an edition of 9 155cm.; 61ins high by 55cm.; 21½ins wide by 55cm.; 21½ins deep Isaac Kahn was born in 1950 in Kaunas, Lithuania. When he was 14 he moved to Israel where he enrolled in Art College before moving to Uruguay in 1973 where he continued his studies at the University of Plastic Arts in Montevideo. In 1975 at the age of 25 he presented his first one man exhibition in the exhibition hall of Montevideo where one of his works was purchased by the widow of the President of Uruguay. In 1984 he began working in Italy before settling there in 1991. He opened a gallery in Verona showing his work. He has exhibited widely and his work can now be found in public and private collections in the USA, South America, Israel, Europe, Japan and Korea. £6000-8000

67

71 Bill Harling, Born 1946 Someone Bronze Signed and numbered 1 from an edition of 6 70cm.; 27½ins high William Harling was born in Middlesborough and was trained in art, design and sculpture at Maidstone College, graduating in 1969.

William has been involved in a variety of commercial, industrial and art projects, including sculptural signage, theatre and rock stage sets, airport furnishings and car design & manufacture. Now a full time sculptor based in Hove, William has exhibited at ‘Brighton festival Fiveways Open Studios, has had a one man exhibition at Worthing Museum Art Gallery and displays in various commercial galleries and regional group shows. £6000-8000

68

72 Bill Harling, Born 1946 Self made Man Bronze resin 106cm.; 42ins high by 44cm.; 17ins wide by 43cm.; 16žins deep £2000-3000

69

73 Chen Ting Hung Sweet Home Bronze Signed edition 14 of 36 48cm.; 19ins high by 26cm.; 10ins wide by 15cm.; 6ins deep ÂŁ3000-5000

70

74 Chen Ting Hung Well-Matched Couple Bronze Signed edition 67cm.; 26ins high by 35cm.; 14ins wide by 17cm.; 6½ins deep £4000-6000

71

75

76

Ann Vrielinck, Born 1966 Belgium

Ann Vrielinck, Born 1966 Belgium

Arrange Bronze edition of 49 69cm.; 27ins high by 220cm.; 86½ins wide by 70cm.; 27½ins deep Ann Vrielinck was born in Varsenare, Belgium in 1966.

She was educated at the Academy of Fine Arts in Bruges, then obtained a higher degree in Painting from the Sint-Lucas Institute in Ghent after four years of studying with the Dan Van Severen Studio. Vrielinck subsequently completed further courses in restoration of paintings and ceramics, then obtained a teaching degree which has led her back to lecturing at the Academy of Fine Arts. Much of her work is based around ballet, dance and movement. £4000-6000

72

Chat Bronze Last available edition from 49 145cm.; 57ins diameter £12,000-15,000

73

77 † Wilfred Pritchard Acrobats Bronze Signed Unique 295cm.; 116ins high by 146cm.; 57½ins wide by 68cm.; 26¾ins deep £12,000-18,000

74

78 Victor Halvani, Born Egypt 1930 Hope Bronze Signed and numbered 4 from an edition of 6 310cm.; 122ins high by 370cm.; 145½ins wide by 130cm.; 51ins deep Victor Halvani was born in Egypt in 1930 to a

traditional Jewish family. His works reflect his childhood interest and passion for ancient Egyptian art, and the beauty and spirituality inspired by Biblical stories.

He studied at the Zamalek Academy of Art, Cairo, and won scholarships to further study at the Bezalel Academy of Art, Israel, and Hammersmith College of Art, London. (MA, Sculpture).

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

Halvani was elected to

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

His work has been exhibited, and is held in collections in the USA, Canada, Japan, Israel, France and London. ÂŁ20,000-30,000

75

76

79 Diane Coates Naughty Angel Bronze 60cm.; 23½ins high by 65cm.; 25½ins wide by 63cm.; 25ins deep As well as working in a commercial sculpture and casting studio, Diane has fulfilled many private and corporate commissions, including life size bronze figures. As a member of The Surrey Sculpture Society, Diane is involved in organising and exhibiting at their exhibitions in RHS gardens and National Trust properties throughout Surrey, Sussex, Berkshire and Oxfordshire. £5000-8000

80 Sean Crampton Accusing Angel Bronze Edition 25 of 36 59cm.; 23¼ins high by 37cm.; 14½ins wide by 12cm.; 4¾ins deep £2000-3000

77

81 ▲ “The lovers stand side by side, their arms about each other, gazing in awe at a world made new by love.

David Wynne born 1926

Washed of all thought, they seem like innocent travellers from a far off land. The dappled colours flow from one figure to the other and down the trunk-like legs into the ground.”

Norwegian rose marble

Lovers 174cm.; 68½ins high by 104cm.; 41ins wide by132cm.; 52½ins deep David Wynne OBE, 1926-2014 was one of Britain’s best loved sculptors of the 20th Century. Educated at Stowe School he then served in the Royal Navy during World War II and read Zoology at Trinity College, Cambridge, before taking up sculpture professionally in 1950.

In London alone, Wynne was responsible for a huge number of important public commissions. He carved one of the capital’s best-loved animal figures, Guy the Gorilla, in Crystal Palace Park (1961). He sculpted the iconic Boy with a Dolphin at the Chelsea end of Albert Bridge, (1974) and Girl with a Dolphin outside Tower Bridge. (1973). Elsewhere he sculpted the Tyne God fountain in Newcastle upon Tyne; (1968), Christ and Mary Magdalene at Ely Cathedral; (2000) and a Risen Christ for the front of Wells Cathedral, one of his most famous commissions. (1985) His portraits included the Queen and the Prince of Wales, (1970) Sir John Gielgud, (1962), Sir Yehudi Menuhin, (1963), Sir Thomas Beecham (who said the piece reminded him of all the mistakes his orchestra had made in the previous 10 years), (1956), the four Beatles (1964) and the Maharishi Mahesh Yogi (whom he introduced to the group), as well as the Derby-winning racehorse Shergar.

In 1973 he designed the linked hands on the 50p pieces that marked Britain’s entry into the European Community. Some of Wynne’s most striking pieces were designed for garden settings. He created works for the Abbey Gardens at Tresco, including Gaia, a sculpture made from South African marble, which has a South African planting around it. The Prince of Wales was so taken by the figure he commissioned a similar piece, called Goddess of the Woods, for his gardens at Highgrove.

Equally as versatile in bronze, stone or marble, this unique group of The Lovers, fits into the earlier part of his oeuvre. He made the first maquettes, I-IV for The Lovers in plaster and then bronze in 1964,

78

before revisiting the idea in 1965 Maquette V and 1966 with maquettes VI and the VII which was cast in bronze in an edition of 6.

The cover of T. Boase’s definitive book David Wynne’s Sculpture 1949-1967 shows the plaster Lovers maquette VII with this Norwegian rose marble group in an unfinished state in Wynne’s studio. (see picture above).

Wynne always took particular care in his choice of materials.

A commission in 1957 for the façade of the Taylor Woodrow headquarters in London resulted in a distinctive 100 ton block of granite being blasted from a Cornish quarry and being worked on in the rough in situ before being precariously transported to Wynne’s studio in Wimbledon. Likewise, when Pepsi Cola gave him carte blanche for a large piece, he spent three weeks in the Rocky Mountains and came out with a plan for a grizzly bear fashioned from a 36-ton block of marble.

The beautifully variegated colours of this Norwegian Rose marble act as the perfect counterpoint to the simplicity of line in the piece, whilst on a more basic level, the soft glowing pink of the marble demonstrates the colour of love. The group was finally finished in 1970 and shipped to its new home in Chicago, Illinois.

Provenance: Christie’s, New York, 11th July 2006, lot 219 Literature: David Wynne’s Sculpture 1949-1967, T.S.R. Boase, Michael Joseph, 1968, front cover and page 147.

The Sculpture of David Wynne 1968-1974 Phaidon Press, 1974, including 14 pages of illustrations of this group.

£20,000-30,000

79

82 Richard Cresswell Caprice, Stainless steel, Signed edition 1 of 9 350cm.; 137žins high by 280cm.; 110ins wide by 150cm.; 59ins deep Cresswell has a background in design and engineering, prior to his decision to take a career break and study art at Warwick College of Art and Birmingham City University.

Recent Exhibitions include; 2012 Delamore Arts, Ivybridge, Devon Rococo gardens, Painswick, Gloucestershire Art in the Garden, Broomhill Art Hotel 2010 Showborough House outdoor sculpture event, 1st prize 2009 The London group open exhibition Mennier Gallery. Awarded John Jones overall winner BCU degree show. ÂŁ10,000-15,000

80

83 Henrietta Bud Colouring in the Grass and Sky Wood and steel Signed HB 200cm.; 78¾ins high by 180cm.; 71ins wide by 20cm.; 7¾ins deep Henrietta has a degree in History of Art from Cambridge University and studied Fine Art in London and Brussels. She works with a variety of materials including stone, wood, metals and ceramics £3000-5000

81

84 John Atkins FRBS Searchlights Steel Unique 400cm.; 157½ins high approx Since leaving the RCA in London, where his entrance on the MA Sculpture course was personally funded by Henry Moore, Atkin has exhibited his work worldwide.

Recent publications on Atkins’ output focus on the notion of “industrial archaeology” with discreet references to cultural heritage within the contemporary landscape.

Publications include The Navigator; Scorched Earth; Distant Voices; Cut; The Made and The Unmade.

Atkins’ research interest lies in the interaction of people with artworks that change a space into a place. In this way, the community secures a landmark for the area and a meeting point for all generations and cultures.

In recent years, Atkin has been invited to present the keynote paper at the Sculpture by the Sea Symposium at the Art Gallery of NSW, Sydney, Australia. He also exhibited a new, major sculpture, at the Sculpture by the Sea , capitalizing on earlier exhibitions at MOMA @ Heide, Melbourne: and Rex Irwin Gallery, Sydney: simultaneously exhibiting at Soho Galleries, Sydney.

82

An example of his current work, entitled Strange Meeting, has been commissioned by Beijing Municipal Government, to celebrate the cultural emphasis of the Olympics “One World One Dream” ethos in Olympic Park, Beijing. This 27-ton marble & granite artwork forms part of an exhibition of twenty-six artists selected from a global application of 2600 people. £20,000-30,000

85 Ivan Black Blue Squares Aluminium kinetic with powder coated spray finish Unique 300cm.; 118ins high by 120cm.; 47¼ins wide by 120cm.; 47¼ins deep £10,000-15,000 see also front cover

83

86 Paul Hancock Water Harp Bronze Signed Unique 100cm.; 39他ins high by 100cm.; 39他ins wide by 30cm.; 11他ins deep 贈6000-10,000

84

87 Frederic Cheverin Rêveur Bronze Edition of 9 66cm.; 26ins high by 32cm.; 12½ins wide by 24cm.; 9½ins deep £8000-12,000

85

88 Michael Thacker, Born 1977 Lincoln Ancaster, weatherbed limestone and gold leaf 99cm.; 39ins high by 32cm.; 12½ins wide by 13cm.; 5ins deep £4000-6000

86

89 Martyn Barratt Marble Cocoon I Marble garden bench Signed Unique 50cm.; 19ins high by 180cm.; 70¾ins wide by 50cm.; 19½ins deep

Barratt studied wood and stone carving and gilding at London Art School, and an MA in architecture at East London University. His work explores the forms found in fossils, seeds and shells, and he is inspired by the presence and recurrence of these forms in all areas of the natural world. His work has been exhibited internationally, and has completed commissions for many prestigious clients including the BBC and the Palace of Westminster. He was elected to the Royal Society of British Sculptors in 1993, and director for the Burghley Sculpture Garden in 1997 £3000-5000

87

90 Jonathan Loxley, Born 1960 Destiny Honey Onyx on anodised aluminium base Unique 147cm.; 57¾ins high by 91cm.; 35¾ins wide by 26cm.; 10ins deep on base of 55cm.; 21½ins high Between 1979 and 1981, Loxley studied marble sculpture techniques in Florence, Italy. After leaving education, Loxley painted stage sets and created sculptures for film and theatre sets. He worked on set design for cult films such as Labyrinth and A Fish Called Wanda. In 1989, Loxley established a studio in Carrara, Italy. Since then, he has had several exhibitions in Italy, and across Europe. In 1993, he was commissioned by David Bowie to create a sculpture to celebrate Bowie’s marriage to Iman.

In 1999, Loxley took part in The Shape of the Century – 100 Years of Sculpture in Britain at Canary Wharf, London.

His work has also been featured at the Hampton Court Flower Show and Henley Art Show, both in 2001. £12,000-18,000

88

91 Jonathan Loxley, Born 1960 Nexus II Zebrano marble on enamelled aluminium base 190cm.; 74¾ins high by 65cm.; 25½ins wide by 30cm.; 11¾ins deep. £6000-8000

89

92 An impressive Amethyst geode Brazil 122cm.; 48ins high on wooden stand ÂŁ12,000-18,000

90

93 A large Lapis Lazuli specimen Afghanistan 51cm.; 20ins high by 32cm.; 12½ins wide £5000-7000

91

94 A rare bumble bee Jasper slice Indonesia 31cm.; 12ins high ÂŁ2000-3000 see also back cover

92

95 An exceptionally large Fuchsite specimen Brazil 73cm.; 29ins high ÂŁ5000-8000

93

96 A large rose Quartz sphere Madagascar 26cm.; 11ins diameter ÂŁ2000-3000

94

97 A Stromatolite sphere Boliva 22cm.; 8½ins diameter £1500-2500 95

98 A Sodalite specimen Brazil 64cm.; 25ins high ÂŁ2500-4000

96

99 An exceptional mottled Agate slice Bazil on metal easel stand 80cm.; 31½ins high overall £3500-5000

97

100 A Labradorite sphere Madagascar presented on a velvet cushion 23cm.; 9ins diameter ÂŁ2000-3000 98

101 An Obsidian freeform sculpture Mexico on ebonised base 66cm.; 26ins wide ÂŁ4000-6000

99

102 An Agate slice Brazil 41cm, 16ins high; 65cm, 25ins wide; ÂŁ1500-2500

100

103 A massive smokey Quartz specimen Brazil 73cm.; 29ins by 42cm.; 16½ins by 63cm.; 25ins £12,000-18,000

101

104

105

A large labradorite freeform

A large Labradorite specimen

Madagascar 33cm.; 13ins by 25cm.; 10ins £1200-1800

Madagscar 25½cm.; 10ins high by 23cm.; 9ins wide £1500-2000

106 A Malachite freeform on ebonised base Congo together with a Chrysocolla on ebonised base malachite 28cm.; 11ins high, Chrysocolla 23cm.; 9ins high £800-1200 102

107

108

A Tiger iron specimen Western Australia

A large green Calcite specimen

43cm.; 17ins wide

Mexico

ÂŁ1000-1500

43cm.; 17ins high ÂŁ1500-2500

103

109 An Albite and Mica double sided specimen Brazil on ebonised base 43cm.; 17ins high ÂŁ1500-2500

104

110 A large Gypsum specimen Brazil on anodised base 86cm.; 34ins high overall ÂŁ3000-5000

105

111 Two Chrysanthemum stones China on wooden stands the larger 46cm.; 18ins high ÂŁ800-1200

106

112 A citrine Amethyst geode Brazil 65cm.; 25½ins high £2000-3000

107

114 A Chalcopyrite, Galena and Quartz specimen Bulgaria 26cm.; 10¼ins high £800-1200

113 A Gypsum specimen on ebonised base Mexico 51cm.; 20ins high £800-1200

108

115

116

117

A Dioptase specimen

A Kayanite specimen

Two Quartz points

Namibia

Brazil

Brazil

on stand

on stand

the longer 37cm.; 14½ins

19cm.; 7½ins high

27cm.; 10½ins high

£400-600

£600-1000

£400-600

109

118

120

A red Vanidianite, black Barite and Calcite specimen

A Calcite specimen

Morocco 30cm.; 11¾ins high £1000-1500 119 A Chrysocolla specimen Chile 30cm.; 11¾ins high £550-750

110

Brazil 25cm.; 10ins high £700-900

121

122

A pink Barite, Galena and Calcite specimen

A Pyrite and Quartz specimen

Morocco

Morocco, on stand

on stand

31cm.; 12¼ins high

34cm.; 13¼ins high £800-1200

£1000-1500 123 A Quartz specimen Brazil 28cm.; 11ins high £700-900 111

124

126

An Amethyst “flower” specimen

A Barite specimen

Brazil on stand 26cm.; 10¼ins high £900-1200 125 A quartz specimen Brazil 28cm.; 11ins high £550-750

112

Morocco on stand 31cm.; 12¼ins high £900-1200

127

128

A Hemimorphite specimen

A Malachite specimen Congo

China

on stand

on stand

30cm.; 11¾ins high

28cm.; 11ins high

£900-1200

£900-1200

113

129

130

A Calcite “Nail Head” specimen

An unusual Calcite specimen

China

32cm.; 12½ins high

33cm.; 13ins high

£1200-1800

£800-1200

114

131 A suite of fossilised furniture Indonesia, Miocene comprising table with chrome legs together with four stools table 135cm; 55ins ÂŁ4000-6000

115

132 A fossil wood slice Arizona, Triassic 50cm.; 20ins wide ÂŁ1200-1800

133 A fossil wood slice Arizona, Triassic 55cm.; 22ins wide ÂŁ800-1200

116

134 A tree slice Indonesia, Miocene mounted on nickle base 80cm.; 31½ins high £1500-2500

117

135 A large conglomerate Pectin plaque Marseilles, Miocene 97cm.; 38ins high ÂŁ3000-5000

118

136 A pair of Ammonite slices Jurassic, Upper Volga, Russia 29cm.; 11½ins £2500-4000 137 Two Oviraptor dinosaur eggs China, Jurassic 14cm.; 6ins long £500-800 119

138 A dragonfly plaque Solnhofen, Germany, Jurassic 19cm.; 7½ins square, the specimen 8.5cm.; 3¼ins long £1000-1500 139 A sea scorpion plaque (Eurypterus remipes) Herkimer County, New York, USA, Silurian the plaque 18cm.; 7ins high by 12cm.; 4¾ins, the specimen 14cm.; 5½ins long £400-600 140 A Keichousaurus hui plaque Guizhou, China, Triassic 20cm.; 8ins high by 12cm.; 4¾ins, the specimen 15cm.; 6ins long £400-600

120

141 An old Red sandstone fossil fish plaque, Pterichthyodes milleri Scotland, Devonian with old labels to reverse 24cm.; 9½ins high by 20cm.; 8ins wide £250-400

142 A Pachydiscus ammonite Baja, Mexico, Upper Cretaceous 45cm.; 17½ins high £1500-2500 143 A Fossil crab (Harpactocacinus puntatus) Verona, Eocene the specimen 18cm.; 7ins wide £1000-1500

121

145 A Victorian blonde turtle shell 2nd half 19th century on iron stand 74cm.; 29ins long 144 A Walrus skull

£2000-3000

146

Canada, modern

A mammoth tusk

with CITIES certificate

Tamyr peninsular, Siberia

51cm.; 20ins long

Ice Age

£1500-2500

outside curve 115cm.; 45ins long, on iron stand £5000-8000

122

147 An Ice Age Cave Bear (Ursus Speleus) Carpathian mountains, Romanian, Ice Age mounted on steel frame 246cm.; 97ins high ÂŁ14,000-18,000

123

148

150

An Osprey (Pandion haliaetus) attributed to H Ward

A Pheasant by Peter Spicer

mid 19th century

with unusual plumage, signed and dated 1926

80cm.; 31½ins high by 89cm.; 35ins wide

53cm.; 20¾ins by 71cm.; 28ins

£1500-2500

Pheasants in unusual or freak plumage were often preserved by taxidermists.

149

£800-1200

A long eared and short eared owl late 19th century 61cm.; 24ins square £600-1000

124

151 A magnificent half cased lion (Panthera leo)

by Rowland Ward with label detailing weight 516lb shot on the Athai Plains, East Africa, Protectorate by the late rear Admiral Montgomerie Oct 15 18**, in bamboo framed case 108cm.; 42½ins high by 93cm.; 36½ins wide by 93cm.; 36½ins deep £16,000-20,000

125

153 A mounted Gharial (Gavialis gangeticus) head by Edward Gerrard Indian, early 20th century the head 75cm.; 29½ins high £1200-1800

152 A cased half mount tiger by Rowland Ward 178cm.; 70ins high by 104cm.; 41ins wide by 72cm.; 28¼ins deep £5000-8000 126

154 A Van Ingen and Van Ingen mounted Leopard head (Panthera pardus) Indian, early 20th century with remnants of label to reverse, ivorine plaque to side of shield the shield 60cm.; 23½ins high

155 A Van Ingen and Van Ingen mounted Leopard head (Panthera pardus) Indian, early 20th century reverse of shield stamped with label sheild 48cm.; 19ins high £1800-2500

£1800-2500

127

156 A large mounted Tiger’s head (Panthera tigris) possibly by Theobald Bros Indian the shield inscribed Siroor-Nilgiri Hills December 1901 length in life 175cm.; 9ft 5ins, the shield 49cm.; 19¼ins high £3000-5000 128

GLOSSARY OF TERMS

The following are examples of the terminology used in this catalogue. Any statement as to authorship, attribution, origin, date, age provenance and condition is a statement of opinion and is not to be taken as a statement of fact.

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

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

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

Manner of Antonio Canova

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

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

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

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

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

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

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

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

129

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

130

(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.

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

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

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

VAT Refunds VAT may be cancelled or refunded on export if strict conditions are met. For advice, please contact 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 s will be subject to payment of the Artist’s Resale Right, at a percentage of the hammer price calculated as follows: Portion of the hammer price (in €) Royalty Rate From 0 to 50,000 4% From 50,000.01 to 200,000 3% From 200,000.01 to 350,000 1% From 350,000.01 to 500,000 0.5% Exceeding 500,000 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to a maximum royalty payable of €12,500 for any single work each time it is sold. The maximum royalty payable of €12,500 applies to works sold for €2 million and above. Calculation of the artist’s resale right will be based on the Pounds Sterling / Euro reference exchange rate quoted on the date of the sale by the European Central Bank.

Property with a ´ symbol.

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

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

It is advisable to consult us nearer the time of sale as estimates can be subject to revision. The estimates printed in the auction catalogue do not include the buyer’s premium or VAT. Provenance In certain circumstances, Summers Place Auctions Ltd may print in the catalogue the history of ownership of a work of art if such information contributes to scholarship or is otherwise well known and assists in distinguishing the work of art.

However, the identity of the seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded to accommodate a seller's request for confidentiality or because the identity of prior owners is unknown given the age of the work of art.

131

C.I.T.E.S. 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.

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

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

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

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

Bidding in Person To bid at auction you must register with us to obtain a bidding number. Before the auction, fill in the form at the registration desk, provide proof of identity, and you may be given a paddle showing your bidding number. This paddle should be used for bidding. The auctioneer will note this number when you purchase a lot Live Auctions 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.

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

132

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. The fax number for absentee bids is 00 44 (0)1403 331340.

Telephone bids If you cannot attend the auction, it is usually possible to bid on the telephone on lots with a minimum low estimate of £1,000.

You will need to have registered your details with us 5 days before the auction. As the number of telephones is limited, it is necessary to make arrangements on which lots you wish to bid on, at least 24 hours before the sale. We also suggest that you leave a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues.

Sealed bids For further information see pages 136 & 137.

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 and thereafter.

Payments may also be made by post, card transactions by telephone or electronic transfer to our bank. Cash will not be accepted. Summers Place Auctions Ltd welcome the following methods of payment:

Credit/Debit Card We are pleased to accept major credit cards (regrettably we are unable to accept American Express or Diners Club card payments), for which a surcharge will be made of 3% of the transaction total. This is to cover the charge made to us by our bank. There is no charge for payments made by debit card.

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

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

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

Summers Place Auctions also reserves the right to charge storage fees of £10 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 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 1. INTRODUCTION (a) The contractual relationship of Summers Place Auctions Ltd and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from Summers Place Auctions Ltd (iii) Summers Place Auctions Ltd ‘s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer's announcement. (b) As auctioneer, Summers Place Auctions Ltd acts as agent for the Seller. Occasionally, Summers Place Auctions Ltd may own or have a financial interest in a lot.

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

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

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

133

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.

Auctions Ltd’s other commitments; Summers Place Auctions Ltd is therefore not liable for failure to execute such bids.

Telephone bidding may be recorded.

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

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).

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

134

7. CONDUCT OF THE AUCTION (a) The auctioneer has discretion to refuse bids, withdraw or reoffer 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.

(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.

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 may be stored at the Buyer's expense and risk at Summers Place Auctions Ltd’s premises or in independent storage. (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, Summers Place Auctions Ltd will re-sell the lot by auction or privately, with estimates and reserves at Summers Place Auctions Ltd’s discretion. The sale proceeds, less all Summers Place Auctions Ltd’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction.

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.

135

SUBSCRIPTIONS

Sealed Bid – How it works

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

Catalogues are printed approximately 4-5 weeks prior to the sale date and are mailed to subscribers immediately.

Live/Sealed Bid sale £10 if collected from Summers Place Auctions Gallery Please tick appropriate box and return to Summers Place Auctions Ltd Sales

No of Sales

UK

Rest of World

Garden & Nat. History June & Sep 2015*

2

£25 n

£35 n

Evolution (Nat. History) Nov 2015

1

£15 n

£20 n

All of above

3

£35 n

£50 n

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

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

Email..........………………………………………………

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

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

Next give us your bid(s). This can be done by filling in the bidding slip found in your catalogue. If you are sending your bidding slip to Summers Place Auctions by post, please mark the envelope “Sealed Bid” so that we know it contains a sealed bid and do not open it accidentally. Bids may also be sent by e-mail. If you choose to send the bid electronically, please e-mail sealedbids@summersplaceauctions.com . This is a closed mailbox and will not be opened before the advertised time. However, we strongly recommend that if you have not viewed the sale in person, that you ask for condition reports on any lots you are thinking of leaving bids on.

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 16th April 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 than 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.

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

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

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

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

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

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

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

136

An auction price is made up of different components: the winning bid is called the “hammer price”; A commission, which is in addition to the “hammer price”, is payable to the auctioneers. This is known as the buyers premium, on which VAT is also payable. Lots marked with s 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 †.

Sealed bid auction lots 301-763 All sealed bids must be with us, at the latest, by 5pm BST on the 15th April since the bids will be opened on the 16th April.

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 page 136.

302 A two very large granite spheres modern 100cm.; 39ins diameter £800-1200

301 A Macfarlane and Co. cast iron gate circa 1860 stamped Walter Macfarlane and Co., Glasgow and with diamond registration stamp 150cm.; 59ins high by 89cm.; 35ins wide An identical gate is illustrated in the Macfarlane’s Castings Catalogue 1882 Volume 1, page 294 number 920 (see engraving) £500-800

303

36cm.; 14ins diameter

A collection of six composition stone spheres

£900-1200

137

304 A pair of Victorian cast and wrought iron gates late 19th century stamped C Downing, Barnsley 156cm.; 61½ins high by 340cm.; 134ins wide overall £1500-2500

305 † A pair of Victorian wrought iron gates late 19th century incorporating a side gate 230cm.; 91ins high by 343cm.; 135ins wide overall £1000-1500

306 A pair of wrought iron gates circa 1860 together with cast iron uprights 280cm.; 110ins opening £300-500

138

307 A cast and wrought iron gate circa 1870 160cm.; 63ins high by 130cm.; 51ins wide £300-500 308

309

A pair of Art Deco wrought iron and bronze interior gates

A pair of composition stone gatepier balls

1930s together with a pair of uprights

modern 84cm.; 33ins high £750-1000

the gates 167cm.; 66ins high by 128cm.; 50½ins wide by 166cm.; 65½ins wide overall £1000-1500

139

310 A set of four monumental Doric order Verdi Antico and white marble columns late 19th century 366cm.; 144ins high £3000-5000 311 A pair of carved limestone fruit basket finials last quarter 20th century 74cm.; 29ins high £2000-3000 312 A pair of carved stone finials circa 1900 76cm.; 30ins high £400-600 313 A pair of bronze mounted Skyros marble columns late 19th century 216cm.; 85ins high by 41cm.; 16ins square at top by 39.5cm.; 15½ins square at base £2000-3000

140

141

314 A pair of painted composition stone figure gatepier eagles possibly Austin and Seeley, mid 19th century 84cm.; 33ins high £400-600 315 A pair of carved Bathstone ionic order capitals 18th century 64cm.; 25ins square £800-1200 316 A pair of composition stone acorn finials early 20th century 56cm.; 22ins high £800-1200 317 A similar pair of composition stone acorn finials 56cm.; 22ins high £800-1200

142

318

320

A Brèche marble door surround

An unusual Coadestone corner pilaster capital

19th century

the underside with impressed mark Croggon, London, 1832

outside measurements 261cm.; 103ins by 163cm.; 64ins £300-500

58cm.; 23ins high by 76cm.; 30ins wide See also lot 43

319

£2000-3000

A pair of impressive Edwardian mahogany six panel doors circa 1900 painted on one side with Neo-Classical decoration 220cm.; 86½ins high by 104cm.; 41ins wide £1500-2500 143

321 A Rococo style gilt brass hexagonal lantern early 20th century

323

with frosted glass panels

A cast iron stick stand of the young Hercules strangling a snake

61cm.; 24ins high £900-1200 322 A large wrought iron lantern French, circa 1900 160cm.; 63ins high £1000-1500

144

circa 1870

Iron Furniture, Philp Wilson 1996, plate 317 Unusually this example appears to retained its original polychrome paint finish

with lift out with drip tray

£600-1000

84cm.; 33ins high

324 ▲

An identical stick stand had been attributed to Sheffield, Edwin & Thorphilus Smith registered 12/7/1866. See George Himmelkeber Cast

Charles Wheeler Tragedy and Comedy Portland stone keystone Unique 77cm.; 30ins high by 45cm.; 17½ins wide by 22cm.; 8½ins deep

Sir Charles Thomas Wheeler KCVO, PRA (1892- 1974) Wheeler was first sculptor to hold the Presidency of the Royal Academy (from 1956 to 1966). In 1912 he won a scholarship to the Royal College of Art where he studied under Edouard Lanteri. For World War I Wheeler was classified as unfit for active service and instead modelled artificial limbs for war amputees.

He came to specialize in portraits and architectural sculpture. He became RA in 1940 and PRA in 1956.

Perhaps his most well known work is the bronze fountains in Trafalgar Square. £1200-1800 325 A pair of composition stone Adam style finials 2nd half 20th century 54cm.; 21ins high £500-800 326

327

A similar pair of finials

A pair of inlaid mahogany and patinated brass radiator covers

£500-800

French, early 20th century each with hinged side doors 92cm.; 36ins high by 112cm.; 43ins long by 34cm.; 13½ins deep £3000-4000

145

328 A monumental carved Portland stone Royal Coat of Arms 1950’s 168cm.; 66ins square £2500-4000 329 A pair of carved white marble tabernacle frames Italian, 19th century 67cm.; 26ins high by 47cm.; 18½ins wide £800-1200 330 A carved white marble plaque carved in relief of a woman in classical dress early 19th century 117cm.; 46ins high by 86cm.; 34ins wide £800-1200

146

331

333

A set of four carved Portland stone plaques

A Georgian carved marble arched armorial plaque

1950’s the largest 53cm.; 21ins square £800-1200

dated 1753 87cm.; 34ins high by 97cm.; 38ins wide £600-1000

332 After Thorwaldson: A set of four lead plaques representing the Seasons mid 20th century 70cm.; 27½ins diameter, together with four wooden stands £2000-4000

147

336 A collection of Pulhamite stone 19th century

335 Three carved stone pedestals 334 A carved sandstone architectural corbel

19th century

30cm.; 12ins high by 60cm.; 24ins long

including one oval 55cm.; 22ins high by 91cm.; 36ins wide, one circular sandstone plinth, 38cm.; 15ins high by 56cm.; 22ins diameter at top, and a Portland stone column pedestal 95cm.; 37ins high

£1500-2500

Removed from Sefton Park, Liverpool

North Country, probably late medieval circa 1500

£500-800 148

The Pulham company was established in 1820 but made terracotta from around 1846 on into the 20th Century, with workshops in Broxbourne, Hertfordshire. By the 1880’s the company was concentrating on garden and landscape ornaments.

A catalogue of 1915, indicates that their wares were made of “Pulhamite” stone, which, “is considered the best material for all designed stonework in connection with the garden for the following reasons: Pulhamite stone is more durable than natural stone, for it never decays and never shells or flakes, cement is not used in its composition, it is a lighter substance, making more elegant productions than any other so called artificial stone”. The company held appointments to H.M. King Edward VII, H.M. King George V and H.M. Queen Alexandria. £1200-1800

337 A cast iron timber and slate pavilion (made-up) using Victorian and recycled components 518cm.; 204ins high by 558cm.; 220ins diameter ÂŁ15,000-25,000

149

338 A carved limestone and wrought iron rotunda modern 400cm.; 157ins high by 270cm.; 106ins diameter This lot is being sold in situ in Gloucestershire, viewing by appointment ÂŁ6000-10,000

150

339 † An octagonal wrought iron gazebo 2nd half 20th century 305cm.; 120ins high by 274cm.; 108ins wide £1000-1500 340 Carved Rock Bath Granite 86cm.; 34ins high by 140cm.; 55ins wide by 136cm.; 53½ins deep £800-1200 341 A circular wrought iron strapwork seat English, modern with treillage canopy 266cm.; 105ins high by 182cm.; 72ins diameter £2000-3000 342 An identical wrought iron strapwork seat with treillage canopy £2000-3000 343 A wrought and cast iron bridge (made-up) incorporating 19th century elements 155cm.; 61ins high by 335cm.; 132in long £2500-4000

151

152

344 A wrought iron house sign stand 1st half 20th century surmounted by a pheasant 157cm.; 62ins high £400-600 345 A Victorian cockerel wrought iron weathervane late 19th century 226cm.; 86ins, the cockerel 60cm.; 24ins high

349

£500-800

Two Bourgogne stone bollards

346 A Victorian wrought iron weathervane

19th century 68cm.; 27ins high £300-500

late 19th century surmounted by a horse and rider

350 †

£600-1000

A harlequin set of four Cornish granite staddlestones

347

average height 71cm.; 28ins high

280cm.; 110ins high

A set of three staddlestone bases

£500-800

each inscribed with the letter R

351

63cm.; 25ins high

A wrought iron treillage frame

£200-400

mid 20th century 348

210cm.; 83ins high

Two carved staddlestones

£600-1000

the larger 94cm.; 37ins high £300-500 153

352 An unusual sheet and cast iron model of a locomotive mid 20th century 211cm.; 83ins long £600-1000 353 A group of four rare carved limestone olive press rollers France, 18th century or earlier the tallest 105cm.; 41ins £1500-2500 354 A wrought iron wine rack French, 2nd half 19th century holding 600 bottles with hinged front doors 165cm.; 66ins high by 100cm.; 39ins wide by 58cm.; 23ins deep £100-200 154

356 A carved limestone cooler 355 A K6 telephone box mid 20th century cast iron and glazed 230cm.; 91ins high

Southern France, 19th century 166cm.; 65ins long by 74cm.; 29ins wide Troughs of this sort were reputedly used in the cognac making process.

Originally designed by the architect Sir Giles Gilbert Scott, the K6 was introduced in 1926

ÂŁ1000-1500

ÂŁ200-400

A rare cast iron butchers shop sign bracket

357

probably French, mid 2nd half 19th century 71cm.; 28ins high ÂŁ1200-1800

155

361 An Arras wrought iron hinged five tier plant stand late 19th century 100cm.; 39ins wide, together with an unusual hinged wrought iron and wood campaign armchair, 2nd half 19th century and two pairs of arras style wrought iron tree guards, 2nd half 20th century £400-600 358

359

362

A W N Pugin: A rare monumental Victorian Gothic cast iron water hopper

A pair of similar Victorian Gothic cast iron corner hoppers

A pair of Victorian cast iron lion newel post terminals

dated 1844

36cm.; 14ins high

dated 1845

112cm.; 44ins high by 46cm.; 18ins square

£800-1200

112cm.; 44ins high by 80cm.; 32ins wide Provenance: Reputedly designed for the Palace of Westminster and removed from the courtyard of an accommodation block during the alterations in the 1980’s £600-1000

Provenance: See footnote to previous lot £800-1200

363 A Victorian cast iron framed handlight English, circa 1880 with fitted glazed panels

360 A similar smaller Victorian Gothic cast iron corner hopper dated 1845 92cm.; 36ins high by 37cm.; 14½ins wide Provenance: See footnote to previous lot £300-500

156

circa 1880

46cm.; 18ins square £200-300 364 A large Regency cast iron boot scraper English, circa 1815 with lion paw scroll feet, palmettes and star motifs, on rectangular stone base 35cm, 13½ins high by 43cm, 17ins long

This form of scraper, set to stone, of the type seen on the steps of No. 10 Downing street £500-800 365 A substantial early Victorian cast iron boot scraper circa 1840 61cm.; 24ins wide £500-800 366 An unusual wrought iron conservatory stand 1st half 19th century 208cm.; 82ins long £500-800

157

367 † A carved granite rectangular trough 55cm.; 21½ins high by 175cm.; 69ins long by 84cm.; 33ins deep £2000-3000 368 † An unusual curved rectangular granite trough 38cm.; 15ins high by 222cm.; 87½ins long by 73cm.; 29ins deep £1500-2500 369 A carved Brèche marble double sink French, 2nd half 19th century 28cm.; 11ins high by 130cm.; 51ins long by 49cm.; 19¼ins deep £800-1200

158

370 A pair of Walter Macfarlane Foundry cast iron planters circa 1870 stamped Walter Macfarlane, Glasgow, with later tin liners 61cm.; 24ins high by 104cm.; 41ins long by 50cm.; 20ins deep Walter Macfarlane and Co, also known as the Saracen Foundry, was the most important manufacturer of ornamental ironwork in Scotland. Founded in Glasgow by Walter Macfarlane I (1817-85), the firm opened its first premises in 1850, in Saracen Lane, behind the Saracen Head Inn, in the Gallowgate.

They specialized in the production of drinking fountains, bandstands, lamp standards, prefabricated buildings and architectural crestings and ornament.

371 A cast iron cylindrical trough with ring handles circa 1860 stamped Ransome and Sims 122cm.; 48ins wide £500-800 372 A rare William IV Board of Ordnance cast iron powder cistern with Ordnance Coat of Arms, Admiralty Arrow and dated 1831 54cm.; 21ins high by 99cm.; 39ins long by 51cm.; 20ins deep £600-1000

£2000-4000 159

373 A pair of composition stone planters on stands 2nd half 20th century 81cm.; 32ins high by 115cm.; 45½ins long £600-1000 374 A set of four composition stone square shallow planters 2nd half 20th century 64cm.; 25ins square £1000-1500 375 † A Georgian lead Adam style jardinière the period 18th century front with later back and sides 30cm.; 12ins high by 96cm.; 38ins long £250-400

160

376

378

A carved stone cylindrical trough

A pair of composition stone Pope urns

60cm.; 24ins high by 83cm.; 33ins diameter

late 20th century

£1200-1800 377 † A pair of Georgian style lead cisterns early 20th century each bearing the date 1757 50cm.; 20ins high by 79cm.; 31ins long by 34cm.; 13½ins deep £1000-1500

122cm.; 48ins high These urns are copied from William Kent’s original design for Alexander Pope’s garden at Twickenham. The design is illustrated in Vardy’s Some Designs of Mr. Inigo Jones and Mr William Kent, 1744. Pope’s garden, overlooking the Thames, was laid out by him over twenty five years. It became one of the most original contributions to garden design ever made in this country. £1200-1800

161

379

380

A pair of large composition stone urns on pedestals

Two carved cylindrical stone planters

242cm.; 95ins high overall

the larger 40cm.; 16ins high by 63cm.; 25ins diameter

ÂŁ2000-3000

ÂŁ250-400

20th century

381 A carved limestone tazza urn on pedestal modern 107cm.; 42ins high ÂŁ1000-1500 162

382 A pair of composition stone lidded urns 2nd half 20th century on shallow plinths 122cm.; 48ins high ÂŁ1500-2500 383 A pair of large Doulton stoneware urns late 19th century stamped Doulton and Co., Lambeth, Ltd. 81cm.; 32ins high ÂŁ1200-1800

163

384

386

A pair of carved Cotswold stone urns

A carved white marble urn

19th century

late 19th century

46cm.; 18ins high by 48cm.; 19ins diameter

53cm.; 21ins high by 75cm.; 29½ins wide

£600-1000

£1500-2500

385

387

A white marble urn/fountain

A pair of large composition stone planters

Italian, late 19th century mounted on brèche marble plinth 70cm.; 27½ins high by 70cm.; 27½ins diameter £2000-3000

2nd half 20th century each containing specimen trees 74cm.; 29ins high by 94cm.; 37ins diameter £600-800

164

388 A set of six composition stone planters 2nd half 20th century each containing a box specimen the planters 60cm.; 24ins high ÂŁ1200-1800 389 A pair of large composition stone planters last quarter 20th century the pots 84cm.; 33ins high, planted with specimen box trees approximately 200cm.; 79ins high overall ÂŁ2000-3000

165

390 A carved white marble Campana shaped urn late 19th century on associated carved stone pedestal 153cm.; 60ins high ÂŁ2000-3000 391 A composition stone urn on associated later pedestal early 20th century 164cm.; 64ins high ÂŁ2000-3000 392 A large stoneware clam shell bowl by Philip Thomason of Cudworth modern 113cm.; 43ins wide ÂŁ800-1200

166

393 A square composition stone planter 1950s 44cm.; 17½ins high by 48cm.; 18½ins square £200-400 394 A carved Bourgogne stone planter French, 2nd half 19th century 53cm.; 21ins high by 99cm.; 39ins long by 50cm.; 19½ins deep £1200-1800 395 A pair of large terracotta storage jars 20th century 132cm.; 52ins high £1500-2500

167

396

398 †

A large carved limestone tapering cylindrical planter

A pair of sandstone cylindrical planters

modern

modern

92cm.; 36ins high

50cm.; 20ins high by 85cm.; 33ins diameter

£1000-1500

£800-1200 397 A pair of composition stone urns

399 †

2nd half 20th century

A pair of substantial sandstone cylindrical wellhead/planters

100cm.; 39ins high

modern

£250-400

75cm.; 29ins high by 90cm.; 35½ins diameter £1500-2500

168

400 A Handyside cast iron urn circa 1860 99cm.; 39ins diameter with brass makers plaque inscribed A Handyside and Co Ltd. London and Derby It is very unusual for Handyside pieces to bear a manufacturers plaque.

The firm of Andrew Handyside was established in Derby in 1806 at the Great Exhibition, they exhibited Medici vases, bacchanalian vase and a bronzed vase decorated with busts of Peel, Nelson, Watt, Wellington, Stephenson, Scott, Shakespeare and Milton, and a fountain. At the time the foundry was described as being “from the magnitude of its operations is second to none in England” in 1873 incorporated at a Limited Company. They produced two catalogues one possibly in 1850 and one in 1873. This item is illustrated in the 1850 catalogue no. 9 £700-1000

401 A pair of cast iron urn base planters late 19th century with possibly associated socles 65cm.; 25ins high by 71cm.; 28ins diameter £800-1200 169

402 A cast iron Medici urn probably Handyside foundry 2nd half 19th century 75cm.; 30ins high, together with a faux tree trunk terracotta pedestal, late 19th century 60cm.; 24ins high ÂŁ1000-1500 403 A square copper planter modern now planted with an olive tree (Olea europaea) the planter 61cm.; 24ins high by 89cm.; 35ins square, overall including tree 244cm.; 96ins high ÂŁ1500-2500 404 A cast iron urn, possibly Handyside Foundry 2nd half 19th century 76cm.; 30ins high ÂŁ250-400

170

405 A pair of large cast iron buckets late 19th/early 20th century 152cm.; 60ins high overall by 114cm.; 45ins diameter £2000-3000 406 A graduated set of seven washing coppers 19th century the largest 46cm.; 18ins high by 62cm.; 24½ins diameter £1000-1500

171

407

410

A composition stone basket planter

A set of four Whichford pottery terracotta basketweave planters

French, mid 20th century 84cm.; 33ins high £600-800

last quarter 20th century

408

with manufacturer’s stamp

A pair of hand thrown terracotta basketweave planters late 20th century

£500-800

48cm.; 19ins high, with box specimens 110cm.; 43ins high overall

411

£800-1200 409 A pair of hand thrown terracotta basketweave planters late 20th century

172

52cm.; 20½ins diameter

A similar pair of Whichford pottery terracotta basketweave planters together with another larger pair

58cm.; 23ins high

58cm.; 23ins diameter

£800-1200

£500-800

412 An unusual terracotta planter early 20th century 46cm.; 18ins high £250-400 413 A pair of hand thrown terracotta planters late 20th century 77cm.; 30ins high £200-300 414 A pair of terracotta baskets of fruit early 20th century 48cm.; 19ins high £400-600

416 A terracotta planter French, early 20th century

415 A terracotta planter

91cm.; 36ins diameter £600-1000

French, early 20th century 56cm.; 22ins high £300-500

173

417

418A

A set of four wooden Versailles planters

A pair of rare and unusual cast iron plant stands

46cm.; 18ins high by 35cm.; 13½ins square £250-400 418 A similar pair of wooden Versailles planters 55cm.; 21½ins high by 45cm.; 17½ins square £250-400 174

2nd half 19th century arranged on three tiers 198cm.; 78ins high by 107cm.; 43ins wide £3000-5000

419 † A pair of oval lead planters with rams head terminals early 20th century 69cm.; 27ins long, together with a D-shaped planter, early 20th century decorated with mask and acanthus 43cm.; 17ins high by 76cm.; 30ins long by 52cm.; 20½ins deep

Literature: The pot of the type described by Thomas Hill in his book The Gardeners Labyrinth, published 1577 £100-200 420

£500-800

A composition stone bowl on stand

419A

late 19th/early 20th century

A replica 16th century pottery watering pot

102cm.; 40ins high by 94cm.; 37ins diameter, together with a pair of carved stone planters, 20th century 36cm.; 14ins, and another larger Gothic stone planter, 41cm.;16ins

inscribed to edge Sotheby’s Summers Place, West Sussex 30cm.; 12ins high Provenance: Produced to accompany a garden exhibition in the early 1990’s. One of a limited edition of 12 pots

£500-800

421 † A Val d’Osne foundry cast iron bird bath French, circa 1870 the cast iron figure of a putto supporting an associated lead bowl, on later composition stone base 127cm.; 50ins high by 64cm.; 25ins diameter £1000-1500 175

422

424

A Victorian cast iron rounded rectangular trough

A Victorian sandstone font bowl

circa 1860

with lead liner

with maker’s stamp Barford & Perkins Makers Peterborough

56cm.; 22ins high

40cm.; 15½ins high by 130cm.; 51ins long

£200-400 425

£600-1000

A carved white marble fountain bowl

423 †

Italian, 19th century

A D-shaped lead planter

corner masks drilled for water

mid 20th century the front bearing the date 1738 46cm.; 18ins high by 135cm.; 53ins wide by 81cm.; 24ins deep £500-800

176

circa 1860

23cm.; 9ins high by 51cm.; 20ins wide £600-1000

426 A composition stone pool surround with york stone flagging 2nd half 20th century internal diameter 366cm.; 144ins; overall diameter including flagging 548cm.; 208ins £2000-3000 427 A three-tier cascade fountain made-up incorporating 19th century carved stone troughs with a later lead grotesque animal head spout, 150cm.; 59ins high by 220cm.; 86ins wide by 80cm.; 31½ins deep £4000-6000

177

428

430 †

A composition stone dolphin fountain incorporating a 19th century zinc scallop shape bowl

A rare Austin and Seeley composition stone and lead fountain

106cm.; 42ins wide £800-1200 429 An unusual cast iron fountain/urn 2nd half 19th century 61cm.; 24ins high £600-800

178

the mid 19th century composition stone base with later lead scallop bowl 140cm.; 55ins high by 97cm.; 38ins diameter £2500-4000

431

433

A terracotta fountain group of two children with an umbrella

A staddlestone base incorporating an associated dished bird bath top

late 20th century umbrella plumbed for water

86cm.; 34ins high £200-400

165cm.; 65ins high £1200-1800

434

432

A Victorian carved sandstone font

A carved limestone wall fountain with lead spout

circa 1870

modern

107cm.; 42ins high by 84cm.; 33ins wide

165cm.; 65ins high by 140cm.; 55ins wide

base lacking, on associated granite stone socle

£2200-3500

£300-500 179

435

436

After Moreau: A bronze fountain figure of a putto representing Africa

A stoneware bird bath

late 20th century crocodile mouth plumbed for water, variegated green patina 79cm.; 31ins high ÂŁ1000-1500

late 19th century 102cm.; 40ins high ÂŁ400-600 437 A Coalbrookdale style cast iron fountain 2nd half 20th century 183cm.; 72ins high ÂŁ400-600

180

438 A carved limestone fountain group Northern European, late 19th/early 20th century with associated plinth, fish mouth plumbed for water 150cm.; 59ins high ÂŁ2000-3000

439 A cast iron fountain circa 1870 132cm.; 52ins high

Although also made by French foundries, this model appears in the 1875 Coalbrookdale Foundry Catalogue section II page 536 No. 119. (see engraving) ÂŁ1200-1800

181

440

442

A composition stone triton fountain

A zinc fountain figure of a boy

20th century

possibly Fiske Foundry, American, late 19th century

100cm.; 39ins high £1200-1800

70cm.; 27½ins high £600-1000

441 † A composition stone lion mask

443

late 20th century

A Rococo style lead fountain mask

76cm.; 30ins high £200-400

early 20th century 46cm.; 18ins high £300-500

182

444

445

446

A Bath stone cast iron and copper armillary sundial

A carved stone and bronze armillary sundial

A carved stone armillary sundial

made-up

early 20th century

173cm.; 68ins high

with associated base and later armillary

with later cast wrought iron and copper armillary

ÂŁ800-1200

186cm.; 73ins high

163cm.; 64ins high

ÂŁ1200-1800

ÂŁ1200-1800

circa 1900

183

447

448

449

A rare stoneware sundial

A Victorian carved stone sundial

A Georgian style Edwardian carved Portland stone sundial pedestal

early 20th century with later bronze dial, the base indistinctly stamped W. Mea*** Manufac*** Burgess Hi** 128cm.; 50ins high This rare model is likely to have been made by a brick manufacturer almost certainly in Burgess Hill, West Sussex as a special commission or trade example to be shown at exhibitions advertising other domestic clay wares, such as bricks and architectural fittings. £800-1200 184

late 19th century with 11in bronze dial 117cm.; 46ins high overall £800-1200

circa 1900 on canted square plinth, dial missing 116cm.; 45½ins high £300-500

450

452

A pair of substantial carved granite and white marble pedestals

A stoneware pedestal

late 18th/early 19th century

restorations

116cm.; 46ins high £1000-1500 451 A pair of composition stone Ionic order composition stone column pedestals

possibly made by Pulham, late 19th century 94cm.; 37ins high £400-600 453 Two white and veined marble pedestals 20th century

2nd half 20th century

the larger 77cm.; 30ins high

155cm.; 51ins high

£100-200

£500-800 185

454

456

A pair of impressive Japanese bronze urns

A pair of Siamese bronze temple dogs

Meiji period (1868-1912)

20th century

with zinc liners

107cm.; 42ins high

102cm.; 40ins high

£500-800

£2500-4000 455 A pair of carved stone dogs of Fo South-East Asian, 2nd half 20th century 48cm.; 19ins high £600-800

186

457 A pair of bronze temple guardian dogs Siamese, early 20th century 84cm.; 33ins high ÂŁ600-1000 459 458 A granite Kasuge lantern Japanese, Meiji Period (1868-1912)

A carved granite Kasuge lantern Japanese, mid 20th century

200cm.; 79ins high

164cm.; 65ins high, together with a carved granite storm lantern, mid 20th century

ÂŁ400-600

76cm.; 30ins high

central lantern section missing

ÂŁ400-600

187

460 A carved sandstone curved seat modern 376cm.; 148ins wide ÂŁ2000-3000 461 A pair of large semicircular composition stone benches French, mid 20th century 200cm.; 79ins wide ÂŁ2000-3000

188

462

464

A pair of carved white marble bench supports

A carved white marble bench

Italian, circa 1900

made-up incorporating 19th century elements

42cm.; 16½ins high by 44cm.; 17½ins long

127cm.; 50ins wide

£500-800

£1000-1500

463

465

A pair of white marble benches

A composition stone table

Italian, circa 1900

last quarter 20th century

150cm.; 59ins wide

137cm.; 54ins diameter

restorations to one

£800-1200

£1200-1800

189

466 A carved limestone bench modern 183cm.; 72ins wide £800-1200 467 A similar carved limestone bench modern £800-1200 468 † A carved oval limestone table late 20th century 182cm.; 72ins long £2000-3000 469 A carved limestone seat with overscroll arms modern 200cm.; 79ins long £500-800

190

470 A large carved limestone curved seat modern 340cm.; 134ins long £3000-5000 471 A substantial composition stone seat 2nd half 20th century 222cm.; 87½ins wide £1000-1500

191

472 A wrought iron and glass bench 20th century 228cm.; 89ins long £500-800 473 A large teak seat modern 338cm.; 133ins long £800-1200 474 † A pair of Luytens style carved hardwood seats modern 166cm.; 65ins long £800-1200 475 An unusual Gaze Burvill oak table last quarter 20th century 186cm.; 73ins wide, together with a Gaze Burvill oak seat 183cm.; 72ins long £300-500

192

476 † A suite of carved hardwood furniture modern comprising extending parasol table 242cm.; 95ins long extended by 100cm.; 39½ins together with eight elbow chairs £1200-1800 477 A suite of hardwood furniture 2nd half 20th century comprising seat, 151cm; 59½ins long, together with two chairs and a rectangular table, 88cm.; 33½ins long £400-600

193

478 A curved wrought iron seat 2nd half 19th century restored 155cm.; 61ins wide ÂŁ1200-1800 479 A pair of wirework seats circa 1900 156cm.; 61ins wide ÂŁ500-800 480 No Lot

194

481 A pair of wrought iron and mesh rocking chairs 2nd half 20th century 170cm.; 67ins long ÂŁ1200-1800 482 A Regency reeded wrought iron seat early 19th century 114cm.; 45ins wide ÂŁ800-1200

195

483

486

A Regency style wrought iron tree seat in two halves

A rare cast iron and wood parasol seat

modern

198cm.; 78ins wide

external diameter 211cm.; 83ins internal diameter 120cm.; 47½ins

The end supports incorporate holes originally housing a parasol shade.

£600-1000

late 19th century

£300-500 484 A pair of unusual wrought iron deck chairs early 20th century £300-400 485 A Coalbrookdale style Oak and Ivy pattern cast iron seat 20th century 153cm.; 60ins wide £500-800

196

487 A pair of rare Carron Foundry cast iron seats circa 1870 with indistinct foundry marks 190cm.; 75ins wide Founded by Dr John Roebuck, Samuel Garbett and William Cadell in 1759, the company initially concentrated on producing cannon in reaction to the decline of production in the Sussex Weald. In 1764 John Adam, brother of architect Robert, became a partner and the company started to produce more decorative designs. The company was involved with many significant projects including manufacturing the cylinders for James Watts first steam engine. In 1773 the Company was granted a Royal Charter and became a major supplier of cannon during the Napoleonic wars to the extent that the firm had its own fleet of armed ships to transport the

cannon from Scotland to the Woolwich arsenal. By the mid 19th century the company had expanded the range to include garden seats, stick stands and fire grates.

This seat is illustrated in the late 19th Century Carron Foundry catalogue No 15 (see engraving) £600-1000 488 A suite of Val d’Osne foundry cast iron furniture circa 1860 the seat 142cm.; 56ins long £1000-1500

197

489 A Coalbrookdale Gothic pattern cast iron seat late 19th/early 20th century 155cm.; 61ins long £500-800 490 A Coalbrookdale style Gothic pattern cast iron seat 2nd half 20th century 186cm.; 73ins wide £1200-1800 491 An unusual cast iron pub table late 20th century with wooden top, the undertier stamped Blackwell, Edgbaston St., B’ham £150-250

198

492 A pair of Gaskill and Chambers Viking pattern pub tables late 19th century with wooden tops 64cm.; 25ins diameter ÂŁ300-500 493 A rare Gaskill and Chambers cast iron table with rectangular marble top circa 1860 stamped Gaskill and Chambers 170cm.; 67ins long ÂŁ400-600

494 A cast iron and marble table the 19th century base with later marble top 160cm.; 63ins diameter ÂŁ1500-2500

199

495

498

A Coalbrookdale cast iron seat

A pair of Coalbrookdale style cast iron seats

late 19th century

mid 20th century

with diamond registration stamp and number

124cm.; 49ins wide

122cm.; 48ins wide £500-800 496 A Coalbrookdale style rustic cast iron seat early 20th century 127cm.; 50ins wide £300-500 497 A Coalbrookdale Rustic pattern cast iron seat circa 1870 in pieces, lacking slats £300-500 200

£600-1000

499 A composition console table modern in the form of a Romanesque wellhead section 72cm.; 28ins high by 106cm.; 42ins long by 53cm.; 21ins deep £600-1000 500 A pair of rare Victorian cast iron and marble tables 2nd half 19th century with replaced marble tops 61cm.; 24ins diameter £800-1200

501 A pair of unusual cast iron tables with veined marble tops 2nd half 19th century

the underside with indistinct maker’s stamps and numbers tops 107cm.; 32ins long by 53cm.; 21ins wide £600-1000 201

502 A rootwood throne Modern 174cm.; 68½ins high by 164cm.; 64½ins wide by 45cm.; 17½ins deep £800-1200 503 A rootwood throne Modern 120cm.; 47ins high by 140cm.; 55ins wide by 100cm.; 39¼ins deep £800-1200 504 Willy Guhl, Swiss: A pair of fibre cement chairs after a 1954 design 2nd half 20th century These chairs were produced between 1954 and 1980. £1200-1800 505 A pair of antler and hide stools Modern 60cm.; 23½ins high by 40cm.; 15¾ins wide by 40cm.; 15¾ins deep £800-1200

202

506 Penny Harding Glass table Stainless steel and glass Unique 75cm.; 29½ins high by 65cm.; 25½ins wide by 65cm.; 25½ins deep £800-1200 507 Richard Cresswell Butterfly Seat Powder-coated steel 170cm.; 67ins high by 210cm.; 82½ins wide by 80cm.; 31½ins deep £2000-3000

203

508 Richard Cresswell Volkswagen Beetle bench Powder coated steel 135cm.; 53ins high by 175cm.; 68¾ins wide by 65cm.; 25½ins deep

204

Cresswell has a background in design and engineering, prior to his decision to take a career break and study art at Warwick College of Art and Birmingham City University.

Recent Exhibitions include; 2012 Delamore Arts, Ivybridge, Devon Rococo gardens, Painswick, Gloucestershire Art in the Garden, Broomhill Art Hotel

2010 Showborough House outdoor sculpture event, 1st prize 2009 The London group open exhibition Mennier Gallery. Awarded John Jones overall winner BCU degree £2000-3000

The following 31 lots were recently removed from the world famous Camden Lock Market in London.

They were all originally commissioned in the early 1990’s as fixtures in the 3 storey indoor market hall designed by architect John Dickinson.

Camden Lock Market is situated by the Regent’s Canal on a site formerly occupied by warehouses and other premises associated with the canal.

By the early 1970s the canal trade had ceased and a northern urban motorway was planned that would cut through the site, making any major permanent redevelopment impossible, and in 1974 a temporary market was established. By 1976, when plans for the motorway were abandoned, the market had become a well-known feature of Camden Town.

Originally, the Lock was a market for crafts, occupying some outdoor areas by the canal and various existing buildings.

It attracted large numbers of visitors partly due to stalls being open on Sundays, when previous to the Sunday Trading Act 1994, shops were not permitted to operate on Sundays. It is now the

fourth-most popular visitor attraction in London, attracting approximately 100,000 people each weekend. In 1991 a three-storey indoor market hall designed by architect John Dickinson was opened on the site of the first outdoor market.

In the style of the traditional 19th century industrial architecture and housing in the area, it is built of brick and cast iron.

From 2006 a large indoor market hall was constructed in a yard between the Camden Lock Market and the Stables Market that was

previously used for open air stalls. In November 2007 a large part of the Stables Market was demolished as part of a long-term redevelopment plan for the area and rebuilt as a year-round permanent market area.

510 A similar bronze figure of a farrier last quarter 20th century 183cm.; 72ins high £1000-1500 511

509

A similar bronze figure of a stableman

A bronze figure of a stableman

last quarter 20th century

last quarter 20th century

176cm.; 69ins high

173cm.; 68ins high

£1000-1500

£1000-1500

205

512

513

514

515

A carved white and variegated marble classical bust of Mark Anthony

A carved white and variegated marble classical bust of Augustus

A carved white and variegated marble classical bust of Julius Caesar

A carved white and variegated marble classical bust of a Roman Emperor

last quarter 20th century on veined black marble pedestal approximately 193cm.; 76ins high overall including pedestal £500-800

206

last quarter 20th century on veined black marble pedestal approximately 193cm.; 76ins high overall including pedestal £500-800

last quarter 20th century

last quarter 20th century

on veined black marble pedestal

on veined black marble pedestal

approximately 193cm.; 76ins high overall including pedestal

approximately 193cm.; 76ins high overall including pedestal

£500-800

£500-800

516

517

518

519

A carved white and variegated marble bust of Apollo

A carved white and variegated marble bust of a classical maiden

A carved white and variegated marble bust of a classical maiden

A carved white and variegated marble bust of Constantine

last quarter 20th century

last quarter 20th century

last quarter 20th century

last quarter 20th century

on veined black marble pedestal

on veined black marble pedestal

on veined black marble pedestal

on veined black marble pedestal

approximately 193cm.; 76ins high overall including pedestal

approximately 193cm.; 76ins high overall including pedestal

approximately 193cm.; 76ins high overall including pedestal

approximately 193cm.; 76ins high overall including pedestal

£500-800

£500-800

£500-800

£500-800

207

520

521

522

523

A carved white and variegated marble classical bust of a Roman Emperor

A carved white and variegated marble classical bust of Apollo

A carved white and variegated marble classical bust of Julius Caesar

A carved white and variegated marble classical bust of a Roman Emperor

last quarter 20th century on veined black marble pedestal approximately 193cm.; 76ins high overall including pedestal £500-800

208

last quarter 20th century on veined black marble pedestal approximately 193cm.; 76ins high overall including pedestal £500-800

last quarter 20th century

last quarter 20th century

on veined black marble pedestal

on veined black marble pedestal

approximately 193cm.; 76ins high overall including pedestal

approximately 193cm.; 76ins high overall including pedestal

£500-800

£500-800

524

525

526

527

A carved white and variegated marble classical bust of Julius Caesar

A carved white and variegated marble classical bust of Constantine the Great

A carved white and variegated marble classical bust of Antoninus Pius

A carved white and variegated marble classical bust of a Roman Emperor

last quarter 20th century

last quarter 20th century

last quarter 20th century

last quarter 20th century

on veined black marble pedestal

on veined black marble pedestal

on veined black marble pedestal

on veined black marble pedestal

approximately 193cm.; 76ins high overall including pedestal

approximately 193cm.; 76ins high overall including pedestal

approximately 193cm.; 76ins high overall including pedestal

approximately 193cm.; 76ins high overall including pedestal

£500-800

£500-800

£500-800

£500-800

209

528

529

A carved white and variegated marble bust of Shakespeare after Scheemaker

A carved white and variegated marble bust of Othello

last quarter 20th century

on veined black marble pedestall

on veined black marble pedestal 200cm.; 79ins high overall including pedestal £500-800

210

last quarter 20th century

200cm.; 79ins high overall including pedestal £500-800

530

531

A carved white marble group of two lions

A carved marble figure of a panther

last quarter 20th century

last quarter 20th century

100cm.; 39ins high

140cm.; 55ins long

£800-1200

£600-1000

532

535

A carved marble figure of a bear

A similar pair of sandstone thrones

last quarter 20th century

£600-1000

100cm.; 39ins high £600-1000

536

533

A similar pair of sandstone thrones

A pair of carved sandstone lion thrones

£600-1000

last quarter 20th century 78cm.; 30½ins high £600-1000

537 A similar pair of sandstone thrones £600-1000

534 A similar pair of sandstone thrones £600-1000

211

538 A bronzed fibreglass panel modelled in high relief with blacksmiths in a forge last quarter 20th century 251cm.; 99ins high by approximately 354cm.; 139½ins wide by approximately 120cm.; 47ins deep £3000-5000 212

539 A bronzed fibreglass panel modelled in high relief with farriers and a horse in a forge 251cm.; 99ins high by approximately 354cm.; 139½ins wide by approximately 120cm.; 47ins deep £3000-5000

213

540 †

542

A pair of carved limestone elephants

A white marble bust carved in the antique style

last quarter 20th century 124cm.; 49ins high by 143cm.; 56ins long £6000-10,000 541 C Panati: After the Antique: A carved white marble bust of Seneca titled signed C Panati Roma 1900 on associated plinth 79cm.; 31ins high overall £600-1000

214

late 19th/early 20th century 38cm.; 15ins high £400-600 543 An unusual carved white marble bust of a lady in Elizabethan dress 50cm.; 20ins high £250-400

544 Emile Aldebert: A carved white marble figure of Galatea French, late 19th century signed E. Aldebert 74cm.; 29ins high, on Portaro marble pedestal 155cm.; 65ins high overall Emile Aldebert exhibited in various Paris Salons and received honourable mentions in 1883 & 1886. ÂŁ1800-2500 545 A carved limestone classical torso French, 19th century 122cm.; 48ins high on composition stone pedestal 207cm.; 81ins high overall ÂŁ2000-3000

215

547

548

546

A carved white marble bust

After the Antique: A carved white marble crouching Venus

Italian, 18th century

A large white and Belgian fossil marble bust of the Emperor Galba

Italian, mid 19th century 57cm.; 22ins high £2000-3000

216

lacking head 36cm.; 14ins high £800-1200

20th century 83cm.; 33ins high by 87cm.; 34ins wide £1500-2500

549 A set of four monumental carved limestone busts of Roman Emperors 2nd half 20th century probably conceived to depict Caesars each mounted on a tall fluted limestone pedestal 239cm.; 94ins high ÂŁ8000-12,000

217

550

551

552

After the Antique: A carved white marble figure of a reclining Cleopatra

A carved marble figure of a kneeling woman in front of a basin

A carved limestone figure of a hunter

Italian, mid 19th century

104cm.; 41ins high

77cm.; 30ins long

£800-1200

£1000-1500 218

early 20th century

possibly Eastern French or German, circa 1870 the stag with natural antlers, the huntsman with specimen marble cabochon decoration 170cm.; 67ins high £4000-6000

553

555

A near pair of composition stone figures of David, after Michelangelo and Venus after Botticelli

In the manner of Mary Spencer Watson: An unusual carved Purbeck stone figure of Bacchus

2nd half 20th century on composition stone plinths

mid 20th century

167cm.; 66ins high

£400-600

130cm.; 51ins high

£400-600 556 554 A set of four composition stone figures of classical maidens representing the seasons on pedestals

A pair of composition stone classical maidens on pedestals 2nd half 20th century

2nd half 20th century

65cm.; 65ins high

163cm.; 64ins high

£400-600

£1000-1500 219

557 A carved limestone figure of a hunter in 18th century dress on pedestal 2nd half 20th century 229cm.; 90ins high ÂŁ4000-6000 558 A composition stone group of a maiden and dog after a model by Austin and Seeley on plinth modern 200cm.; 79ins high ÂŁ1000-1500 559 A carved stone dog circa 1870 front legs lacking 104cm.; 41ins high ÂŁ600-1000 220

560 A pair of composition stone lions 2nd half 20th century 56cm.; 22ins high by 90cm.; 35½ins long £800-1200 561 A pair of composition stone recumbent lions French, early 20th century on plinths 112cm.; 44ins long £1200-1800 562 A composition stone reclining greyhound early 20th century 100cm.; 39½ins long £1200-1800

221

563 An unusual terracotta figure of a goblin early 20th century 58cm.; 23ins high ÂŁ350-500

564

565

A pair of terracotta lions

A terracotta Falcon

French, 19th century

late 19th century

66cm.; 26ins high by 66cm.; 26ins long

with later lead hood and collar and on later composition stone base

ÂŁ1500-2500

84cm.; 33ins high ÂŁ300-500

222

566

568

A composition group of two children

A pair of monumental composition stone reclining dogs on sectional pedestals

mid 20th century 58cm.; 23ins high £150-250 567 A composition stone mushroom 1930’s

modern each with iron collar 200cm.; 78½ins high by 183cm.; 72ins long by 95cm.; 37½ins wide £4000-6000

66cm.; 26ins high £150-250

223

569 † After Joseph Gott: A pair of lead reclining greyhounds early 20th century on later Portland stone bases 58cm.; 23ins high by 122cm.; 48ins long £2000-3000 570 † A pair of lead figures of children representing Spring and Winter 2nd half 20th century on composition stone plinth 116cm.; 46ins high £400-600

224

571 †

573 †

A lead fountain figure of a seated boy

After Kalide: A spelter high relief wall plaque of a torso of a boy

mid 20th century on composition stone pedestal, clam shell drilled for water.

2nd half 20th century 574

575

71cm.; 28ins high

now adapted as St. Sebastian with arrow wounds

£150-250

A cast iron bust of Liberty

80cm.; 31½ins high

French, mid 19th century

£300-500

A pair of Salin Foundry style cast iron figures of youths in Renaissance dress holding spears

with indistinct applied brass makers mark

572 A lead figure of a castanet player early 20th century 100cm.; 39ins high

50cm.; 20ins high £800-1200

2nd half 20th century on Kilkenny marble bases 168cm.; 66ins high overall £800-1200

£300-500 225

576 After Giambologna: A pair of bronze figures of Mercury and Fortuna French, late 19th century on black marble pedestals with a bronze frieze after Clodion 83cm.; 33ins high £1000-1500 577 Alphonse Saladin: A bronze bust of a girl early 20th century signed A Saladin on a griotte marble base, mid brown patination 58cm.; 23ins high overall Born in Epinal, France, in 1879, he studied under Mengue and became an Associate of the Artistes Français. He exhibited busts of artists and poets at the Salon, winning an honourable mention (1909), third class medal (1910) and second class medal (1920). He received the Légion d’Honneur in 1932 and died in 1956. £800-1200

226

578 After Jacquemart: A pair of bronze dogs modern each bearing 19th century foundry stamp from the originals by A Durenne, Sommervoire 94cm.; 37ins high ÂŁ8000-12,000

227

581 A bronze figure of a kneeling youth 580

Italian, last quarter 20th century

After the Antique: A bronze male torso

variegated green-brown patination

modern

£1200-1800

on limestone base, variegated green/brown patination 53cm.; 21ins high £2000-3000 579 A painted plaster classical figure 1st half 19th century 152cm.; 60ins high £800-1200 228

100cm.; 39½ins high

582 ▲ Philip Jackson Victor Bronze, signed Jackson and inscribed Here stands Peter’s favourite horse Victor Unique 200cm.; 79ins high by 292cm.; 115ins long This is an individual commission of a life size Clydesdale horse called Victor standing 16½ hands high.

Philip Jackson CVO born 18 April 1944 is one of Britain’s most renowned

contemporary sculptors.

Acting as Royal Sculptor to Queen Elizabeth II, his sculptures appear in numerous UK cities, as well as Argentina and Switzerland. Half of his time is spent on commissions and the other half on his gallery sculpture, which are instantly recognisable for their hauntingly elegant and theatrically enigmatic qualities. His most famous and highly acclaimed recent commission is The Bomber Command Memorial Sculpture, Green Park, London, comprising

a group of seven figures, depicting the crew of a heavy bomber which was unveiled by HM The Queen, on 28th June 2012, amongst a fanfare of publicity.

Other recent public commissions include; Large gallery piece ‘Gale Force Nun’ installed in Berkeley Square, London, June 2012 and sculpture of Sir Alex Ferguson, for Manchester United FC, unveiled late 2012.

His twice life-size bronze statue of Bobby Moore was erected outside the main

entrance at the new Wembley Stadium in May 2007.

This piece was commissioned about ten years ago by a widow to commemorate her husband, Peter, whose favourite horse was a Clydesdale called Victor.

Powerful and beautifully sculpted, the meticulously precise posture creates an overwhelming sense of drama and movement whilst still emphasising the inherent gentleness of the animal. £15,000-25,000 229

583 A flock of 13 sheep Modern Sheet iron each 56cm.; 26ins long £1000-1500 584 Leaping Impala Modern Rusted steel 246cm.; 97ins high by 480cm.; 189ins long £2500-4000 585 Christine Cummings Polar Bear Stoneware ceramic Unique 33cm.; 13ins high by 40cm.; 15¾ins wide by 36cm.; 14ins deep £1200-1800

230

586 Alan Ross The Fish Steel Unique Signed 140cm.;55ins high by 250cm.; 98½ins wide by 60cm.; 23½ins deep Ross started metalworking in 1998 and now works mainly in mild steel taking inspiration from a variety of sources particularly nature and has created a large body of sculpture based on fish. £2000-4000

587 Marilyn Vergne Polar Bear Ceramic Signed 13 of 30 18cm.; 7ins high by 30cm.; 11¾ins wide by 13cm.; 5ins deep £400-600

231

588

589

Elaine Peto

Evert den Hartog

Bull Walking

Preening Swan

Stoneware

Bronze, dark brown patination on limestone plinth

Unique 39cm.; 5¼ins high by 62cm.; 24½ins long Elaine Peto set up her studio in Hampshire in 1987 after graduating from Exeter College Of Art & Design. Most of her pieces are made from stoneware clay and decorated with slips, stains and glazes, and fired in an electric kiln at over 1200 degrees. £800-1200

Signed Hartog Unique 58cm.; 23ins high Evert den Hartog was born in 1949 and studied at the Rotterdam Academy of Visual Arts. Specialising in the human and animal forms, his work can be found in Kobe (Japan), Dallas, Jakarta and Antwerp as well as in Amsterdam, Rotterdam and The Hague in the Netherlands. £800-1200

232

590 Elaine Peto Pig Stoneware Unique 22cm.; 8½ins high by 50cm.; 19½ins wide by 24cm.; 9½ins deep £400-600

591 Clare Trenchard Hound Dog Bronze resin 1 from an Edition of 10 88cm.; 34½ins high by 186cm.; 73ins long Clare Trenchard studied sculpture at the Chelsea School of Art where she graduated with a BA in Fine Arts in 1978. She has exhibited in London at the I.C.A. and for the Society of Portrait Sculptors. She also exhibits regularly in the West Country. Her sculptures are modelled mainly from life in clay, plaster or wax and cast in bronze or bronze resin. The National Trust property Kingston Lacy, Dorset commissioned her to make 10 sculptures for the Lime Walk. Langmoor Gardens, in Lyme Regis, Dorset has commissioned Clare to sculpt a 7ft high statue in bronze of Sir George Somers, Mayor of Lyme Regis, who claimed Bermuda for England in 1609. £2000-3000

233

592 ▲ Geraldine Knight, 1933 - 2008 Perching Order Bronze sculpture 130cm.; 51ins high by 106cm.; 41¾ins wide by 46cm.; 18ins deep Born in 1932 Geraldine Knight studied at the Brighton College of Art; 1949-1952 and then at the Royal Academy Schools; 1952-1956. After training to be sculptor, Geraldine Knight was awarded the Prix de Rome scholarship, enabling her to spend two years in Italy. She has since produced a variety of sculptures and architectural decoration.

Her life size bronze animals include a flock of sheep, exhibited at the Royal Academy summer exhibition of 1986. As well as portrait busts and public sculpture, Knight has working on stage sets and contributed to building restoration projects. From 1960 she taught life drawing and sculpture at the Sir John Cass School of Art, Twickenham College of Technology and Kingston College of Art. £4000-6000

234

593 David Cooke, Born 1970 Bald Eagle

annual Society of Wildlife Artists Exhibition at the Mall Galleries in London.

Stoneware sculpture on oak post with stone base

£1200-1800

Unique

594

170cm.; 67ins high by 71cm.; 28ins wide

David Cooke, Born 1970

David Cooke has been a professional wildlife artist since graduating in 1992 from Leeds Metropolitan University with a degree in 3D Design. David has been based at Sculpture Lounge Studios in Holmfirth since 2005, and has been running ceramic workshops there with Brendan Hesmondhalgh since 2006. He regularly exhibits at some of the major UK ceramic and wildlife art shows, such as Art In Clay at Hatfield House, Potfest In The Park, Penrith and the

Stoneware sculpture on scorched and distressed oak post with stone base

Barn Owl

Signed Unique 167cm.; 65ins high £800-1200 596 595

Rachael Noon, Born 1964

Tracey Ward

Little Greek

Mi-Pod Two

Bronze

Bronze resin

Signed edition of 12

Largest 48cm.; 19ins high by 125cm.; 49ins long

55cm.; 21½ins high by 20cm.; 7¾ins wide by 13cm.; 5ins deep

£2000-3000

£2000-3000

235

598 Simon Griffiths Red Kite Stoneware Unique 106cm.; 41¾ins long by 51cm.; 20ins wide £1200-1800 599 Nigel Williams The Massive Moth Immobiliser Brass and copper Unique 597 Giant Tropical Fish Painted steel 82cm.; 32¼ins high by 110cm.; 43¼ins wide by 16cm.; 6¼ins deep £800-1200

236

46cm.; 14ins high by 64cm.; 25ins wide by 10cm.; 4ins deep Nigel Williams is a UKborn and – based sculptor and photographer, who

has also spent some time living and working near the Rocky Mountains in Western Canada.

After a professional career to date in computing, automotive design, animation, photography, and multimedia, he is now fully engaged in creating sculpture, imagery, and books.

He works mostly in sheet metal (copper, brass, steel, aluminium, etc), often recycled, and frequently with ‘found’ objects as a basis.

He has exhibited in London and all over the U.K., and his work appears in collections from Madrid to New York £800-1200

600

601

Danu born France 1952

Danu, Born France 1952

Autruche

Aigle

Stove enamelled heavy gauge steel sculpture

Powder-coated heavy gauge steel

Signed edition of 80

Signed edition 1 of 80

200cm.; 78½ins high by 150cm.; 59ins wide

160cm.; 63ins high by 110cm.; 43ins wide

Danu was born in 1955. He lives and works in Venice, on the French Riviera. He held his first exhibition at the Centre Culturele in Cagnes sur Mer when he was 18 years old. Exhibitions in Cannes, Paris, Deauville, Brussels, Monaco and Venice quickly followed. In 1979 Danu was accepted as a member of “Artiste Independent” and “Artistes Francais”

£3000-5000

£3000-5000

237

602

603

Martin Scorey

Martin Scorey

Fly

French Bulldog

Lead, steel & wood

Lead, steel and wood

Unique

Unique

53cm.; 20¾ins high

53cm.; 20½ins high

£800-1200

£1200-1800 604 Martin Scorey Little Owl Lead, steel and wood Unique 65cm.; 25½ins high £800-1200

238

605

606

Phillip Hearsey, Born 1946

Rachael Talbot

Avian II

Bronze

Bronze on wooden base

Signed

Signed and numbered 7 of 8

From an edition of 18 signed Talbot AC

19cm.; 7½ins high by 16cm.; 6¼ins wide by 11cm.; 4¼ins deep

53cm.; 20¾ins high by 14cm.; 5½ins wide by 20cm.; 7¾ins deep

£800-1200

£3000-5000

Huntsman

239

240

607 James Doran-Webb Rutting Stags Bronze Unique 235cm.; 92½ins high by 550cm.; 216ins wide by 160cm.; 63ins deep £90,000-120,000

241

Birmingham Polytechnic before setting up Forging Ahead at his studio-forge in Belbroughton.

608 Paul Margetts Seagulls Powder coated steel Unique 142cm.; 56ins high by 125cm 49ins.; wide by 36cm.; 14ins deep

From 1975 Paul served a traditional four-year blacksmithing apprenticeship near his Worcestershire home before travelling extensively overseas. In 1988 he returned to Britain and studied Art and Design at

Paul won the competition to design and make new gates for Worcester Cathedral. Work has also been commissioned by Hereford and Worcester County Council, Chester City Council, Tameside MBC, South Staffordshire District Council, Birmingham City Council, Centro Transport, South Hereford District Council, Wrekin District Council, Groundwork, British Waterways, Birmingham Women’s Hospital, Wolverhampton Business Airport, and many others.

His pieces were recently included in the Crafts Council supported “Fe” exhibition that toured countrywide. £1200-1800

242

609 A bronze, chrome and glass Bucranium modern 74cm.; 29ins wide £1000-1500

611 Flight Bronze 148cm.; 58¼ins high by 25cm.; 9¾ins wide by 15cm.; 6ins deep £4000-6000

610 Noah Michael Taylor Crow Flight Fabricated and found steel objects 62cm.; 25ins high by 69cm.; 27ins wide, the base 183cm.; 72ins high Noah was born in Bern, Switzerland. After moving to England and following school, he did a Foundation Art course at Somerset College of Art and Technology, Followed by a Fine Art Sculpture Degree (BA Hons 1st) at Ravensbourne College of Art and Design in London and then a year at Hereford College of Art and Technology to learn the art of blacksmithing. He subsequently set up his own forge in Cornwall, as a metalwork consultant for Danny Lane Studios in London and workshop supervisor and part-time lecturer at Plymouth College of Art. £800-1200

243

244

612 ▲

613 ▲

614

David Goode

David Goode

Jackpot

Isabel’s Goblin

Malcolm West, Born 1957

Bronze, weathered green/brown patination, plumbed for water

Bronze, variegated green/brown patination, on black marble base

Signed David Goode 2000 and numbered 17/200

Signed David Goode 1998 and numbered 8/90

48cm.; 19ins high

43cm.; 17ins high

£1500-2500

£1000-1500

Sleep of Psyche Bronze resin Edition 7 of 9 114cm.; 44¾ins high by 122cm.; 48ins wide £4000-6000

615 Malcolm West, Born 1957

man shows in London, Germany and Guildford.

Bronze resin

His work appears in collections in the UK, Germany, USA, Australia and Jamaica.

Signed edition 9 of 15

ÂŁ4000-6000

Corsair Pas de Deux

150cm.; 59ins high Malcolm graduated from Art College with honours in 1978. He exhibited regularly from 1980 onwards, in joint exhibitions with several showings at the Mall Galleries London, Henley Festival, as well as one

616 Malcolm West, Born 1957 Flora, Bronze resin Edition 11 of 15 120cm.; 47ins high ÂŁ3000-5000 245

246

617

618

James Matthews

James Matthews

Homage to Dobson

Introspection

Bronze

Bronze

Edition 4 of 9

Edition 5 of 9

16cm.; 6¼ins high by 30cm.; 12ins wide by 12cm.; 4¾ins deep

16cm.; 6¼ins high by 20cm.; 7¾ins wide by 15cm.; 6ins deep

£1200-1800

£1200-1800

619 Austin Emery, Born 1971 Ottawa Lady Carved and painted Portland stone relief Unique Signed 31cm.; 12ins high by 44cm.; 17ins wide by 8cm.; 3ins deep £1200-1800 620 Ann Goodfellow, Born 1952 Ecstasy of Time No 7 Stoneware, vitreous slip and ceramic Ink 82cm.; 32ins high Educated at Swansea BA (Hons) Ceramics, Goodfellow then completed her Masters in the subject at Cardiff. £800-1200 622 621 Ann Goodfellow, Born 1952

Andy Mitchell, Born 1946 Young Brutus

Ecstasy of Time No 5

Bronze

Stoneware, vitreous slip & oxide

Signed and Numbered 1 from an edition of 3

Unique

100cm.; 39ins high

83cm.; 32½ins high £800-1200

Andy studied sculpture in London during the 70’s, and since then has worked

as a sculptor and bronze founder, working from a studio and foundry at his home in Gloucestershire.

He is a highly recognised expert on the conservation and restoration of metal sculpture and architectural metalwork. He was responsible for the restoration of all the metal sculptures on the Albert Memorial in Hyde Park,

London, winning a Royal Institution of Chartered Surveyors Building Conservation Award for his work. Major clients include English Heritage, the Commonwealth War Graves Commission, The National Trust and the British Museum. £4000-6000

247

623

625

Guy Buseyne, Born 1961

Guy Buseyne, Born 1961

Elise

Consolation

Bronze Signed and numbered 141 from an edition of 150

Foundry stamped

92cm.; 36ins high

78cm.; 30¾ins high

£2000-3000

£2000-3000

624 Patricia Peters, Born 1964 Meditate Bronze 58cm.; 22¾ins high £2000-3000 248

Bronze

626

627

Haliday Avray Wilson

Him plus Her

Torso

Bronze

Bronze

Signed

Signed 1 of 8

67cm.; 23¼ins high

33cm.;13ins high

£3000-5000

£1200-1800 249

628

629

Guy Buseyne, Born 1961 In Line

Mieke DeWeerdt, Born Belgium 1981

Bronze

Affection

Signed and numbered from an edition of 75

Bronze

69cm.; 27ins high by 55cm.; 21½ins wide

56cm.; 22ins high by 42cm.; 16½ins wide by 40cm.; 15¾ins deep

£2000-3000

Edition of 150

£2000-3000 250

630

631

Patricia Volk

Amos Supini

Sentinel

United Family

Stoneware

Springstone

Unique

Unique

63cm.; 24¾ins high by 40cm.; 15¾ins wide by 49cm.; 19¼ins deep

156cm.; 61ins high by 34cm.; 13ins wide by 30cm.; 11½ins deep

Patricia Volk was born in Belfast, Northern Ireland, and has been creating distinctive ceramic sculpture for over twenty years from her studio in Wiltshire. She studied three dimensional design at Middlesex University and ceramics at Bath Spa University. Her work has been exhibited nationally and internationally, including Chichester Cathedral and the Royal West of England Academy, also appearing in the collections of Lord Carrington, the British Consul (Ivory Coast) and Mary Portas. She was Regional Winner of the ING “Discerning Eye” prize in 2007 and was shortlisted for the Brian Mercer Bronze Casting Residency. One of her pieces was also selected as a Southern Arts prize. She is an associate member of the Royal Society of British Sculptors

In 1989 after completing his secondary school, Supini became involved with a Catholic youth group in Tafara, a high density housing area just outside Harare, Zimbabwe.

In 1991, Supuni spent six months in Tanzania as part of a cultural exchange program organised by Silvera House. There he learnt print making, batik, lino cut and etching techniques whilst holding workshops for stone carving. Returning to Zimbabwe he continued to work at Silvera House until 1996, when he was selected to become part of the Chapungu artists’ residency program. £3000-4000

£2000-3000

251

632 Geraldine Lead 105cm.; 41¼ins high £2000-3000 633 Jacques Vanroose, Born 1943 Challenge Bronze Signed Edition of 75 104cm.; 41ins high £1500-2500

252

634

636

Jacques Vanroose, Born 1943

Erli Fantini, Born 1944 Brazil

Escape

The Window

Bronze on pine plinth

Bronze

Signed and numbered from an edition of 100 83cm.; 32½ins high £2000-3000

Signed 70cm.; 27½ins high by 70cm.; 27½ins wide £1000-1500 637

635 Yuelong Shi

Isaac Kahn, Born Lithuania 1950

Emerging III

Piroutte

Marble

Bronze on marble base

Unique

Signed and edition 35 of 36

109cm.; 43ins high

36cm.; 14ins high

£2000-3000

£1200-1800 253

techniques like Raku firing to which he subjects them, but also from the fact that he submerges them in the flowing river beside his studio, or sends them to Cornwall to be washed in the sea for months at a time. The water washes minerals such as copper and metal oxides into the basic white clay with which Hayes works, creating a characteristic green-blue “blush” in his sculptures along with random elements that make every piece unique. The effect is to create objects that many feel look ancient and perhaps even a little alien. Hayes’ work is generally finished by waxing and polishing £2000-3000 639 638

Paul Befayt

Peter Hayes, born 1946

Les Errants

Totem Head

Bronze

Stoneware

Unique

84cm.; 33ins high

70cm.; 27½ins high

Hayes was born in Birmingham, England, and studied at the Birmingham College of Art before travelling extensively in Africa. Over the course of several years, he worked as a ceramic artist with tribes and village potters who inspired him with the exquisite work they produced using very limited technology and tools.

£800-1200

The distinctive appearance of Peter Hayes’ ceramics comes from the

254

640 Amando Varela Couple Bronze Signed AV 1 of 9 40cm.; 15½ins high

Born in Lima, Peru in 1933, he studied sculpture at the Escuela Nacional de Bellas Artes, Peru for eight years and graduated with the Gold Medal.

He then went on to win the prestigious French Government Scholarship and spent one year at “L’Ecole des Beaux Arts” in Paris 1963. He then returned to Peru to teach sculpture at the National University of Engineering from 1964 1965. He studied at St. Martins School of Art in London from 1972 - 1973. From 1979 - 1998 he was a member of staff at St. Martin’s Sculpture Department and now currently lives in London. £1200-1800 641 Ann Vrielinck, Born 1966 Belgium Triumph Bronze Signed and numbered 24 from an edition of 49 166cm.; 65ins high by 62cm.; 24ins wide Ann Vrielinck was born in Varsenare, Belgium in 1966. She was educated at the Academy of Fine Arts in Bruges, then obtained a higher degree in Painting from the Sint-Lucas Institute in Ghent after four years of studying with the Dan Van Severen Studio. Vrielinck subsequently completed further courses in restoration of paintings and ceramics, then obtained a teaching degree which has led her back to lecturing at the Academy of Fine Arts. Much of her work is based around ballet, dance and movement. £3000-5000 642 Ann Vrielinck, Born 1966 Belgium People Ladder Bronze 150cm.; 59ins high £2000-3000

255

256

643 David Begbie Girls on Film Sheet steel and aluminium Unique Signed 138cm.; 54ins high Born in Edinburgh, Scotland in 1955 1975 - Winchester School of Art, England 1977 - Gloucestershire, College of Art and Design (BA Hons), Cheltenham, England 1980 - The Slade School of Sculpture.

Post Graduate (H.D.F.A.), University College, London 1993 - Associate of the Royal Society of British Sculptors (ARBS) Following his graduation from the Slade in 1982 he started interpreting the human form in steel or bronze mesh which is transparent – 90% thin air, yet it has as a much greater physical presence than any conventional solid form. £2000-3000 644 R. Benetti Danzatrice Bronze 39cm.; 15¾ins high £2000-3000

645

646

R Benetti

Carol Peace, Born 1970

Pensatore

Friends

Bronze and wood

Bronze resin sculpture

Signed and numbered from an edition of 75

82cm.; 32ins high

89cm.; 35ins high £1000-1500

Carol Peace studied sculpture at Winchester School of Art and drawing at The Prince’s Drawing School. She has obtained

numerous commissions both public and private and solo shows in London, Athens, Zurich, France, Spain and Holland. In 2007 she cofounded the Bristol Drawing School and was the artistic director for four years. £1200-1800

257

647

649

Julie Grose

Three Ripe Unfolding Chestnut Sculptures

Gothic Gates with Plum Blossom Zinc-plated painted forged steel Unique

Bronze, variegated greenbrown patination 31cm.; 12½ins diameter £1000-1500

106cm.; 41ins high £2000-3000

650 Christopher Townsend

648

Big Bang

Julie Grose

Mild steel

Poppy Fire Pit (bio ethanol)

110cm.; 43ins high

Painted forged steel 62cm.; 24½ins high £1200-1800

Townsend graduated from Liverpool University in 1996, with a first class combined honours degree in Fine Art and Psychology, and now works from a farm studio in rural Oxfordshire. £600-800

258

651

652

Antanas Brazdys, Born Lithuania 1939

Martyn Barratt

Untitled

Strung Piece

Forged steel

Wood & wire

Unique

Unique

52cm.; 20½ins high by 70cm.; 27½ins wide

Signed Barratt 95

Antanas Brazdys was born in Lithuania in 1939. At the end of World War II he and his family ended up in Germany as refugees. The family eventually moved from Germany to the United States.

87cm.; 34¼ins high by 23cm.; 9ins wide £1200-1800

Brazdys obtained his grounding in sculpture at the Art Institute of Chicago (1956-1961). His achievements in sculpture, shown in group exhibits in Chicago, earned him the Edward L. Ryerson grant for foreign travel and study. As a result, he ended up in London, in the Royal College of Art for study and part-time teaching.

Since moving to London, Brazdys has held three oneman shows, participated in a number of group exhibits, and won several important commissions for sculpture. £4000-6000 259

653

654

Stephen Pearce, Born 1969

Apples, Sliced and Part Eaten

Spitfire

Stone and bronze

Steel

50cm.; 19½ins high by 45cm.; 18ins wide

Unique 52cm.; 20½ins high

£2000-3000

£6000-8000 655 Richard Cresswell Square Pear Stainless steel 210cm.; 82¾ins high £2000-3000

260

656

657

Will Carr

Dorothy Brook

Encompassed

Bolero

Galvanised steel

Bronze

140cm.; 55ins high by 130cm.; 51ins wide by 130cm.; 51ins deep

Edition 2 of 9

£3000-5000

80cm.; 31½ins high by 34cm.; 13¼ins wide by 46cm.; 18ins deep £4000-6000

261

658 Ade Grant Modulus Powder coated GRP Edition of 9 Signed 400cm.; 157½ins high This is an abstract piece inspired by developing the pathways between the nodes of a crystal lattice.

Grant was intrigued at the

262

prospect of making an item that, like a crystal, could evolve if more elements were added. The organic nature of the piece reminds one of marine creatures which are where he sought inspiration for the colour scheme. All these concepts were brought together to form a structure that is playful yet intentionally otherworldly. ÂŁ12,000-18,000

659

661 †

Anon

Silver Zing

2nd half 20th century Portland stone

Powder coated aluminium

117cm.; 46ins high by 93cm.; 36½ins diameter

180cm.; 70¾ins high by 47cm.; 18½ins wide

£400-600

£1500-2500

660

662

Jane Rickards

Jenny Pickford, born 1969

Football Composition stone

Fluidity

Modern

Galvanised forged steel and blown glass

50cm.; 19½ins diameter

250cm.; 98ins high

£600-800

£2000-3000

263

663 A Perspex and metal table in the manner of César modern 82cm.; 32ins high by 252cm.; 99ins long by 65cm.; 26ins wide César was a French sculptor born in 1921 of Italian parents in the working class neighbourhood of la Belle-de-Mai in Marseilles. His full name was César Baldaccini, but he is usually known simply as César. After studying at the Ecole des Beaux-Arts, Marseilles (1935-9) he went on to the Ecole des Beaux-Arts in Paris (1943-8). He began making sculptures by welding together pieces of scrap metal in 1952 and first made his reputation with solid welded sculptures of insects, various kinds of animals, nudes, etc. His early work used soldered and welded metal as well as junk materials, and by 1960 César was considered one of France’s leading sculptors. In that year, on a visit to a scrap merchant in search of metal, he saw a hydraulic crushing machine in operation, and decided to experiment with it in his sculpture. He astonished his followers by showing three crushed cars at a Paris exhibition. It was for these ‘Compressions’ that César became renowned. César was at the forefront of the Nouveau Réalisme movement with his radical compressions (compacted automobiles, discarded metal, or rubbish), expansions (polyurethane foam sculptures), and fantastic representations of animals and insects. £1000-1500 264

664 Bruce Kirby Flow III Carved and scorched Douglas fir wall art Signed Unique 251cm.; 99ins high by 41cm.; 16ins wide by 5cm.; 2ins deep Bruce Kirby worked as a geologist before training at Weymouth College of Stonemasonry and becoming a carver. This panel is based upon folded quartz veins frequently seen in exposed rocks, whether on the coast of Devon and Cornwall or further afield in Nepal.

Although they are based on a small scale geological feature, they mimic large scale features such as rivers seen in satellite imagery. £1200-1800 665 Bruce Kirby Tusk Portland stone Signed Unique 92cm.; 36ins high by 32cm.; 12½ins wide by 27cm.; 10½ins deep £2000-3000

265

666

668

Neil Lossock, Born 1950

A carved hardwood and wrought iron seat

Dragonswood sculptural bench Ash and steel Unique 76cm.; 30ins high by 260cm.; 102ins wide by 90cm.; 35½ins deep £2000-3000 667 Tom Smith Sarcophagus Cedar Unique 50cm.; 19½ins high by 90cm.; 35½ins long by 60cm.; 23½ins wide £800-1200

266

Indian, modern 160cm.; 63ins high by 180cm.; 70¾ins wide by 110cm.; 43¼ins deep £800-1200

669 † Giant Infinity Curve Stainless steel 200cm.; 78¾ins high £4000-6000

267

670

672

Hongxun Jin

Hongxun Jin

Doodle

Torso

White marble on black granite base

Marble

Unique

68cm.; 26¾ins high by 37cm.; 14½ins wide

120cm.; 47ins high by 73cm.; 28¾ins wide

Unique

£800-1200

£1200-1800 673

268

671

Nigel Ash

Hongxun Jin

Linear

The Knot

Cotswold stone carving

White marble on a black granite base

Unique

121cm.; 47½ins high by 42cm.; 16½ins wide

53cm.; 21ins high by 30cm.; 11¾ins wide by 30cm.; 11¾ins deep

£1200-1800

£800-1200

674

676

Two henges

Thirty tulips

Carved marble, Unique

Wrought iron

153cm.; 60ins high

Modern

£800-1200

137cm.; 54ins high £1200-1800

675 Simon Allison

677 ▲†

Signal Series I

Bruce Gernand

Steel and glass

‘Bruce Dreams the Tortoise and Hare’

272cm.; 106ins high the bottom glass panel is not shown in the photograph but is present

Bronze 33cm; 13ins high £200-400

£1000-1500 269

678 Ian Gill, Born 1966 Red and blue fork chair Powder-coated galvanised steel 150cm.; 59ins high by 75cm.; 29½ins wide An award winning metal sculptor, Gill is currently working on a selection of sculptures commissioned for Dorchester Hotels new project in Berkshire. He has exhibited widely, and his work is held in collections throughout the UK. £3000-5000 679 A metal T-Rex skull with articulated jaws 100cm.; 39½ins by 130cm.; 51ins This life-size model of the skull of Tyrannosaurus rex was made for the TV series Walking with Dinosaurs in order to demonstrate the awesome crushing power of this iconic dinosaur’s jaws. £2000-4000

270

680 Maggie Rose Twinkle Twinkle Mixed media artwork Unique 90cm.; 35½ins high by 210cm.; 82½ins wide £4000-6000 681 Anon Magnetic Elipse Stainless steel, wire and magnets 193cm.; 76ins high by 274cm.; 108ins long £1000-1500

271

682

685

A quartz specimen

A Scolescite specimen

Himalayas

Poona, India

37cm.; 14½ins long

36cm.; 14ins long

£400-600

£250-400

683 An Agatised fossil coral specimen Florida, Miocene 55cm.; 22ins long £400-600 684 A quartz and calcite group Weardale, Cumbria 33cm.; 13ins wide £300-500

272

686

688

A Rhodonite sphere

Three amethyst spheres

Madagascar

Brazil

10cm.; 4ins diameter

10cm.; 4ins diameter

£400-600

£400-600

687

689

A Yellow quartz sphere

A collection of mineral spheres

Madagascar 15cm.; 6ins diameter £600-1000

various sizes, the largest 10cm.; 4ins £300-500

273

690

693

A Stiblite specimen

A Desert Rose specimen

Poona, India

Morocco

38cm.; 15ins high

on wooden plinth

£400-600

42cm.; 16ins wide £400-600

691 A cut and polished Septarian nodule Utah, USA 19cm.; 7½ins high £300-500 692 A Lapis Lazuli specimen Afghanistan 19cm.; 7½ins high, weight 2.2kg £300-500

274

694 A Pyrite freeform China 23cm.; 9ins, together with another smaller pyrite group, Peru 18cm.; 7ins long ÂŁ400-600 695 A collection of three mineral specimens including Apophylite 33cm.; 13ins, Gypsum specimen 40cm.; 16ins and a Tourmaline 31cm.;12ins overall on ebonised bases ÂŁ1500-2500

275

696

698

A collection of forty mineral spheres

A collection of four Malachite specimens

including Ocean Jasper, Quartz and Carnelian

Zaire

each approximately 6cm.; 2¼ins diameter £1000-1500 697 A Citrine chimney 61cm.; 24ins high together with an Amethyst chimney 46cm.; 18ins high £600-800

276

the largest 20cm.; 8ins long £300-500

699

700

Two Amethyst quartz geodes

A quartz point Madagascar

Brazil

30cm.; 12ins high

the larger 36cm.; 14ins high

£300-500

£200-400

701 An Agate bowl Madagascar 26cm.; 10ins wide, together with a Septarian bowl 16cm.; 6ins wide £600-1000

277

702 A group of two Cleoniceras ammonites Madagascar, Lower Cretaceous 40cm.; 16ins square £400-600 703 A pair of Ammonites Madagascar, Cretaceous on stands 23cm.; 9ins high £700-900 704 A fossil crab Italian, Miocene specimen 13cm.; 5ins wide £400-600

278

705

706

A large fossil shark tooth carcharodon sp.

A carcharodon megalodon shark tooth

20 million years old

South Carolina, Miocene

9cm.; 3½ins high

14cm.; 5½ins high

£200-300

£400-600 707 A Keichosaurus fossil in frame Chinese, Jurassic the frame 45cm.; 17¾ins high £600-800

279

708

710

A pair of polished Ammonites Morocco, Devonian

A leaded glass table lamp set with Madagascan ammonite slices

26cm.; 10ins wide

on burr wood base

£400-600

33cm.; 13ins high £1200-1800

709 A collection of four Trilobites Morocco, Devonian including a Hollardops burtandmimiae, Cyphaspis eberhardiei, Croatocephalus and Leonaspis £600-1000

280

711 A Crinoid (Sea Lily) plaque Holzmaden, Germany, Jurassic

and ichthyosaurs are among the most soughtafter and are perhaps the most desired by collectors. £1200-1800

52cm.; 20½ins high by 38cm.; 15ins wide The fossil locality at Holzmaden in Germany is celebrated for specimens that show beautiful preservation. The rocks they come from are lower Jurassic in age (approximately 180 million years old). Fossils of many kinds of creatures are found at Holzmaden but Crinoids (sea lilies)

712 Two Lytoceras sp.

Ammonites Holzmaden, Germany, early Jurassic one 65cm.; 25½ins by 70cm.; 27½ins.; the other 67cm.; 26½ins high by 69cm.; 27ins wide £1500-2500

281

282

713 A Crinoid (Sea Lily) plaque Holzmaden, Germany, Jurassic 29cm.; 11½ins high by 26cm.; 10ins wide £2000-3000 714 A large Diplomystus Green River, Wyoming, Eocene framed 47cm.; 18½ins high by 84cm.; 33ins wide; specimen 54cm.; 21ins wide £750-1000 715 A rock lobster Eryon arctiformis Solnhofen, Germany, Jurassic framed,39cm.; 15½ins high by 29cm.; 11½ins wide together with a crayfish sp. Solnhofen, Germany, Jurassic, 39cm.; 15½ins high by 68cm.; 27ins wide; an Aspidorhynchus sp. fish plaque, Eichstätt, Germany, Jurassic, framed, 28cm.; 11ins high by 70cm.; 27½ins wide; specimen 61cm.; 24ins and a Belemnite (leptoteuthis), Eichstätt, Germany, Jurassic, framed, 21cm.; 8½ins high by 43cm.; 17ins wide £800-1200

716 An Heteromorph Ammonite Upper Volga, Russia, Jurassic 21cm.; 8¼ins long £1000-1500 717 A Carl Ulrich prepared Priscacara fish plaque Green River, Wyoming, Eocene framed 46cm.; 18ins high by 72cm.; 28½ins wide; specimen 14cm.; 5½ins £400-600 283

718

720

A large picture frame case of Crabs and Crustations

A picture frame display case of three Crabs

modern 67cm.; 26½ins high by 80cm.; 31½ins wide

modern 67cm.; 26½ins high by 40cm.; 16ins wide £400-600

£600-800 721 719 A large picture frame case of Marine specimens modern 69cm.; 27ins high by 71cm.; 28ins wide £500-800

284

A Crayfish mounted in a hanging glass case 67cm.; 26½ins high by 39cm.; 15½ins wide £200-400

722

724

A pair of shell towers

Three picture frame cases of various sea shells

modern 74cm.; 29ins high £400-600 723

modern two are 32cm.; 12½ins square; one is 47cm.; 18½ins square £300-500

An exploded blue lobster in glass case modern 62cm.; 24½ins high by 42cm.; 16½ins wide £800-1200

285

725 A rare Murray of Carnforth display case of four Richardson Skua, a Great Skua, A Buffons Skua, a Pomathorine Skua, two Manx Shearwater late 19th Century 61cm.; 24ins high by 183cm.; 72ins wide

The work of Murray of Carnforth is highly regarded and there are many examples in the Kendal Museum an institution that has published booklets on the work of this popular taxidermist. These four examples are on a much larger scale that any other display cases in private collections £800-1200

286

726 A rare Murray of Carnforth display case of divers containing two Red Throated Divers, two Great Northern Divers and a Black Throated Diver 19th century 72cm; 28¼ins high by 183cm.; 72ins wide £800-1200

727 A collection of seashells, minerals and associated natural history items in a late Victorian ebonised cabinet 85cm.; 33ins high by 56cm.; 22ins wide £400-600

107cm.; 42ins high by 104cm.; 41ins wide by 61cm.; 24ins deep £1000-2000 729 A wall mounted Sparrowhawk by Murray of Carnforth early 20th century

728

label to interior of case

A Victorian mahogany 32 drawer collectors cabinet

45cm.; 17½ins by 62cm.; 24¼ins £400-600

circa 1880 with two frieze drawers 287

731 A mounted barbel in Cooper style case with details of capture dated 1858 82cm.; 32ins wide, together with a mounted trout, 62cm.; 24ins wide £200-300 732 A glass display case with three large Brown trout late 19th Century the largest 9lb 4oz. caught

by E A Raleigh in June 1896 on the River Erne the others on Lough Erne, glass side panel damaged 63cm.; 24¾ins high by 131cm.; 51½ins wide £600-1000 733 730 A bow fronted display case of a Kingfisher with a model fish in its mouth late 19th century probably by John Cooper the celebrated fish taxidermist 22cm.; 8½ins high £300-500

A pike by J Cooper 1st half 20th century in bowed glazed case, inside with J Cooper and Sons label 112cm.; 44ins wide £500-700 734 A Cooper fully mounted pike 1st half 20th century with a Cooper label 94cm.; 37ins wide £300-500

288

289

735

737

An Osprey probably by Shaw of Shrewsbury

A mounted Gharial head (Gavialis gangeticus)

circa 1850

Indian, early 20th century

in later glass dome 77cm.; 30ins high

the head 40cm.; 16ins high

£800-1200

£400-500

736 A collection of four Alligator heads modern the largest 29cm.; 11½ins £500-800 290

738

739

A display of glass sponges in glass dome

A Rowland Ward case containing a tern, egret and two herons

20th century 48cm.; 19ins high £350-500

mid 20th century with Rowland Ward table in bamboo framed case 92cm.; 36ins square, together with a Hutchings of Aberystwyth mounted grey heron, circa 1900, 101cm.; 40ins high £300-500 740 A pair of mounted pink foot geese 1st half 20th century 94cm.; 37ins high by 89cm.; 35ins wide £300-500 291

741 A Dromedary Camel (Camelus dromedarius) 20th century 206cm.; 81ins high by 220cm.; 86ins long £3000-5000

742 A Brown Bear (Ursus americanus) cub late 20th Century 80cm.; 31½ins high £1200-1800

292

743 A composite Aepyornis (Elephant Bird) egg (Aepyornis maximus) 30cm.; 12ins high The elephant birds (of which there were several species) have acquired an almost legendary status.

They lived only on the great island of Madagascar and produced the largest of all known eggs (bigger even than any known dinosaur egg!). The last of them probably died out during the sixteenth century, although there are rumours that some may have survived until a much later date. The extraordinary size of their eggs led to their use by native peoples as containers for liquid. Very few have survived intact

and these fetch very high prices. Some, like the present example have been reconstructed from pieces. £1000-1500 744 An Ostrich skeleton (Struthio camelus) 20th Century 198cm.; 78ins tall £2800-3500 745 A fantasy creature’s skeleton “The Terminator” in glass display case modern (made up) 31cm.; 12ins high by 40cm.; 15¾ins wide £900-1200 293

746

749

A fully mounted wild boar

A full mount Racoon

Northern European, 1st half 20th century

48cm.; 19ins high

127cm.; 50ins long

£150-200

mid 20th century

£500-800 750 747 A pair of boars heads mounted on wooden back plates Northern European, early 20th century backplate 84cm.; 33ins high £400-600 748 A mounted Roe deer head on shield mid 20th century 68cm.; 27ins from bottom of shield to tip of antlers together with a mounted feral goat’s head, 77cm.; 30¼ins high £250-400 294

A mounted pheasant by Cooper early 20th century in bowfronted case with Cooper label 89cm.; 35ins high, together with a wall mounted gold pheasant, 86cm.; 34ins high, and a brace of pheasants, 85cm.; 34ins wide £300-500

751

754

A mounted Wallaby

A mahogany firescreen

late 20th century £350-500

late 19th Century, incorporating later preserved blue tropical butterflies

752

100cm.; 39½ins high by 72cm.; 28½ins wide

70cm.; 27½ins high

A pair of wall mounted Rams skulls on carved wooden shields

£400-600

early 20th century the larger 56cm.; 22ins high £600-800 753 A glass display dome with ten tropical butterflies 47cm.; 18½ins high £280-400 295

755 A Zebra skin rug (Equus quagga) 20th century 235cm.; 92½ins long £600-1000 757 A bronze cast of a sperm whale vertebrae modern on anodised iron stand 67cm.; 26ins £1200-1800

756 An Edwardian Coco de Mer on stand early 20th century 26cm.; 10¼ins high £500-800 296

758

760

The penis bone of a walrus (Odobenus rosmarus)

A magnificent full mount Polar Bear (Ursus maritimus)

collected during the nineteenth century 51cm.; 20ins long £300-500 759 Two Walrus tusks Canada, modern with CITIES certificate the larger 49cm.; 19ins long

late 20th century 235cm.; 92½ins tall Sadly this bear had to be killed since it was repeatedly raiding settlements and posed a serious threat to local inhabitants £18,000-20,000

£500-800

297

761

762

763

A Dayak carved Orangutan skull

An ancestor human skull

An Asmat ancestor skull with feather headdress and nose piece

early 20th Century 23cm.; 9ins high £1200-1800

Papa New Guinea 20th century £1200-1800

New Guinea, early 20th century on ebonised base 33cm.; 13ins high £1200-1800

298

$Q ([KLELWLRQ

RI 1DWXUDO +LVWRU\ GUDZLQJV

E\ &DWKHULQH :DOOLV DW 6XPPHUV 3ODFH $XFWLRQV &DWKHULQH V LQWHQVH GUDZLQJV VHHN WR WDNH FDSWLYH WKH EHDXW\ WR EH IRXQG LQ WKH SDWWHUQV DQG WH[WXUHV RI QDWXUDO REMHFWV 7KH\ HFKR DQG VXUSDVV WKH VSLULW RI WK FHQWXU\ DUWLVWV ZKR GHSLFWHG LQ H[WUDYDJDQW GHWDLO WKH H[FLWLQJ GLVFRYHULHV LQ QDWXUDO KLVWRU\ WKDW ZHUH DUULYLQJ KHUH IURP DOO FRUQHUV RI WKH JOREH 7KH\ DUH VRXJKW DIWHU E\ SULYDWH LQGLYLGXDOV DQG LQVWLWXWLRQDO FROOHFWLRQV $ VXLWH RI LPDJHV ZDV UHFHQWO\ DFTXLUHG E\ 4DWDU·V 1DWLRQDO &RXQFLO IRU $UW DQG &XOWXUH DQG VKH SDUWLFLSDWHG LQ WKH LQIOXHQWLDO *KRVWV RI *RQH %LUGV H[KLELWLRQ DQG WKH SXEOLFDWLRQ VXEVHTXHQWO\ SURGXFHG

WK WK $SULO

Gavin Gardiner Limited ----------------------------------------------------------------------------------------------------------------

Auctioneers of Fine Modern and Vintage Sporting Guns, Rifles and Accessories

Forthcoming Auction: 15th April 2015 at Sotheby's 34-35 New Bond Street London Preview at Sotheby's Tuesday 14th April 9am to 4.30pm Wednesday 15th April 9am to 1pm Auction at 2pm Catalogue ÂŁ17 by post To include an Important Collection of Guns belonging to Royalty and Nobility. Including HRH King Edward VII, HRH Prince Albert, HRH the Duke of Cambridge, Lord Ripon and Lord Walsingham as well the the eccentric Scottish collector Charles Gordon.

Tel 01798 875300 www. gavingardiner.com

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode

SALE NUMBER GS047

Tel

Mobile

SALE DATE 14TH APRIL 2015

Email

Fax

GARDEN & NATURAL HISTORY

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.

LIVE AUCTION BIDDING FORM IMPORTANT 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.

Lot No.

Lot Description

Sealed bid Sterling price (excluding premium & VAT)

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.

FOR WRITTEN/FIXED BIDS Bids will be executed for the lowest price as is permitted by other bids or reserve.

“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 Where appropriate your written bids will be rounded down to the nearest amount consistent with the auctioneers bidding increments FOR TELEPHONE BIDS 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.

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.

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

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

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

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

ONLY)

3

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

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 twenty-four hours before the auction.

Where appropriate, your bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Absentee bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or fax to the Bid Department on +44 (0)1403 331 340.

302

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.

All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue.

We reserve the right to seek identification of the source of funds received.

In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as "sensitive", they agree that Summers Place Auctions may use it for the above purposes.

Summers Place Auctions will not use or process sensitive information for any other purpose without the client's express consent.

In order to fulfil the services clients have requested, Summers Place Auctions may disclose information to third parties (e.g. shippers). Some countries do not offer equivalent legal protection of personal information to that offered within the EU. It is Summers Place Auctions policy to require that any such third parties respect the privacy and confidentiality of our clients' information and provide the same level of protection for clients' information as provided within the EU, whether or not they are located in a country that offers equivalent legal protection of personal information.

By signing this Absentee Bid Form you agree to such disclosure.

Clients will please note that for security purposes, Summers Place Auctions premises are subject to video recording. Telephone calls e.g. telephone bidding/voicemail messages may also be recorded.

Please mail your bids The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331 Fax +44 (0)1403 331 340

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode

SALE NUMBER GE047

Tel

Mobile

BIDS TO BE RECEIVED BY 5PM 15TH APRIL 2015

Email

Fax

GARDEN & NATURAL HISTORY

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.

SEALED BID AUCTION BIDDING FORM

IMPORTANT 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.

Lot No.

Lot Description

Sealed bid Sterling price (excluding premium & VAT)

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.

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

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.

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

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

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

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

ONLY)

3

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

GUIDE FOR ABSENTEE BIDDERS SEALED BID AUCTION LOTS 301-763 All sealed bids must be with us, at the latest, by 14th April 5.00pm BST since the bids will be opened on the 15th April. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence.

Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened.

Sealed bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or fax to the Bid Department on +44 (0)1403 331 340.

Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods.

All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue.

We reserve the right to seek identification of the source of funds received.

In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain

304

information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as "sensitive", they agree that Summers Place Auctions may use it for the above purposes.

Summers Place Auctions will not use or process sensitive information for any other purpose without the client's express consent.

In order to fulfil the services clients have requested, Summers Place Auctions may disclose information to third parties (e.g. shippers). Some countries do not offer equivalent legal protection of personal information to that offered within the EU. It is Summers Place Auctions policy to require that any such third parties respect the privacy and confidentiality of our clients' information and provide the same level of protection for clients' information as provided within the EU, whether or not they are located in a country that offers equivalent legal protection of personal information. By signing this Sealed Bid Form you agree to such disclosure. Clients will please note that for security purposes, Summers Place Auctions premises are subject to video recording.

Telephone calls e.g. telephone bidding/voicemail messages may also be recorded.

Please mail your bids The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331 Fax +44 (0)1403 331 340 or email sealedbids@summersplaceauctions.com

Forthcoming Sales at Summers Place Auctions

9th-10th June Garden, Design & Natural History 8th-9th September Garden, Design & Natural History 25th November Evolution

THE WALLED GARDEN SUMMERS PLACE BILLINGSHURST WEST SUSSEX RH14 9AB 01403 331331

WWW.SUMMERSPLACEAUCTIONS.COM