Summers place auctions october catalogue 2014

October Cover 2014_Layout 1 11/09/2014 15:24 Page 1

Garden, Design & Natural History

GARDEN, DESIGN & NATURAL HISTORY

SUMMERS PLACE BILLINGSHURST WEST SUSSEX RH14 9AB WWW.SUMMERSPLACEAUCTIONS.COM

01403 331331

21 & 22 OCTOBER 2014

THE WALLED GARDEN

Summers Place Auctions Ltd

21 & 22 October 2014

Garden, Design & Natural History Live Auction

SPECIALISTS AND AUCTION ENQUIRIES

Sale No GS044

Tuesday 21st October 2014 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

Friday 17th to Monday 20th October and on the day of the sale 10 am to 4 pm or by appointment

Sealed Bid Auction

Sale No GE045

Bids opened on Thursday 23rd October 2014 Bids should be with us by 5pm BST 22nd October 2014

Viewing Friday 17th to Tuesday 21st October 10 am to 4 pm Cost of catalogue £10 at the gallery; £15 by mail; £20 overseas

Front cover lot 48 Bidding online available at The saleroom.com with additional fee of 3%.

Back cover lot 80

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Lindsay Hoadley

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Tel +44 (0)1403 331337

Fax: +44(0)1403 331340

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

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

Artwork by Bill Donohoe

(MAP NOT TO SCALE)

S U M M E R S P L A C E A U C T I O N S LT D • 1

IMPORTANT NOTICE

IMPORTANT CONDITIONS RELATING TO THIS SALE

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

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

Please refer to the Conditions of Business for Buyers.

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

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

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

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

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

Shipping and Transport Over 60% of our lots are sold to overseas buyers. 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

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.

Safety at Summers Place Auctions Summers Place Auctions is concerned for your safety while you are on our premises and we endeavour to display

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

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

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

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

2 • SCULPTURE & DESIGN FOR THE HOUSE & GARDEN

1 An extremely rare Georgian lead cistern dated 1754 and with the initials FSD 75cm.; 30ins high by 109cm.; 43ins long by 58cm.; 23ins deep

Lead cisterns became popular in the 17th and 18th centuries as a means of storing rainwater from roofs.

Often situated in courtyards, they are one of the very few examples of garden ornament to often bear a date, often supplemented as in this example, with the initials of the owner.

The front and sides were cast

in one long rectangular panel in a sand pit with the decoration made through carved wooden strapwork mouldings, letters and numbers together with any other decorative features pressed into the sand before the lead was poured in. This would often include armorial devices relating to the family, or figures representing the seasons.

Whilst having the normal strapwork decoration, date and initials, as well as an armorial cresting, this rare example also has a very unusual pair of vases of flowers in the rococo fashion, which is very much in keeping with the mid 18th century date. ÂŁ6000-10,000

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2 An unusual octagonal limestone trough French, 18th/19th century 76cm.; 30ins high by 112cm.; 44ins diameter ÂŁ3000-5000

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3 A carved limestone trough 18th/19th century 86cm.; 34ins high by 109cm.; 43ins wide ÂŁ3000-5000

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4 A carved limestone rectangular trough 66cm.; 26ins high by 178cm.; 70ins long by 92cm.; 36ins deep £4000-6000 6 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY L I V E A U C T I O N 2 1 S T O C T O B E R 2 0 1 4

5 A substantial copper cheese makers vat French, circa 1900 175cm.; 69ins diameter £2500-4000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 7

A Celebration of Coade stone Bacon as its manager two years later, see lot 6. 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. The output was considerable and included statuary, urns, finials, fountains as well as a number of architectural fittings both interior and exterior.

The Coade factory yard Lambeth in the 1790s Women in business in the eighteenth century were rare, yet some, such as the silversmith Hester Bateman and Alice Hepplewhite, who produced her late husband’s Cabinet Maker and Upholsterer’s Guide, are known. Mention the name Eleanor Coade, however, and most people would merely shrug. The reality is that Eleanor Coade’s ‘Manufactory

of Artificial Stone’ flourished from 1769 until the early 1840s. She had Royal Appointments to both George III and George IV and her work was utilised by every major architect in the late-eighteenth and early-nineteenth centuries.

It can be seen as far afield as Russia, the United States and even Brazil. Visitors to Buckingham Palace, either as

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a tourist, to a Garden Party or to collect a well-deserved medal may be amazed to learn that much of the architectural detail on the palace is made of Coade stone.

Eleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769, and appointed the sculptor John

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 Sealy from this date and following Sealy’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.

For more information on Coade stone, go to www.summersplaceauctions. com lot 6.

6† A Coadestone figure of Flora late 18th century stamped Coade excudit 158cm.; 62ins high A similar, but not identical figure of Flora, paired with Pomona stand in James Wyatt’s orangery at Heveningham Hall, Suffolk.

Many of the Coade stone classical figures are very similar in modelling and only differ in the attributes they are holding.

This figure which is loosely based on the antique model of the Farnese Flora, now in the Naples Museum, was most probably adapted from the antique original by Mrs Coade’s manager, the sculptor John Bacon, who later became sculptor to George III. Interestingly this figure is stamped Coade excudit, which was often used in the pre-1800 figures, suggesting that this figure was made in the 1780’s or 90’s.

Literature: Mrs Coade’s Stone, by Alison Kelly, 1990, S.P.A. pp 131-2 £12,000-18,000

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7 A rare Coadestone armorial for the Founders Company stamped Coade and Sealy, Lambeth, 1800 124cm.; 49ins high by 94cm.; 37ins wide by 33cm.; 13ins deep Provenance: Most probably removed from the façade of the Founders Hall, London.

The Worshipful Company of Founders is one of the oldest Livery Companies of the City of London, and can trace its existence back to 1365. It was formed to protect the interests of its members and to promote high standards of quality and workmanship in articles of bronze and brass.

The first hall was built in 1531, when 18 members of the Company joined together to buy two houses and a garden in Lothbury and proceeded to build a Hall on a site which still bears the name of “Founders’ Court”.

The Company was hard hit when the Hall, like so many others, was destroyed in the Great Fire of London in 1666 and rebuilt at a heavy cost mainly borne by the Liverymen from their own pockets. Built in brick with a stone front it is almost certain that this armorial was a later addition to the Hall and would have been positioned at parapet height

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on the façade, in the same position as a royal coat of arms, supplied in many cases

by Eleanor Coade, for businesses which had received a Royal Warrant to supply some commodity or service. It would have been removed when the hall was demolished in the 1840’s to make way for a new Hall started in 1845.

This piece would have been an individual commission and incorporates the Founders Company coat of arms which show a laver or washing ewer flanked by candlesticks reflecting the Founders who in the early days of the guild worked in brass and brass alloys or tinplate known as “Iatten” or “laton”, producing small cast articles.

The top of the armorial incorporates a flaming furnace including a crucible from which the molten brass would have been poured into moulds. The lower portion with the bronze mortars and dolphin handles together with chain shot cannonballs normally used in naval engagements for destroying rigging on enemy ships, were very topical given the date of 1800 on this piece, since Britain was engaged in a maritime duel with Napoleon’s France for supremacy at sea which culminated in the battle of Trafalgar 5 years later in

October 1805. The skill of the Coade modellers in faithfully reproducing in clay, the wooden carriage even down to the square iron strengthening plates and screws flanking the Coade stamp is testament to the quality to which Eleanor Coade aspired.

of the 18th century manufacturers and a piece of social history from one of the oldest and most august of the historical Livery Companies of London.

8

£6000-8000

58cm.; 23ins high by 76cm.; 30ins wide

An unusual Coadestone corner pilaster capital the underside with impressed mark Croggon, London, 1832

£2500-4000

This unusual Coade commission represents an opportunity to acquire a unique example from the best F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 1

9 A rare Coadestone plaque of St. George and the Dragon late 18th century 122cm.; 48ins high by 95cm.; 37½ins wide This would have originally formed part of a larger architectural frieze possibly for an Irish Georgian house constructed in the last quarter of the 18th century. The only known mention of a Coade Stone St George and the dragon is one at Mercers Hall, now in Museum of London.

Literature: See Mrs Coade’s Stone by Alison Kelly, SPA, 1990, page 410 £4000-6,000

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11

A pair of unusual Coadestone finials

A similar pair of Coadestone finials

circa 1830

circa 1830

stamped Coade’s Lambeth

stamped Coade’s Lambeth

66cm.; 26ins high

66cm.; 26ins high

£3000-5000

£3000-5000

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12 A fine and rare William and Mary double horizontal carved Portland stone and bronze sundial circa 1690 inscribed and constructed for latitude 52° 24’ N., bearing the Arms and motto of the Cornwallis family, signed Henricus Wynne Londini Fecit, the dial plate seated on three bronze bearings upon a Portland stone plinth with octagonal top and four volute supports with acanthus terminals flanking scallop shells, on moulded square base Sundial 69cm.; 27in diameter, plinth 130cm.; 51ins high The double-horizontal sundial, as the name implies, is a dual instrument, its principal features comprising a ‘double’ gnomon and complementary hourscales on the dial plate. The primary instrument is the fiducial edge of the inclined or sloping part of the gnomon, which, when the sundial is correctly set, lies parallel to the earth’s polar-axis and aligned in the north/south plane of the meridian and the shadow of which indicates the time against the outer hour-scale on the dial plate, in hours and minutes. The secondary instrument is the sharp vertical edge of the triangular-shaped support to the gnomon, which lies in the axis of the observer’s zenith, and the shadow of which indicates the position of the sun at the point where the straight edge of the shadow intersects the hour-line on a planispheric projection of the celestial sphere, corresponding to the time indicated on the main dial. This observation provides various astronomical data, including the sign of the zodiac in which the sun is situated, the times of sunrise and sunset, the

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length of the day in terms of the number of hours in the day from sunrise to sunset, the altitude and azimuth (direction) of the sun, together with the means to determine the time when certain ‘fixed’ stars would transit the meridian.

The Cornwallis doublehorizontal sundial has a floreated gnomon, seated on a sheet-brass dial plate, which is affixed to a cast-bronze base by means of ‘hidden’ rivets. The dial plate is engraved with various scales and tables, the primary hour-scale in the outer ring being graduated in hourly, ten-minute, five-minute and one-minute intervals, within which there are inner rings calibrated to indicate direction in terms of azimuth or bearing. The planispheric projection is also engraved with an inner and outer hour-scale, to facilitate its use, being graduated with hour-angle divisions (meridians) and parallels of declination to the limits of 23½ degrees north or south of the celestial equator or equinoctial line. Two engraved arcs, representing the ecliptic, the apparent path of the sun, extend from the points where the 6 o’clock meridians or hourcircles cut the equinoctial and graze the north/south extremities of the projection at the tropics of Cancer and Capricorn. The signs of the

zodiac are inscribed at their respective intervals along these two arcs. At the east/west extremities of the projection there are datescales, graduated in months and days, whereby the date may be determined from an observation. Conversely, the date being known, the sundial may be readily be orientated and aligned in the meridian, without recourse to the more usual and protracted methods involved in setting up an ordinary common or garden horizontal dial.

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Other scales engraved on the dial include a semi-circular lunar hour-scale (situated within the arc of the inner hour-scale of the planispheric projection), by which the time may be deduced from an observation of the moon, and two sets of altitude scales, for use with a pair of compasses or dividers. The names of certain fixed stars are inscribed within the boundaries of these scales, together with the values of their respective hour-angles or angular distances measured

eastwards of the so-called first point of Aries, the vernal equinox. On the planispheric projection this is the point, at the eastern extremity of the grid system, on the date-scale in March, at which the ecliptic and equinoctial intersect. By knowing the angular distance of the sun from this point, for a given date, the time of night may be deduced from the position of one or more of these stars. Two calendrical tables are also engraved on the dial plate on either side of

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the Cornwallis coat-of-Arms.

The double-horizontal sundial was the invention of the mathematician William Oughtred (1575-1660). This instrument was produced for him by his friend Elias Allen, who flourished circa 16061654, the most notable mathematical instrument maker of his day. His apprentice and successor was Ralph Greatorex (1625-1712), who was also a personal friend of Oughtred. One of Greatorex’s apprentices was

Henry Wynne (fl. 1654-1709), who, in turn, became wellknown for the excellence of his instruments. Wynne was a member of, and in 1690, Master of the Clockmaker’s Company. He produced the finest and largest (36-inch diameter) double-horizontal sundials, known in this country, which in themselves are comparatively rare, since their construction requires a high degree of mathematical knowledge and considerable skill in the accurate engraving of the planispheric

projection. One of his dials was set up on the terrace at Windsor Castle in the Reign of Charles II and others are known in England and Scotland.

The main supporting argument for the plinth being slightly later than the dial is that whilst there are threaded holes for levelling screws on the underside of the dial, no provision has been made in the top of the plinth for these screws. Instead there are three self-draining slots cut into the stonework, each containing a bronze ball-bearing on which the dial rests and which facilitate the dial’s orientation. Stylistically the plinth is certainly no later than 30/40 years later than

the dial and incorporates some early repairs.

The Arms engraved on the dial and gnomon are those of Sir John Cornwallis who died in 1544, impaled with the families of Buckton, Braham, Tyrell and Stamford, his antecedents by marriage. It is probable that the anomaly of dates can be explained by the engraved coat-of-Arms being based on a Cornwallis tomb in Brome Church, Suffolk, the one-time seat of the Cornwallis family, since the latitude marked on the dial of 52° 24’ would be about right for Brome. £20,000-40,000

13 A carved sandstone sundial Irish, 2nd half 18th century the 19th century bronze dial, indistinctly signed by a Dublin maker 150cm.; 59ins high £1500-2500

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14 An over life size rare Austin and Seeley composition stone figure of Phocion mid 19th century on pedestal 324cm.; 128ins high overall This model appears in the 1841 Austin and Seeley catalogue titled as Phocion, who was the leader of Athens in 318 B.C. He was famed for trying to save his fellow citizens from their own foolishness, thereby earning the reward of Socrates.

Felix Austin went into business in 1828 having bought moulds from a firm that had gone out of business. He established works in New Road, London, describing himself variously as an architect, statuary mason and sculptor as well as artificial stone maker. His material was not the same as the ceramic body used by Mrs Coade but made from Portland cement,

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broken stone, pounded marble and coarse sand (The Builder 1868). However, like Mrs Coade, he encouraged leading architects and designers to work for him. Around 1840 he entered into partnership with John Seeley. Seeley had trained at the Royal Academy Schools and also made an artificial stone which he called artificial limestone, before entering into partnership with Austin. In 1841 they published their first catalogue, Pleasure Grounds etc. from their address in New Road. The preface begins “Austin’s Artificial Stone is of a light tint, requires no painting or colouring, will not sustain injury from the severest winter, and, being impervious to wet, is particularly applicable to all kinds of water works. Its superiority is now so thoroughly established, that the most eminent architects and scientific gentlemen have expressed, in their highest terms, their approbation of its durability, and close resemblance to the real stone”.

15 A pair of rare Georgian carved Portland stone terms circa 1740 160cm.; 63ins high These would originally have formed part of a larger architectural fitting either as jambs of an important chimney piece or jambs for an imposing door casing.

Terms in the form of classical busts on a tapering pedestal originated in Roman times, representing the god terminus and were used for marking the boundary of an area or estate.

Revived in Italian renaissance gardens, they were later adopted by William Kent, the 18th century architect and leading exponent of the Palladian style of architecture, named after the Venetian architect Andrea Palladio (1508-1580) and first introduced into England at Chiswick House, designed in conjunction with his patron Lord Burlington and finished in 1729. Kent was also a prolific designer of both landscape gardens and furniture, with term figures liberally used in both disciplines. His work was recently celebrated at an exhibition at the Victoria and Albert Museum William Kent: Designing Georgian Britain. £5000-8000

£10,000-15,000

A design for a seat in Kensington Gardens by William Kent

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16 Attributed to William Grant Stevenson: A rare Victorian carved white marble group of two water spaniels and a whippet circa 1870 signed Stevenson and with later white marble plinth 81cm.; 32ins high by 94cm.; 37ins long by 84cm.; 33ins deep

Although a number of Stevenson’s are recorded as sculptors working in the second half of the 19th century, largely in Scotland, William Grant Stevenson, (1844-1919) is specifically known for his animalier pieces. A member of the Royal Scottish Academy he exhibited a bronze stag in 1894, now in the Edinburgh Museum. He also sculpted a monumental stone statue of William Wallace in Aberdeen.

This unusual group would have been undoubtedly have been an individual portraits commission for a family’s dogs, interestingly the marble separates into five different sections so that the dogs maybe viewed together or as individual groups. £3000-5000

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17 A pair of carved white marble armorial lions Italian, circa 1900 68cm.; 27ins high ÂŁ3500-5000

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18 A white marble figure of an urchin indiscintly signed Achille de **** Italian, circa 1900 115cm.; 45ins high ÂŁ6000-10,000

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19 A carved limestone classical torso French, 19th century torso 122cm.; 48ins high on composition stone pedestal 207cm.; 81ins high overall ÂŁ3000-5000

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20 A pair of impressive terracotta eagles French, mid 20th century 99cm.; 39ins high by 145cm.; 57ins wide Reputedly original removed from the town hall in Moissac, France.

These were replacements for limestone originals commissioned

by Napoleon Bonaparte but destroyed during the Second World War. ÂŁ2500-4000

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21 A Val d’Osne foundry cast iron torchère figure of an Egyptian boy on pedestal French, circa 1870 200cm.; 79ins high Founded by J.P.Andre in 1835 and based at the Val d’Osne, in the Haute-Marne, the company took over rival firms such as Barbezat and Ducel becoming the largest and most prolific foundry of decorative and sculptural cast iron in France.

The company exhibited at the Great Exhibitions of 1851 and 1862 as well as the Chicago Great Exhibition of 1893.

An identical figure is illustrated in the Societe Anonyme des Hauts-Fourneaux, Fonderies Val d’Osne catalogue, plate 365, no 40. £3000-5000

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22 An extremely rare Coalbrookdale Osmundia Fern pattern cast iron seat circa 1870 stamped Coalbrookdale and with diamond registration mark and number 193cm.; 76ins wide Together with Osmundia Regalis, the Osmundia Fern pattern is one of the rarest and most intricate of all the Coalbrookdale designs. It is illustrated in the 1875 Coalbrookdale castings catalogue, Section III, no 57. ÂŁ8000-12,000

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23 A Coalbrookdale Nasturtium pattern cast iron seat circa 1870 fully stamped CB Dale Co., with diamond registration stamps and registration numbers 137cm.; 54ins wide £2000-4000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 7

24 A Coalbrookdale Passion Flower pattern cast iron seat fully stamped Coalbrookdale and with pattern number 74-6F and registration number 188cm.; 74ins long The design numbered 149230 was registered and patented at the Public Records Office on the 8th February 1862 by Coalbrookdale and is seat number 32 in the Coalbrookdale section III catalogue of 1875. ÂŁ3000-5000

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25 A Coalbrookdale Medallion pattern cast iron seat circa 1870 fully stamped CBDale Co and with diamond registration and pattern numbers 168cm.; 68ins wide JK is the monogram of Joseph Kershaw, who was the principal designer at the Coalbrookdale foundry during this period. In J B Waring’s’ Masterpieces of Industrial Art and Sculptor at the International Exhibition 1862’ volume II, under section devoted to the Coalbrookdale Company, he writes ‘Mr Kershaw

is another artist who finds employment for his abilities in assisting the firm, to which he is principle designer: the bronze fountain, containing a statue of Temperentia, enclosed in a well-designed alcove of natural branches and foliage afforded a very satisfactory idea of his powers’ (plate 140). Coalbrookdale also exhibited a Medallion pattern seat at the same exhibition in the Iron Steel and Brass Work section, which is illustrated in the Art Journal Catalogue, page 82.

This design, number 149934, was registered and patented at the Public Records Office by Coalbrookdale on 13th March 1862, and is seat no. 35 in their 1875 Coalbrookdale Castings Catalogue, Section III page 259 (see engraving) £5000-8000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 9

26 A near pair of Coalbrookdale Fern and Blackberry pattern cast iron seats circa 1870 the back with indistinct makers’ marks the smaller 150cm.; 59ins wide, the larger 152cm.; 60ins wide £4000-6000

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27 A pair of rare cast iron seats American, late 19th century 112cm.; 44ins wide For a similar seat see Antique Garden Ornament by Barbara Israel published by Harry N Abrams 1999 page 180, where this pattern is referred to as the renaissance scroll pattern, a similar example is in the collection of the Metropolitan Museum of Art in New York. ÂŁ2500-4000

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28 A Coalbrookdale Nasturtium pattern cast iron seat circa 1870 the back stamped CB Dale and with diamond registration and registration number 183cm.; 72ins wide ÂŁ2500-4000

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29 A carved white marble bench Italian, mid 18th century 155cm.; 61ins wide ÂŁ5000-8000

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30 A large Regency cast iron boot scraper English, circa 1815 with lion paw scroll feet, palmettes and star motifs, presented on raise oval base 41cm.; 16ins long by 27cm.; 10½ins wide by 30cm.; 12ins high This form of scraper, set to stone, of the type seen at No. 10 Downing Street £500-800

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31 An impressive pair of cast iron griffin bootscrapers mid 19th century 76cm.; 30ins high A similar pair of bootscrapers stand outside Highclere castle in Berkshire the setting for Downton Abbey. ÂŁ5000-8000

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32 A substantial gilded and wrought iron console table French, circa 1870 with brèche marble top 102cm.; 40ins wide £3000-5000

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33 A pair of Walter Mcfarlane Foundry cast iron planters circa 1870 stamped Walter Mcfarlane, 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, pre-fabricated buildings and architectural crestings and ornament. ÂŁ3000-5000

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34 A pair of extremely rare Coalbrookdale cast iron stag’s head basket planters on rustic pedestals circa 1870 117cm.; 46ins high This extremely rare Cooalbrookdale model is illustrated in the 1875 Coalbrookdale catalogue section III page 323 no’s 7 & 8 (see engraving) £5000-8000

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35 A pair of Handyside foundry cast iron Medici and Borghese urns 2nd half 19th century 74cm.; 29ins high 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.

The vase was one of the most popularly reproduced antiquities being copied in marble, bronze, terracotta, alabaster and biscuit.

It is believed that the original was executed in the second half of the first century A.D. The Borghese urn was first 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.

These urns are illustrated in the 1874 Handyside catalogue No 3 & 3A. £2500-4000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 3 9

36 A rare cast iron urn circa 1870 95cm.; 37ins diameter ÂŁ2500-4000

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37 A pair of large tazza shaped cast iron urns on pedestals 2nd half 19th century 122cm.; 48ins high by 104cm.; 41ins diameter ÂŁ1500-2500

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38 A pair of extremely rare cast iron planters French, 2nd half 19th century the inside with makers’ stamp Leville Pailliette & C Sharlville Ardennes model depose Brevete Sgdg 46cm.; 18ins high by 34cm.; 13½ins square £2000-3000 4 2 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY L I V E A U C T I O N 2 1 S T O C T O B E R 2 0 1 4

39 A similar smaller pair of cast iron planters similarly stamped 40cm.; 16ins high by 29cm.; 11½ins square £1500-2500

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40 A large Blashfield stoneware urn on pedestal stamped J M Blashfield Stamford 1875 on associated plinth stamped Stiff & Sons 106cm.; 42in high overall by 95cm.; 37ins diameter 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 £2000-3000

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41 A set of six impressive composition marble finials 2nd half 20th century 153cm.; 60ins high ÂŁ40,000-60,000

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42

43

A composition stone triton fountain

A collection of Pulhamite stone

20th century

19th century

100cm.; 39ins high

£3000-5000

£3000-5000

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.

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44 A carved limestone fountain group Northern European, late 19th/early 20th century with associated plinth, fish mouth plumbed for water 150cm.; 59ins high ÂŁ3000-5000

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45 An alabaster and bronze fountain Italian, late 19th century 220cm.; 87ins high Provenance: Sotheby’s House sale of Woolton House, Newbury, Berkshire, 6th December 1993, lot 257. £5000-8000

Detail of Mercury after a model by Giam Bologna

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46 A cast iron fountain French, early 20th century 195cm.; 77ins high ÂŁ4000-6000

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47 ▲ An important bronze and cast iron upholstered curved seat

by Oscar Bach American, early 20th century 145cm.; 57ins wide Born in Breslau, Germany, in 1884, Oscar Bruno Baksti studied painting at the Royal Academy in Berlin and apprenticed in metallic arts. Soon thereafter he worked as artistic director of a metalwork firm in Hamburg where he won a commission to make an ornate jewel encrusted Bible cover for the study of Pope Leo XIII, which remains in the Vatican's permanent collection. This important commission led to others designing metalwork for civic buildings, notably Berlin's new city hall.

Between 1904 and 1911 Bach worked as a successful metalsmith in Germany, producing both small, utilitarian objects and monumental architectural works. The resulting designs, whether in bronze, iron, steel, aluminum, silver, copper, or lead, were adorned with the application of polychrome enamels, custom glass, patina work, and cast ornamental detail.

In addition, from 1908 he had a studio in Venice and travelled extensively throughout Europe, the Middle East, and North Africa, which informed his stylistic and technical inquiries. His artistic repertoire thus stemmed from a variety of influences including Arts & Crafts, Gothic, Renaissance, Spanish Baroque, Tudor Revival, and Art Deco. In terms of iconography, Bach's creations often featured zodiac and mythological symbols, scrolling grapevines, and classical masks, many of which are apparent in the highly eclectic decoration of this seat. He joined his brother Max in New York in January 1912. Soon after his arrival, they opened a metal design studio, with Max most likely in charge of commercial aspects, in Greenwich Village under the name of Bach Brothers (they would relocate several times and sell under Oscar B. Bach Studios, Inc. and Bach Products). In 1924 Bach established another studio in Florence. In addition to creating attractive household objects for wealthy New Yorkers, Bach also excelled at custom architectural works for lavish country estates, on which he often worked with architect Harrie T. Lindeberg. Noteworthy commissions include metalwork for the New York American Building in Columbus Circle (1913), the Woolworth Building (1913), Riverside Church (1930), Temple Emanu-el (1929), the Daily News Building (1930), Ohio's Toledo Museum of Art (for which he won the 1926 Gold Medal of Honor in Design and

Craftsmanship from the Architectural League in 1925), the Chrysler Building (1930), Rockefeller Center (1932), and the Empire State Building for which he created the large inlaid stainless steel mural in the lobby in 1931.

From 1941 until his death in 1957 Bach worked solely as a consultant for companies such as Remington-Rand, Manning, Bowman, Edward Budd, Oneida, Baldwin Locomotive, American Radiator Company, and the Tappan Stove Company.

Bach also exhibited widely from 1911, when he won the Grand Prix at the World's Exposition in Turin for a bed he designed for Kaiser Wilhelm II. In 1922, Oscar B. Bach and Oscar B. Bach Studios were mentioned in the metalwork category at the Metropolitan Museum of Art's annual exhibition of American industrial art, in which he would continue to participate until 1929. In 1924, he exhibited three examples of architectural work at the Carnegie Museum in Pittsburgh. Oscar Bach's work is today conserved in the permanent collections of The Metropolitan Museum of Art, The Minneapolis Museum of Art, The Wolfsonian, and Reynolda House. £20,000-30,000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 5 1

48 ▲ 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 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 Sackville-West 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 debt-free 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. £10,000-15,000 5 2 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY L I V E A U C T I O N 2 1 S T O C T O B E R 2 0 1 4

See also front cover

49 An unusual pair of Art Deco composition stone planters 1920’s 88cm.; 34 high by 94cm.; 37ins diameter £2500-4000

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50 ▲ Sir Jacob Epstein, 1880 - 1959 Little Eileen Bronze 35cm.; 14ins high by 30cm.; 12ins wide by 30cm.; 12ins deep Sir Jacob Epstein KBE 10 November 1880 – 19 August 1959 was an American-born British sculptor who helped pioneer modern sculpture. He was born in the United States, and moved to Europe in 1902, becoming a British citizen in 1911. He often produced controversial works which challenged taboos on what was appropriate subject matter for public artworks. He also made paintings and drawings, and often exhibited his work. Many of his larger works were of an architectural nature, however he is best known for his portrait sculpture in bronze. These sculptures were often executed with roughly textured surfaces, expressively manipulating small surface planes and facial details.

His sitters included Joseph Conrad, George Bernard Shaw, Albert Einstein, Paul Robeson and members of his family. Some fine examples are in the National Portrait Gallery.

Little Eileen is a childhood friend of Peggy Jean, Epstein’s first daughter who was born in 1918, and the sculpture dates from circa 1927.

Copy of bill of sale from Goldmark Gallery dated February 2005. £8000-12,000

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51▲ 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. £2000-3000

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52 A pair of impressive Japanese bronze urns Meiji period (1868-1912) with zinc liners 102cm.; 40ins high ÂŁ4000-6000

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53 A pair of bronze cranes Japanese, Taisho period, (1912-26) the taller 142cm.; 56ins high ÂŁ3500-5000

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54 A pair of carved granite dogs of Fo on pedestals circa 1900 142cm.; 56ins high ÂŁ2500-4000

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55 A carved granite Kasuge lantern Japanese, Meiji Period (1868-1912) 213cm.; 84ins high ÂŁ1200-1800

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The Crowther Collection

The display garden of H Crowther & Son, 5 The High Road, Chiswick The name of Crowthers is synonymous with all areas of garden ornament and architectural fittings and fireplaces, throughout the 20th century

Crowthers of Syon Lodge located next to Syon Park sold an even bigger range of garden ornament before finally auctioning of the residue of their stock with us in 2002.

When I held my first sale of Garden Statuary here at Summers Place under Sotheby’s auspices back in 1986, there were three branches of the Crowther family all plying their trade in London.

This just leaves the venerable firm of H.Crowther and Son, established by Henry ‘Mash’ Crowther in 1908 at the same premises they still occupy in Chiswick High Road, London.

From the beginning Mash specialised in making lead garden ornaments, a skill he had learnt from his father Tommy, who, at the fairly advanced age of 60, took a stand at the Chelsea Flower Show in 1914 displaying lead ornament and wrought iron gates, which earned him a gold cup. It says something for the continuity of this branch of the family, that Mash’s

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

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Various members of the Crowther dynasty, including from the left, Thomas Crowther who founded Crowther’s of 282 North End Road, Fulham, Henry ‘Mash’ Crowther founder of H Crowther & Son (Paul Crowther’s Grandfather) and on the extreme right Bert Crowther founder of Crowther’s,of Syon Lodge, Middlesex. The picture taken at Carville Hall, Brentford, Thomas Crowthers home and now a public park. grandson, Paul Crowther, the present proprietor of H.Crowther and Son, also exhibited his lead wares at the Chelsea Flower Show in 2007-2009, winning commendations as well as supplying the leadwork to Chris Beardshaw’s gold medal winning garden Throughout the twentieth century, the company’s collection played an important role for garden designers to draw upon. As Gertrude Jekyll, the outstanding Edwardian garden designer remarked; ‘There can scarcely be a doubt that the happiest material for our garden sculpture and ornament is lead'’ ‘and it was Crowthers who supplied lead statuary and ornament to the newly created Jekyll gardens at Hestercombe, Sissinghurst Castle and Hidcote Manor, to name but a few. Crowthers also supplied pieces to many fine 18th century gardens being restored; indeed it’s said that there are very few important gardens where you cannot find at least one example of Crowther’s work.

Paul wants to develop the workshops at the back of the garden and no longer needs the main house, since no family members are living in it, necessitating the emptying of the vaults,

bringing to light a number of pieces which haven’t been seen for years including many of the plaster originals from which the moulds were made with which to cast the lead pieces.

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

In order to continue expanding our business, I need to concentrate on developing our workshops adjacent to the garden.

We are delighted to be offering the second part of Paul’s family collection of leadwork, spread over our last sale and this sale with estimates often considerably below the retail price, which represents not just great value but the chance to acquire pieces with genuine history. James Rylands 2014

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56 † A rare Austin and Seeley composition stone and lead fountain the mid 19th century composition stone base with later lead scallop bowl 140cm.; 55ins high by 97cm.; 38ins diameter £4000-6000

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57 † A lead fountain mid 20th century plumbed for water, on composition stone base 188cm.; 74ins high This design is based on one made in cast iron from the mid 19th century onwards by the Handyside Foundry of Derby. £2500-4000

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58 †A pair of rare lead eagles 18th century on later limestone bases 81cm.; 32ins high by 81cm.; 32ins wide The lack of fine chiselling and finishing on the wings is normally associated with 18th century leadwork, probably as a result of being made to stand on gatepiers, where the fine detail would not be visible. £5000-8000

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59 † After Joseph Gott: A pair of lead reclining greyhounds early 20th century on later Portland stone bases 58cm.; 23ins high by 122cm.; 48ins long £3000-5000

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60 † After John Van Nost: A lead sundial of a kneeling Moor 2nd half 20th century with octagonal lead dial 140cm; 55ins high A North American Indian and similar Blackamoor were originally made for Hampton Court by John Van Nost the Elder in 1701. They were perhaps originally intended as part of a larger set representing the Continents but for the death of William III two months after the erection of the first two. £2000-3000

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61 † A rare lead figure of a Blackamoor 19th century holding a tray 80cm.; 31½ins high This rare model pre dates the Crowther era of lead making and would have been a copy of an Italian original carved in walnut. £1200-1800

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Camden Lock Market

Armorial Plaque from Camden Lock Market Stables

The following 12 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 old stables 3 storey indoor market hall designed by architect John Dickinson.

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.

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

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.

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Some of the bronzes, especially the noses of the monumental horses heads have achieved a wonderful rubbed patina through being touched by members of the public over the years.

For sealed bid pieces from Camden Lock see lots 585-604 Please go to www.summersplaceauctions.com, current catalogue for more images of Camden Lock Market.

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63

A monumental bronze figure of a blacksmith at his forge

A similar monumental bronze figure of a blacksmith at his forge

363cm.; 143ins high by 109cm.; 43ins wide by 156cm.; 61½ins deep

363cm.; 143ins high by 109cm.; 43ins wide by 156cm.; 61½ins deep

£10,000-15,000

£10,000-15,000

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64 A monumental bronze horse's head 320cm.; 126ins high by 370cm.; 146ins wide ÂŁ15,000-25,000

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65 A similar monumental bronze horse’s head 320cm.; 126ins high by 370cm.; 146ins wide £15,000-25,000

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66 A life size bronze group of two dray horses pulling a cart with a groom leading it 206cm.; 81ins high by 552cm.; 217ins long by 236cm.; 93ins wide ÂŁ15,000-25,000

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67 A bronze stallion 208cm.; 82ins high £5000-8000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 7 3

68 A life size bronze group of a farrier with horse 236cm.; 93ins high by 305cm.; 120ins long ÂŁ5000-8000

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69 A similar life size bronze group of a farrier shoeing a horse 214cm.; 80ins high by 305cm.; 120ins long ÂŁ5000-8000

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70 A similar bronze group of a farrier shoeing a horse 236cm.; 93ins high by 335cm.; 132ins long ÂŁ5000-8000

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71 A similar bronze of a farrier shoeing a horse 236cm.; 93ins high by 335cm.; 132ins long £5000-8000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 7 7

72 A life size bronze figure of a blacksmith at his forge 213cm.; 84ins high ÂŁ4000-6000

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73 A similar bronze group of a blacksmith at his forge 180cm.; 71ins high ÂŁ3000-5000

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74 A set of four carved white and variegated marble classical busts, including Apollo, Julius Caesar and Caligula average height 82cm.; 32ins on veined black marble pedestals 193cm.; 76ins high overall ÂŁ5000-8000

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75 A similar set of four carved white and variegated marble classical busts, including Mark Anthony, Augustus and Julius Caesar on veined black marble pedestals ÂŁ5000-8000

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76 A similar set of four carved white and variegated marble classical busts, including Julius Caesar, Constantine the Great and Antoninus Pius on veined black marble pedestals ÂŁ5000-8000

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77 A similar set of four carved white and variegated marble classical busts, including Apollo and Julius Caesar on veined black marble pedestals ÂŁ5000-8000

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78 A similar set of four carved white and variegated marble busts including Apollo and Constantine on veined black marble pedestals ÂŁ5000-8000

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79 A near pair of carved white and variegated marble busts of Shakespeare after Scheemakers and Othello on veined black marble pedestals 200cm.; 79ins high overall including pedestal ÂŁ2500-4000

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80 ▲ Alan Wilson: A herd of bronze resin deer comprising stag, three doe’s and two fawn’s each one signed and number either 1 of 12 or 2 of 12 the stag 202cm.; 80ins high, the fawn 100cm.; 39ins high

Born in 1962, Alan Wilson started the Sculpture workshop in 1989, initially producing moulds and casting works for other sculptors.

After making the transition to sculpture Alan has produced numerous works and commissions. Projects in the last few years have seen sculptural installations in Australia, Austria, Belgium, France, Ireland, Italy, Nigeria, Russia and the USA. These have included fountains in Birmingham and Tower Hill, London, unveiled by Tony Blair and Ken Livingstone. £10,000-20,000 see also back cover

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81 Simon Hempsell A herd of Deer Steel Stag 207cm.; 81½ins high by 110cm.; 43ins wide Hind 180cm.; 71ins high by 93cm,; 36½ins wide Fawn 105cm.; 41ins high by 75cm.; 29½ins wide £4000-6000

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82 Clare Trenchard Hareman I & II Bronze resin Edition of 5 185cm.; 73ins high

Clare studied at the Chelsea School of Art and graduated with a BA in Fine Arts in 1978.

Her work is modelled from life in clay, plaster or wax and cast in bronze and bronze resin.

She has exhibited at the ICA in London and for The Society of Portrait Sculptors. Her work is exhibited widely across the West Country of England.

ÂŁ9000-12,000

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83 Miranda Michels Hares above the Ground Mild steel Unique 300cm.; 119ins high Michels has exhibited in America, Ireland and Portugal and recently had two solo exhibitions in the UK. She also designed a large sculpture for BAE Systems. ÂŁ8000-12,000

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85 ▲ 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.

84 David Meredith Balios (Monumental) Bronze resin Edition of 8 300cm.; 118ins high

David Meredith was born in Leicester, England in 1973.

He was educated at the Leicester College of Art. He has worked as a sculptor professionally for the past 16 years.

Having travelled widely in Africa, Asia and North

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America, Meredith now concentrates his efforts on wildlife sculpture produced in bronze. He has spent the last six years producing a considerable body of work, where his passion for wildlife shines through. £20,000-30,000

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. £20,000-30,000

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86

87

David Norris

Nicola Godden

Emperor Penguin and Chick

Icarus Rising VII

Bronze

Bronze

Signed

Edition of 9

Edition of 12

Signed

35cm.; 14ins high by 18cm.; 7ins wide by 16cm.; 6½ins deep

85cm.; 34½ins high by 50cm.; 19½ins wide by 20cm.; 7¾ins deep

David Norris studied sculpture at The Royal Academy Schools, winning the silver medal for portraiture, two bronze medals and the coveted Landseer prize. Works range from large to small, in the round and relief, in bronze and precious metals. His subject matter concentrates on the human form and wildlife.

Born in 1960 in Germany to a British Army family, Godden studied sculpture at West Surrey College of Art and Design. She has travelled to and lived in many countries including Kenya, Cyprus and Singapore.

Many works have gone out to the Middle East, the tallest a 3 metres high “Mallard Landing” fountain for the Royal Palace Ruwi, the smallest the coinage for the Oman.

David Norris is a Fellow of the Royal Society of British Sculptors. £4000-6000

She was given her first commission through the landscape garden designer Roddy Lewellyn. The bronze was featured in his book Beautiful Backyards.

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

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

She has also been commissioned to produce works for numerous private persons and public sector bodies, together with many significant pieces for large corporate clients.

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Exhibitions Solo Exhibition, The Bronze Gallery, Hartley Wintney; Hannah Peschar Sculpture Garden; Wykeham Gallery, Stockbridge; The Pride of the Valley (2007); Art Parks International, Guernsey; Tom Caldwell Gallery, Belfast (2006); Contemporary Art Fair, Edinburgh; Phoenix Art Gallery, Hartley Wintney; Sarah Wiseman Gallery, Oxford (2005); The McHardy Sculpture Company (2004); Royal Society of British Sculptors (2001); Art 2000 Islington (2000) £8000-12,000

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88 Frederic Chevarin Flight Carrara marble on limestone base Signed Unique 145cm.; 57ins high by 43cm.; 17ins wide by 35cm.; 14ins deep Frederic Chevarin is a self-taught stone sculptor of French origin, now based in Oxfordshire, UK, who carves marble, limestone and alabaster. The central themes to his work are movement and nature, the ability to animate stone or marble by carving a delicate sculpture that creates a paradox between the apparent lightness of the material and its weight.

An Associate member of the Royal British Society of Sculptors since 2008, he has mentored with Helaine Blumenfeld FRBS and is a member of the Oxford Art Society. ÂŁ8000-12,000

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89 Jonathan Loxley, Born 1960 Band III Portuguese white marble 200cm.; 78½ins high by 60cm.; 23½ins wide by 14cm.; 5½ins deep Jonathan Loxley was born in 1960. His father was a fighter pilot and this meant that Loxley travelled widely throughout his youth. 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 such cult films as Labyrinth and A Fish Called Wanda. In 1989, Loxley established a studio in Carrara, Italy, and began on his current path. He had several exhibitions in Italy, and across Europe, and then in 1993, 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 featured at the Hampton Court Flower Show and Henley Art Show, both in 2001. £6000-8000

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90 Andrew Smith Dante’s Angel Portland stone Signed Unique 60cm.; 23½ins high by 58cm.; 23ins wide by 58cm.; 23ins deep Andrew Smith was born and raised in London, spending the early years of his career working there before moving to a new studio in Nottingham.

He is a fully trained monumental stone mason, with over twenty years of experience, before turning to a career as a professional sculptor, and broadening his skills by working with wood, plastics, polystyrene, clay and numerous other materials, including compacted snow.

His preferred technique is direct carving, where he works without designs or models, preferring to use his imagination, working with the shape and texture of the stone itself. £4000-6000

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91 Martin Williams Pecking Portland & Kilkenny limestone Unique 125cm.; 49ins high by 150cm.; 59ins wide After completing graduate and postgraduate training in Stoke-on-Trent and London, Williams established his first studio in Swansea, South Wales, in 1978. Working initially in ceramics, he ran a successful studio pottery specialising in domestic stoneware and relief decorated commemorative ware.

In 1988, he won his first commission for public artwork with a series of eight ceramic relief panels for a seaside monument entitled “Copper Flame”. This was a collaborative work with the Swansea based Architect, Robin Campbell.

Williams won several major commissions including a series of relief panels for a waterside site in Cardiff, and a large continuous relief work in Woolwich Arsenal Station in London. This was one of the largest ceramic relief works produced in the UK in the 20th Century.

His most recently completed public work is a four figure bronze composition on a carved Bath stone base for the World Health Organisation in Geneva, Switzerland. This work resulted from winning an international design commission, and a copy of the work has been produced for a site in America. £10,000-15,000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 9 7

92 Dorothy Brook After the Ball Bronze resin Edition 1 of 9 178cm.; 70ins high by 51cm.; 20ins wide by 35cm.; 14ins deep Educated at St Martins School of Art, Brook has continued to study art forms at Marylebone Institute and Camden and Hampstead Schools of Art. Working as a graphic designer, she became freelance to concentrate her efforts on sculpture. ÂŁ4000-6000

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93 Simon Wyard Daughters of Janus Bronze Signed and numbered 1 from an edition of 6 277cm.; 109ins high by 97cm.; 38ins wide As a child whose parents were both artists, Simon loved to paint and draw, and as a teenager took to sculpting in clay, then spent four years at Maidstone College of Art studying painting and printmaking for a degree in Fine Art. Further studies at Goldsmiths College included training as an art teacher, and studying ceramics - working on large figurative bowls and figurative sculptures. He now works loosely in pencil, charcoal ink and paint to help produce ideas as small maquettes before working in clay on the larger finished piece.

From 1988 to 1995 Wyard lived in the South of France working, exhibiting, and further developing his ideas by visiting many continental museums, galleries and cave paintings.

His work has largely been concerned with using the human figure as a point of departure to produce dynamic forms that also suggest an intimate connection to the landscape. Now living and working in the Exmoor National Park, ideas are sparked from patterns in the surrounding rocks, trees and banks of undulating moss, which often echo forms seen on his travels throughout Europe. ÂŁ20,000-30,000

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94 Ann Vrielinck Think Talk Tell Bronze Edition of 49 208cm.; 82ins high by 50cm.; 19½ins wide by 50cm.; 19½ins 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. £15,000-20,000

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95 Helen Sinclair Winter Walking Stone resin Edition of 25 89cm.; 35ins high by 40cm.; 16ins wide by 33cm.; 13ins deep Helen Sinclair was born in South Wales in 1954, and studied sculpture at Wimbledon School of Art (1972-76), after teaching for twelve years, she has been a full-time sculptor since 1988.

The main body of her work is figuratively based, and her primary inspiration is the human body, in movement, at rest, clothed or nude. She exhibits widely throughout the UK, and is held in private collections throughout Europe, the USA, Australasia and the Middle East. ÂŁ6000-8000

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96 Anna Chrom´y The Cloak Bronze Edition of 12 120cm.; 47ins high by 110cm.; 43ins wide by 90cm.; 35½ins deep Anna Chrom‘y (born July 18, 1940 in Cesk y‘ Krumlov) is a painter and sculptor.

Born in Bohemia (Czech Republic), she was raised in Austria, lives in France and works in Italy.

She studied at the École des Beaux-Arts in Paris and now has studios in Pietrasanta, Tuscany where she also has her bronze foundries, Fonderia Artistica Mariani and Massimo Del Chiaro. For her marble sculptures she works at the studio of Massimo Galleni in Pietrasanta. In Carrara, she sculpts at Studio Michelangelo of Franko Barattini.

The bronze Cloak of Conscience is Chrom‘y’s best-known piece, and examples from this edition are located in Cathedral in Salzburg, Austria, the National Archeological Museum in Athens, Fondazione Ferrero, Alba, Italy and elsewhere. Chrom‘y has since transformed The Cloak into a chapel over four metres high, carved out of a block of white marble weighing 250 tons in the Cave Michelangelo in Carrara, which is reputed to be the largest sculpture ever carved from a single block. Support for the Cloak of conscience project has also come from Tony Blair and his Faith Foundation for the IWCA, together with Nikolas Sarkozy, when he was President of France in 2008. £60,000-80,000

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97 Helen Sinclair Somewhere (Over the Rainbow) Bronze Edition of 7

140cm.; 55ins high by 180cm.; 71ins wide by 18cm.; 7ins deep Helen Sinclair was born in South Wales in 1954, and studied sculpture at Wimbledon School of Art

(1972-76), after teaching for twelve years, she has been a full-time sculptor since 1988.

The main body of her work is figuratively based, and her primary inspiration is the human body, in movement,

at rest, clothed or nude. She exhibits widely throughout the UK, and is held in private collections throughout Europe, the USA, Australasia and the Middle East. ÂŁ20,000-30,000

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98 Jenny Pickford, Born 1969 Butterfly Wings Forged galvanised steel and hand blown glass Unique 310cm.; 122ins high by 240cm.; 94½ins wide by 60cm.; 23½ins deep Jenny Pickford is a contemporary artist blacksmith, designing and making unique sculptures, water features and architectural ironwork. Her designs combine forged, galvanised steel, with spectacular blown glass.

She is highly regarded as one of the country’s leading female artist blacksmiths. £6000-8000

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99 Martyn Barratt Leaf bench II Marble and stainless steel Signed Unique 50cm.; 19½ins high by 180cm.; 71ins wide by 70cm.; 27½ins deep

Much of his work is contemporary in concept and content, and his practice owes much to the skills he learnt in his early trades as a carver and restorer. He works in a number of mediums, including studio glass, wood and marble. His work has been exhibited internationally, and has completed commissions for many prestigious clients including the BBC and the Palace of Westminster. He was elected to the Royal Society of British Sculptors in 1993, and director for the Burghley Sculpture Garden in 1997. £4000-6000

Barratt studied wood and stone carving and gilding at London Art School, and an MA in architecture at East London University.

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100

101

Martyn Barratt

Martyn Barratt

Moon Light

Tower Blue

Kiln formed glass

Kiln formed glass

Signed

Signed

Unique

Unique

80cm.; 31½ins high by 70cm.; 27½ins wide by 10cm.; 4ins deep

186cm.; 73ins high by 35cm.; 14ins wide by 35cm.; 14ins deep

See footnote to lot 99

See footnote to lot 99

£4000-6000

£4000-6000

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102 Ptolemy Elrington Eagle Hubcaps and steel Unique 235cm.; 88½ins high Ptolemy Elrington was born in 1965. He lives in Brighton, England and his sculpture is rubbish, literally. When finishing college in Bradford, he lived near a sharp bend in the road where cars often lost their hubcaps. He started collecting them from a ditch at the side of the road and planned to turn them into a suit of armour, but noticed that they could be turned into an array of birds, fish and other creatures. “I like to work with reclaimed materials to show that what is one person’s junk is another man’s treasure. I’m now working full-time mainly doing commissions for councils and companies.” £6000-8000

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103 Patrick Benedict Fiddler Fiddling Bronze Edition 1 of 9 180cm.; 70¾ins high by 140cm.; 55ins wide by 70cm.; 27½ins deep £6000-8000

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104 Dick Budden Reclining Form Bronze Signed Edition 1 of 5 35cm.; 14ins high by 130cm.; 51ins wide by 35cm.; 14ins deep Dick was born in Jersey in 1940, attending Kings School, Bruton followed by Bournemouth College of Art. It was while freelancing at the BBC as a prop-maker that he carved his own wood sculptures during quiet periods.

He subsequently rented a studio, where he continued to make oversize fruit sculptures in polystyrene and plaster, and pieces in wood, some of which have then been cast as a bronze.

He has also worked with Kenneth Armitage to enlarge three of his latest public works. ÂŁ6000-8000

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105 Dick Budden Reclining Form II Bronze Signed 4 of 5 46cm.; 18ins high by 80cm.; 31½ins wide by 52cm.; 20½ins deep £6000-8000

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106 Eleanor Swan George Dwyer Bronze Signed Edition 1 of 9 145cm.; 57ins high on plinth, 40cm.; 16ins wide by 40cm.; 16ins deep Her work is mainly sculptural and based on the human form although she also makes her own distinct fine porcelain vessels. She completed her BA in Ceramics at NCAD in 2006 and an MA in Ceramic Design in 2010. She has exhibited widely in Ireland and the USA and her work is in many public and private collections including the OPW (Office of Public Works, Dublin), The National Museum of Ireland, Collins Barracks, the Porcelain Museum, Riga, Latvia and the International Ceramic Museum, Jingdzehen, China. ÂŁ8000-12,000

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107 Laury Dizengremel Sisters Bronze Edition 2 of 2 Signed 50cm.; 19½ins high by 190cm.; 74½ins wide by 100cm.; 39½ins deep

Dizengremel’s was educated variously in France and the US, completing Graphic Design studies at Art Bureau in California, Sculpture at Beaux-Arts in Paris and finally a Masters degree in Fine Art at UCA, Kent. She has worked on a large number of sculpture projects, as artist in residence at Belvoir Castle, England, on the Tennis Terracotta warriors for the ATP in Shanghai, and she also teaches and lectures on sculpture in the UK and China.

Her work has been shown extensively in the USA, Europe and China, and is held in many significant museums, galleries and public and private collections around the world. £10,000-15,000

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108 Michael McEntee 155 Wishes Terracotta & stone Signed Unique 75cm.; 29½ins high by 30cm.; 12ins wide by 25cm.;10ins deep £2000-3000

detail

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109 Michael McEntee 175 Resolutions Terracotta & stone Signed Unique 75cm.; 29½ins high by 30cm.; 12ins wide by 25cm.; 10ins deep £2000-3000

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110 Richard Cresswell Spitfire Mirror polished stainless steel Edition 1 of 5 Signed 260cm.; 102¼ins high by 200cm.; 78¾ins wide by 30cm.; 12ins 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.

His current work has seen a shift of emphasis, with metal being the medium of choice as he is not constrained by the size and shape of timber, and his recently developed metal tile technique allows him to work in beautiful organic three dimensional curves. Alongside his abstract work are a number of fun pieces such as the ‘Butterfly Bench’, ‘Caterpillar Bench’ and the ‘Cocoon’, hence completing the lifecycle.

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Exhibition History Warwickshire Open Studio Delamore Arts, Ivybridge, Devon Rococo Gardens, Painswick, Gloucestershire Art In The Garden, Broomhill Art Hotel, Devon NHS Institute for Innovation and Improvement, work on loan Showborough House outdoor sculpture event, (2010, 1st prize) The London Group Open Exhibition, Mennier Gallery (2009 awarded John Jones overall winner) BCU Degree Show Alumni 1 Warwickshire College, Leamington.

Out to Lunch Warwickshire College, Leamington Newnham Paddox Sculpture Park, Leicestershire. £8000-12,000

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Fossils, Minerals and Natural History

111

112

A Crinoid (Sea Lily) plaque

A Crinoid (Sea Lily) plaque

Holzmaden, Germany, Jurassic

Holzmaden, Germany, Jurassic

57cm.; 22½ins high by 33cm.; 13ins wide

53cm.; 21ins high by 34cm.; 13½ins wide

£1500-2500

£1200-1800

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113

114

A Crinoid (Sea Lily) plaque

A Harpoceras spp. ammonite

Holzmaden, Germany, Jurassic 30cm.; 12ins high by 32cm.; 12½ins wide £1500-2500

Holzmaden, Germany, early Jurassic 76cm.; 30ins by 76cm.; 30ins £1500-2500

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117 115

A Catarus sp. fish plate

An Aspidorhynchus acutirostris, framed

Eichstätt, Germany, Jurassic

Eichstätt, Germany, Jurassic

30cm.; 12ins high by 54cm.; 21ins wide

29cm.; 11½ins high by 55cm.; 21½ins wide; specimen 33cm.; 13ins wide

The reverse of the plaque inscribed removed from the museum at Ph th hochschule, March 1914

£300-500

£200-300

116

118

A Carl Ulrich prepared Priscacara fish plaque

A Carl Ullirch prepared double Knightia fish plaque

Green River, Wyoming, Eocene

Green River, Wyoming, Eocene

30cm.; 12ins high by 52cm.; 20½ins wide

29cm.; 11½ins high by 41cm.; 16ins wide

£800-1200

£200-300

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119 A Catarus furcatus specimen, framed Eichstätt, Germany, Jurassic 26cm.; 10ins high by 58cm.; 23ins; specimen 48cm.; 19in £300-500

120 A Priscacara and Knightia fish plaque

121

Green River, Wyoming, Eocene

Green River, Wyoming, Eocene

41cm.; 16ins high by 30cm.; 12ins wide £1000-1500

A Carl Ullrich prepared Priscacara 24cm.; 9½ins high by 27cm.; 10½ins wide £500-800 122 A Saurian group plaque Lower Cretaceous about 100 million years (Santana Formation), Cearra, Brazil 40cm.; 16ins high by 51cm.; 20ins wide £800-1200

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123 A large Diplomystus, framed Green River, Wyoming, Eocene, 44cm.; 17½ins high by 79cm.; 31ins wide; specimen 44cm.; 17½ins long £1200-1800 124 A Carl Ullrich prepared Priscacara fish plaque, framed Green River, Wyoming, Eocene 50cm.; 19½ins high by 34cm.; 13½ins wide £600-1000

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127

A Saurian plaque

A crayfish sp.

Lower Cretaceous about 100 million years (Santana Formation) Ceara, Brazil

Solnhofen, Germany, Jurassic

24cm.; 9½ins high by 30cm.; 12ins wide

34cm.; 13½ins high by 54cm.; 21ins wide £250-350

£200-300 126

128

A pair of framed displays of fossil shark teeth

A set of sharks teeth

of various species and ages

mounted in four pine frames

46cm.; 18ins high by 55cm.; 21½ins wide £500-800

Moroccan, Cretaceous

70cm.; 28ins square £800-1200

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129 A Cleoniceras ammonite

cut and polished in two halves

Madagascan, Jurassic

25cm; 10ins £500-800

131 A large pair of ammonite halves Madagascan, Jurassic

130 An ammonite

47cm.; 18½ins high, on iron stands £1800-2500

Moroccan, Jurassic on Devonian marble base 47cm.; 18½ins high £1000-1500

133 132

A Citrine chimney

A rare fossilised cherry branch

Minas Gerais, Brazil

41cm.; 16ins long by 9cm.; 3½ins diameter

53cm.; 21ins tall, together with a small Amethyst chimney 39cm.; 15½ins tall

£200-300

£600-1000

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136

A set of six mineral spheres on wooden base

A pair of mineral spheres,

9cm.; 3½ins diameter

9cm.; 3½ins together with three smaller spheres, 6cm.; 2¼ins diameter

£300-500

£300-500

135 A Labradorite specimen

137

Madagascan

Afghanistan

20cm.; 8ins

22cm.; 8½ins

£1500-2500

£400-600

A Lapis Lazuli specimen

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138

140

A cased Crayfish modern

A display of crabs in glass dome

58cm.; 23ins high

modern

£200-300

75cm.; 29½ins high £500-800 142 A Hammerhead Bat skeleton modern in a glass dome 28cm.; 11ins £600-800

143 139

141

A didactic display showing the breast bones of birds

A replica of a Dodo skull

modern

modern

on metal stand

40cm.; 15¾ins by 33cm.; 13ins

30cm.; 12ins

41cm.; 16ins high by 24cm.; 9½ins wide

£250-400

£100-200

£200-300

An “exploded” giant grasshopper in glass case

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146

A glass display dome of tropical butterflies

A pair of shell towers

40cm.; 15¾ins high

74cm.; 29ins high

£350-400

modern

£500-800

145 A glass display dome with ten tropical butterflies 47cm.; 18½ins high £350-400

147 A mahogany firescreen late 19th Century, incorporating later preserved blue tropical butterflies 100cm.; 39½ins high by 72cm.; 28½ins wide £600-700

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148 A pair of wall mounted Rams skulls on carved wooden shields early 20th Century the larger 56cm.; 22ins high £800-1200 149 A pair of wall mounted Warthog skulls, on wooden shields 20th Century 56cm.; 22ins high £800-1200

150 A collection of ten Roe deer skulls on oak shield back plates Bavarian, early 20th century including some deformities, together with a mounted Roe deer head on polychrome wooden shield the fully mounted deer 56cm.; 22ins high £200-300

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153

A mounted leopard tortoise 20th century

A Leopard tortoise shell

19cm.; 7½ins long

19th century

£100-200

21cm.; 8ins high by 27cm.; 10½ins wide £200-300

152 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. A few have survived intact and these fetch very high prices. Some, like the present example have been reconstructed from pieces. £2000-4000

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154 A pair of Badgers, adult with immature by the well-known taxidermist James Hutchings of Aberyswyth late 19th Century 84cm.; 33ins high by 76cm.; 30ins wide £400-600

155 A dog Fox with a Pheasant by the wellknown taxidermist James Hutchings of Aberyswyth late 19th century 89cm.; 35ins high by 91cm.; 35¾ins wide £200-300

156 A full mounted Peacock on naturalistic base modern 186cm.; 73ins high £800-1200

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158 A pair of Gyr Falcons by McCleay of Inverness 157 A pair of Snowy Owls by the London taxidermist Edward Gerrard with his label to rear of case Victorian 96cm.; 37¾ins high by 82cm.; 32¼ins wide £2000-3000

late 19th Century with trade label to interior of case 73cm.; 28¾ins high by 71cm.; 28ins wide An interesting example of this rare species by a well-known Scottish taxidermist. £1500-2500

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159

160

An anthropomorphic diorama of three moles playing cards, in the manner of Walter Potter

An anthropomorphic diorama of stoats playing cards, in the manner of Walter Potter

20th century

20th Century

32cm.; 12½ins by 40cm.; 15¾ins

32cm.; 12½ins by 40cm.; 15¾ins

£400-600

£400-600 161

162

A full mount Heron by Peter Spicer of Leamington Spa

A Hawk Owl and Kestrel by Murray of Carnforth

late 19th Century with trade label to reverse 87cm.; 34ins high by 59cm.; 23ins wide A splendid example by Peter Spicer whose work is perhaps the most sought-after of all taxidermists. £1000-1500

early 20th Century with trade label to reverse 46cm.; 18ins high by 58cm.; 22¾ins wide A very unusual example of the work of this highly soughtafter taxidermist. £600-1000

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164

A bow fronted display case of a Kingfisher with a model fish in its mouth

A brace of mounted Teal in a circular wall display case

late 19th century

47cm.; 18½ins diameter £500-800

probably by John Cooper the celebrated fish taxidermist 22cm.; 8½ins high £500-800

165 A bow fronted display case with mounted puppy modern 22cm.; 8¾ins high by 38cm.; 15ins wide £300-500 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 3 3

166 A replica cast of the skull and antlers of an Irish Elk (Megaloceros giganteus) modern 130cm.; 51ins by 288cm.; 113½ins The Irish Elk stood about 2.1 metres (6.9ff) tall at the shoulders, and it had the largest antlers of any known cervid. Although most skeletons have been found in Irish bogs, the animal was not exclusively Irish. The latest know remains of the species have been carbon dated to about 7,700 years ago. £2000-4000

167 An Antler and Hide Bench 50cm.; 20ins high by 165cm.; 65ins wide by 52cm.; 20½ins deep £1200-1800

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168 A Kudu head mount

170

20th Century

A garniture of three horn and ebonised wood wall brackets

by H. J. Burton of Wardour Street, London

153cm.; 60ins high £500-800

169 A full mounted Iguana modern

circa 1900 the largest 40cm.; 15½ins high by 38cm.; 15ins wide £1200-1800

on branch 83cm.; 32½ins high £100-200

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173 A VanIngen style mounted Asiatic Lion head early 20th Century the shield 69cm.; 27ins, high by 59cm.; 23ins wide £1000-1500

171 A white “Tiger” crafted using the skin of a lion then re-shaping and recolouring it to resemble a rare pigment variation of the Bengal Tiger 123cm.; 48½ins by 238cm.; 93½ins £6000-10,000

172 A Snow Leopard skin Edwardian, with retailers label, early 20th Century 190cm.; 74¾ins long An unusual example of this very rare species. £700-1000

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176 A Mute Swan 174

late 20th century

A large Bison Head (Bison bison)

mounted

North American, late 19th century

£400-600

68cm.; 26¾ins high

84cm.; 33ins high by 92cm.; 36ins long £400-600

175 A mounted Wallaby late 20th century 70cm.; 27½ins high £500-800 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 3 7

177

178

A replica White Rhino head in half relief

A replica White Rhino head

modern

105cm.; 41ins by 145cm.; 57ins

115cm.; 45ins by 145cm.; 57ins

modern

£2000-3000

£1000-1500

179

180

A mounted Humboldt Penguin

A Rococo style 19th Century pine chimneypiece

early 20th Century

later mounted with shells and Chinese blue and white saucers

49cm.; 19ins high £500-800

123cm.; 48½ins high by 139cm.; 54¾ins wide £600-1000

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182 A pair of replica Elephant tusks modern on turned wooden bases one measuring 170cm.; 67ins by 67cm; 26½ins, the other 162cm.; 64ins by 65cm.; 25½ins £1500-2500

181

183

A young Polar Bear carrying a silver tray

A replica Sperm Whale jaw

103cm.; 40½ins by 63cm.; 25ins by 50cm.; 19½ins

modern

£2000-4000

275cm.; 108ins by 65cm.; 25½ins by 65cm.; 25½ins £2000-3000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 3 9

Evolution 26 November A rare Ice Age mammoth skeleton estimate ÂŁ150,000-200,000

Viewing from Friday 21st November Enquiries +44 (01403) 331331

www.summersplaceauctions.com

GLOSSARY OF TERMS

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

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

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

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

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

Manner of Antonio Canova

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

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

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

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

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

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

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

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

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

(iii)

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

(i)

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

(ii)

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

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

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

(ii)

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

142

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

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

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

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

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

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

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

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

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

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

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

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

Property with a ♠ symbol.

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

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

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

Sales and Uses Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of items following purchase (for example, the Use Tax payable on import of purchased 143

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

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

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

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

Bidding in Person To bid at auction you must register with us to obtain a bidding number. Before the auction, fill in the form at the registration desk, provide proof of identity, and you may be given a paddle showing your bidding number. This paddle should be used for bidding. The auctioneer will note this number when you purchase a lot Live Auctions Our live auctions take place in May and October on a Tuesday and are on view from the Friday preceding. Viewing prior to this may be possible by private appointment. The auction takes place in the gallery with each lot displayed on a plasma screen as it is sold. Prospective purchasers are encouraged to attend the sale and must register their details with us beforehand. Bidding is by numbered paddle.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

146

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Date

Price

GS15 Garden, Design & Natural History*

April, June, Sept 2015

£40 ■

EV15 Evolution Auction inc Natural History, Fossils Dinosaur material

May 2015

£15 ■

2015

2015

£50 ■

All Sales

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 23rd October and sales results will appear on the Summers Place Auctions website. Please be mindful that we will have to process a large number of bids, which does take time. However, we will endeavour to get this accomplished as quickly as possible and will expect to have the results of the sale posted by the end of the day.

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

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

Name ……………………………………………………

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

Address .....................................................................

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

............…………………………………………………… ............……………………………………………………

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!

Email..........………………………………………………

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

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

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

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

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

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

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

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

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

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✄

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

Sealed bid auction lots 301-675 All sealed bids must be with us, at the latest, by 5pm BST on the 22nd October since the bids will be opened on the 23rd October.

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.

303 Two Koroni Pithos terracotta oil storage jars Southern Mediterranean dated 1993 107cm.; 42ins high £600-1000

301 A group of three terracotta beehive Pithos oil storage jars Southern Mediterranean, early 20th century the largest 108cm.; 42ins high £1200-1800 302 A pair of large terracotta jars 2nd half 20th century 124cm.; 49ins high £1200-1800 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 4 9

304

306

A large terracotta planter

A terracotta planter

Southern France, circa 1900

Southern France, 19th century

73cm.; 29ins high by 79cm.; 38½ins diameter

46cm.; 18ins high by 66cm.; 26ins diameter

£800-1200

£600-1000

305

307

A terracotta planter

A medieval carved sandstone mortar

Southern France, 19th century

probably 15th century

64cm.; 25ins high by 94cm.; 37ins diameter

47cm.; 18½ins wide

£1400-1800

£400-600

1 5 0 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

308

310

A large carved marble mortar

Two carved cylindrical stone planters

18th/19th century

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

36cm.; 14ins high by 66cm.; 26ins wide

£400-600

£300-500

309 †

311

A pair of carved sandstone planters

A pair of carved Cotswold stone urns

modern

19th century

40cm.; 15¾ins high by 56cm.; 22ins square

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

£600-1000

£1000-1500 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 5 1

312 A pair of carved stone planters 20th century 36cm.; 14ins, together with another larger Gothic stone planter, 41cm.;16ins £400-600 313 A pair of carved stone basketweave planters mid 20th century 46cm.; 18ins high £300-500 314 A composition stone bowl on stand late 19th/early 20th century 102cm.; 40ins high by 94cm.; 37ins diameter £400-600

1 5 2 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

315

316

A pair of white marble urns late 19th century

A pair of composition stone urns

60cm.; 24ins high

mid 20th century

£750-1000

100cm.; 39ins high £1200-1800 317 A pair of composition stone faux bois planters French, mid 20th century 66cm.; 26ins high £600-1000

F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 5 3

319 A carved limestone tazza urn on pedestal 318

modern

modern

A pair of composition stone urns on pedestals

150cm.; 59ins high

107cm.; 42ins high

ÂŁ1000-1500

ÂŁ1200-1800

1 5 4 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

320 A pair of composition stone Adam style finials 2nd half 20th century 54cm.; 21ins high £800-1200 321 A similar pair of finials £800-1200 322 A pair of Gothic style composition stone octagonal urns 2nd half 20th century 77cm.; 30ins high £2000-3000

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

323 † A carved sandstone planter modern 49cm.; 19¼ins high by 92cm.; 36¼ins wide £500-800

324 † A set of four carved sandstone urns modern 68cm.; 27ins high by 57cm.; 22½ins diameter £1500-2500

1 5 6 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

327 325 A pair of cast iron urns 2nd half 19th century

A cast iron Medici pattern urn, possibly by the Handyside foundry 2nd half 19th century

68cm.; 27ins high

73cm.; 29ins high, together with another tazza shaped cast iron urn, 2nd half 19th century, 78cm.; 31ins diameter

£300-500

£500-800

326 A set of four unusual metal alloy urns 1st half 20th century 69cm.; 27ins high £500-800

F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 5 7

328 A pair of rectangular lead planters early 20th century 23cm.; 9ins high by 94cm.; 37ins wide £750-1000

329 A similar pair of lead planters £750-1000

330 A pair of rare and unusual tapering hexagonal cast iron planters French, mid 19th century with wooden base 30cm.; 12ins high by 41cm.; 16ins wide £1000-1500

1 5 8 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

331

332

A pair of stoneware urns late 19th century

A rare Blashfield stoneware urn

on faux tree trunk pedestals

circa 1850

102cm.; 40ins high

stamped J M Blashfield, Stamford no. 266

This urn is illustrated as number 266 from a selection of vases, statue, busts from Terra-Cotta’s by J M Blashfield, London published

by John Weil, 58 High Holborn 1857.

85cm.; 33½ins wide

£500-800

£500-800

see footnote to lot 40

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

333 A pair of rare Compton Pottery St. Louis pattern terracotta planters one with large maker’s circular stamp, the other with workman’s initials FCP damages 38cm.; 15ins high by 64cm.; 25ins diameter £800-1200

334 A rare set of eight stoneware urns late 19th century 40cm.; 16ins high by 56cm.; 22ins diameter £1200-1800

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

335

337

A collection of six washing copper planters

Two washing copper planters

1st half 19th century

1st half 19th century

the largest 61cm.; 24ins diameter

the larger 77cm.; 30ins high by 104cm.; 41ins diameter

£800-1200

£1200-1500

336

338

A cast iron cylindrical trough with ring handles

A similar collection of washing copper planters

circa 1860

1st half 19th century

stamped Ransome and Sims

£700-1000

122cm.; 48ins wide £800-1200

F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 6 1

339

341

A zinc bath

A patinated copper bath

mid 19th century

1st half 19th century

with drain hole and tap

63cm.; 25ins high by 156cm.; 61ins long

64cm.; 25ins high by 157cm.; 62ins long

£800-1200

£600-800

340 †

342 †

A Cornish granite rectangular trough

A Cornish granite circular trough

57cm.; 22½ins high by 157cm.; 62ins long by 82cm.; 32ins deep

33cm.; 13ins high by 102cm.; 40ins diameter £800-1200

£2000-3000 1 6 2 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

343

345

346

A carved limestone rectangular trough

A carved Rock Bath

28cm.; 11ins high by 160cm.; 63ins long by 47cm.; 18½ins deep

Unique

Two Bourgogne stone bollards

£1000-1500

140cm.; 55ins long by 136cm.; 53½ins wide by 86cm.; 34ins high

19th century 68cm.; 27ins high £500-800

£1200-1800

344 † A harlequin set of four Cornish granite staddlestones average height 71cm.; 28ins high £1200-1800

347 Two carved staddlestones the larger 94cm.; 37ins high £500-800 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 6 3

348 A carved limestone cooler Southern France, 19th century 166cm.; 65ins long by 74cm.; 29ins wide Troughs of this sort were reputedly used in the cognac making process. £1500-2500 349 A group of four rare carved limestone olive press rollers France, 18th century or earlier the longest 105cm.; 41ins £3000-5000

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

350 A set of six substantial carved sandstone composite order capitals 19th century five circular ones and one square section with wall rebate 83cm.; 33ins high the square one 95cm.; 37ins high £6000-10,000

351

352

A collection of six composition stone spheres

A two very large granite spheres

36cm.; 14ins diameter

modern

£1000-1500

100cm.; 39ins diameter £1500-2500

F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 6 5

353 A set of four monumental Doric order Verdi Antico and white marble columns late 19th century 366cm.; 144ins high ÂŁ8000-12,000

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

354 A pair of rare Macfarlane Foundry cast iron parapet lanterns 2nd half 19th century 198cm.; 78ins high See engraving A similar lantern is illustrated in the 1882 Macfarlane castings catalogue, volume 2, number 51.

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, pre- fabricated buildings and architectural crestings and ornament. ÂŁ4000-6000

F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 6 7

355

357 †

A pair of wrought iron gates

A pair of wrought iron gates with uprights

early 20th century

1st half 20th century

137cm.; 54ins high by 276cm.; 108ins wide

gates 114cm.; 45ins high by 160cm.; 63ins wide, the post including base rebates, and with composition stone ball finials

£1400-1600

172cm.; 67½ins high £1000-1500

356 †

358

A pair of wrought iron Art Nouveau style gates

A pair of wrought iron gates

late 20th century

early 20th century

each gate 200cm.; 79ins high by 190cm.; 75ins wide

226cm.; 89ins high

£2000-3000

£600-1000

1 6 8 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

359 A pair of composition stone gatepier balls modern 84cm.; 33ins high £800-1200

360 A wrought and cast iron kissing gate 19th century the gate 145cm.; 57ins high by 93cm.; 36½ins wide £500-700 361

362

A quantity of Caen stone balustrading French, 2nd half 19th century comprising 25 uprights and a quantity of sectional cappings and bases £300-500

A galvanised wrought iron pedestrian gate 2nd half 20th century 244cm.; 96ins high by 80cm.; 32ins wide £250-400

F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 6 9

366 A wrought iron weathervane early 20th century 200cm.; 79ins high £400-600

363 An Edwardian wrought iron tree guard/treillage frame

367

circa 1900

A composition stone plaque

146cm.; 57ins high, together with a wrought iron feeder, now adapted as a treillage base

20th century 110cm.; 43ins square £600-800

77cm.; 30½ins £400-600

365 A Victorian wrought iron weathervane late 19th century surmounted by later sheet copper whale vane 200cm.; 79ins high £1200-1800

364 A painted pine dovecote modern 148cm.; 58ins wide £400-600 1 7 0 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

368

370

A Boulton and Paul wrought iron dog run

A wrought iron rose arbour

early 20th century

280cm.; 110ins high by 230cm.; 91ins wide

incorporating two door and with various makers’ stamps

mid 20th century

£600-1000

£400-600 371 † 369 A painted composition stone faux bois bird cage on stand

An octagonal wrought iron gazebo 2nd half 20th century

French, mid 20th century

305cm.; 120ins high by 274cm.; 108ins wide

208cm.; 92ins high

£2000-3000

£300-500

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

373 details 372

373

A carved hardwood pavilion

A cast iron timber and slate pavilion

Thai, modern made from reclaimed teak 380cm.; 149½ins high by 360cm.; 141½ins wide by 380cm.; 149½ins long

(made-up) using Victorian and recycled components

This lot is being sold in situ in Surrey. Please contact us for further details.

518cm.; 204ins high by 558cm.; 220ins diameter

£4000-6000

£18,000-25,000

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376 Three terracotta forcing pots with lids English, early 20th century 48cm.; 19ins high £200-400

374 A cast iron anchor early 20th century 180cm.; 71ins high, the fluke 114cm.; 45ins wide £1500-2500

377 A rare Boulton and Paul enamel sign early 20th century

375

122cm.; 48ins wide

An unusual cast iron bootscraper

Boulton and Paul, based in Norfolk, made a wide variety of wrought iron garden furniture and summerhouses during the early part of the 20th century.

36cm.; 14ins high £300-500

£150-250

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378 A steel and wood scale model of an Intercity 125 train 1970s with 10in gauge, speed control, 100 watt electric engine, sprung suspension and buffers, together with a tag axle, two seats 74cm.; 29ins high by 46cm.; 18ins wide by 227cm.; 89ins long, along with a length of track 210cm.; 84ins of 8in This scale model was believed to have been built in the 1970s.

Speed control is an adapted electric drill with reduction gear box 10:1. Speed approximately 5 to 7mph with 12 volt battery not included. Believed to be in working order, however any prospective purchasers should have this checked by a certified electrical engineer. £1000-1500

379

380

A rococo style gilt brass hexagonal lantern

An Edwardian stained glass and brass lantern

early 20th century

early 20th century

with frosted glass panels 61cm.; 24ins high

93cm.; 36ins high overall, each glass panel 26cm.; 10ins by 17cm.; 7ins

£1000-1500

£1000-1500 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 7 5

381 A large wrought iron lantern French, circa 1900 160cm.; 63ins high £1500-2500

382 An Edwardian carved pine niche early 20th century 292cm.; 116in high by 165cm.; 65ins wide by 84cm.; 33ins deep £1500-2500

383 A stoneware lamp

by Philip Thomason modern 56cm.; 22ins high £1200-1800

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384 A pair of inlaid mahogany and patinated brass radiator covers French, early 20th century each with hinged side doors 92cm.; 36ins high by 112cm.; 43ins long by 34cm.; 13½ins deep £3000-5000

detail

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386 A Sienna Scagliola column pedestal early 19th century 385

diameter 28cm.; 11ins by 117cm.; 46 ins high

An ebonised and green Scagliola column pedestal

£1200-1500

early 19th century

387

diameter 30cm.; 12ins by 130cm.; 51ins high

A white marble and pink granite pedestal

£800-1200

19th century 122cm.; 48ins high £500-800

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389 A pair of Victorian stoneware pedestals late 19th century 120cm.; 47ins high £1250-1800

390

388 A pair of substantial carved granite and white marble pedestals late 18th/early 19th century

A composition stone bird bath surmounted by a patinated brass equatorial sundial modern

116cm.; 46ins high

135cm.; 53ins high by 80cm.; 31½ins diameter

£2000-4000

£1000-1500

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393

394

391

393

A Bath stone cast iron and copper armillary sundial

A carved Portland stone sundial

made-up

19th century

173cm.; 68ins high

with later bronze dial

£1200-1800

114cm.; 45ins high £500-800

392 A bronze armillary on carved limestone column pedestal

394

modern

A patinated brass and composition stone armillary sundial

371cm.; 146ins high

modern

£1500-2500

224cm.; 88ins high £1800-2500

391

392

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395 A carved limestone sundial late 20th century with square bronze multi-dial 120cm.; 47ins high £1500-2500 396 A granite sundial with associated 10inch bronze dial signed T Blunt Cornhill London 100cm.; 39½ins high Reputedly formed from one of the balusters of London Bridge £400-600 396

397 A Georgian style Edwardian carved Portland stone sundial pedestal circa 1900 on canted square plinth, dial missing 116cm.; 45½ins high £600-1000

395 detail

395

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

398

400

A carved limestone wall fountain with lead spout

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

modern

modern

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

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

£2500-4000

£1000-1500

399 A Travertine marble wall fountain Italian, circa 1900 with Rosso Verona marble inset panel 158cm.; 62ins high by 112cm.; 44ins wide £1000-1500

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401 †

402

403

A carved sandstone wellhead with wrought iron overthrow

A carved limestone wellhead

A small carved limestone wellhead

modern

with later wrought iron overthrow

220cm.; 86½ins high overall, the wellhead 89cm.; 35ins diameter

196cm.; 77ins high by 108cm. 42½ins square

£2000-3000

£2500-4000

French, probably 17th century

modern with wrought iron overthrow 158cm.; 62ins high overall, plinth 74cm.; 29ins diameter £1000-1500

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404 †

405

406

A Cornish granite bird bath

An unusual carved limestone birdbath

A composition stone fountain group

1st half 20th century

comprising an architectural castellated base surmounted by an associated carving of a monkey

mid 20th century

94cm.; 37ins high £800-1200

82cm.; 32ins high £300-500

top bowl plumbed for water 98cm.; 38½ins high £300-500

407 A composition stone pool surround modern 22cm.; 8½ins high by 426cm.; 168ins external diameter; 366cm.; 144ins internal diameter £1500-2500 1 8 4 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

408

410

411

A cast iron fountain of a winged lion on pedestal

A lead fountain figure of a boy

A lead fountain figure

early 20th century

1st half 20th century

late 19th century

with cornucopia, plumbed for water, on associated composition stone base

fish mouth plumbed for water

lion mouth plumbed for water 87cm.; 34ins high

66cm.; 26ins high

£300-500

£300-500

£300-500

81cm.; 32ins high

409 A carved sandstone pool surround 19th century 23cm.; 9ins high by 416cm.; 164ins diameter £2500-4000

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412

413

415

417

A stoneware bird bath

A Coalbrookdale style cast iron fountain

A Victorian cast iron fountain

A carved marble fish fountain

2nd half 20th century

183cm.; 72ins high

2nd half 20th century

183cm.; 72ins high

£1000-1500

137cm.; 54ins high

late 19th century 102cm.; 40ins high £500-800

£800-1200

£600-1000

416 414 A lead cistern

After the Antique: A Chiurazzi foundry bronze fountain figure of Mercury

dated 1707 and bearing initials STM, reconstructed using 18th century panels, each side with later iron armatures, damages

Italian, circa 1900

77cm.; 30ins high by 63cm.; 25ins square

After an original discovered at Pompeii

£800-1200

£1000-1500

weathered green patination, mask plumbed for water 55cm.; 22ins high

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418 A bronze fountain group of dolphins mid 20th century mouths plumbed for water, variegated green patination 183cm.; 72ins high £2500-4000

420 419 A bronze fountain figure late 20th century frog mouth plumbed for water, variegated green brown patina 74cm.; 29ins high

After Moreau: A bronze fountain figure of a putto representing Africa late 20th century crocodile mouth plumbed for water, variegated green patina 79cm.; 31ins high £2000-3000

£500-800 421 A Victorian carved white marble fountain circa 1860 dog mouth plumbed for water 150cm.; 59ins high £1800-2500

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423 A carved granite kasuge lantern Japanese, mid 20th century 164cm.; 65ins high, together with a carved granite storm lantern, mid 20th century 76cm.; 30ins high £600-1000

424 422 A Japanese style carved limestone lantern

A Japanese style carved limestone storm lantern

Italian, 2nd half 20th century

early 20th century

300cm.; 118ins high

88cm.; 34½ins high

£1500-2500

£300-500

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425 A granite Kasuge lantern Japanese, Meiji Period (1868-1912) central lantern section missing 200cm.; 79ins high £600-1000 426 An unusual composition stone Buddhist temple 2nd half 20th century on pedestal 150cm.; 59ins high £1200-1800 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 8 9

427 A pair of Siamese bronze temple dogs 20th century 107cm.; 42ins high £800-1200

428 A pair of bronze temple guardian dogs Siamese, early 20th century 84cm.; 33ins high £1000-1500

429 A pair of Japanese style lead cranes 2nd half 20th century 81cm.; 24ins high £300-500

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430 A sheet metal water container Indian, 19th century 150cm.; 59ins high by 110cm.; 43ins diameter £1200-1800 431 An unusual carved sandstone water table Indian, 19th century on three supports 181cm.; 71ins wide £500-800

432 † A bronze urli Indian, 19th century 88cm.; 34½ins diameter £600-1000

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433 A carved Bath stone seat late 19th century 308cm.; 120ins wide £2500-4000

434 A carved limestone seat late 20th century 155cm.; 61ins long £1500-2500

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435 A large carved Bath stone seat circa 1900 335cm.; 132ins wide £3000-5000

436 A carved limestone and brick seat incorporating some 19th century elements 216cm.; 85ins wide £3000-5000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 9 3

437 A carved limestone seat with overscroll arms modern 200cm.; 79ins long £800-1200

438 A pair of carved limestone benches modern 140cm.; 55ins wide £1200-1800

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439 A suite of composition stone faux wood rustic furniture mid 20th century comprising a pair of benches, two stools and a table table 94cm.; 37ins diameter £1200-1800

440 A carved Istrian marble curved bench circa 1900 repairs 240cm.; 96ins long £1000-1500

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441 A composition stone table last quarter 20th century 142cm.; 56ins long, and a pair of composition stone planters, last quarter 20th century, 53cm.; 21ins high ÂŁ500-800

442 A carved limestone oval table 2nd half 20th century 186cm.; 73ins long ÂŁ1000-1500

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443 A rectangular table made-up incorporating composition stone base and rectangular 19th century Portland stone top 180cm.; 71ins long by 66cm.; 26ins wide £1200-1800

444 A similar table £1200-1800

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447 A composition stone seat 2nd half 20th century 249cm.; 98ins long £500-800

445

446

A suite of teak furniture

A pair of hardwood seats

comprising table and four folding chairs

2nd half 20th century

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

with Lister maker’s stamp

£300-500

244cm.; 96ins long £500-700

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

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

In addition to designing shops, factories, a fire station in Paris, apartment buildings, private homes, and interiors, he was one of the first architects to show an interest in cinema. He designed film sets and his design for Marcel L’Herbier’s silent film L’Inhumaine (1924) is considered a masterpiece.

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

449 A rustic rootwood seat modern 140cm.; 55ins wide £1200-1800

Mallet-Stevens ordered that his archives be destroyed upon his death. His wishes were honored and his memory fell into obscurity. A French exhibit of his drawings, models, and actual works at the Centre Pompidou in 2005 sparked public interest in his contributions. £1800-2500 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 1 9 9

450

452

A suite of Val d’Osne foundry cast iron furniture

A Victorian rustic pattern cast iron seat

circa 1860

damages, one leg detached

the seat 142cm.; 56ins long

130cm.; 51ins long

£1500-2500

together with a cast iron table with two chairs ensuite damages

451 An extremely rare Phoenix Foundry cast iron seat circa 1860 the back stamped J Hayward, Phoenix Foundry, Derby and with large diamond registration stamps 130cm.; 51ins wide The design for this seat was registered on 20th June 1853.

The Phoenix foundry in Derby made a wide variety of cast iron in the 19th century including stationary steam engines, cast iron roofs, bridges, girders, water tanks, mile posts, bridges, kiosks, markets and agricultural machinery. £1200-1800 2 0 0 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

£400-600

453

455

A Val d’Osne Foundry cast iron Gothic pattern seat

An oak branch pattern cast iron seat

circa 1860

2nd half 19th century

146cm.; 57½ins wide

134cm.; 53ins wide

£1000-1500

This pattern was first designed by McDowell, Steven & Co., Glasgow, circa 1840 and later copied by other foundries, notably the John Finch Foundry, Dudley, Worcestershire.

454 A suite of oak branch cast iron furniture early 20th century comprising two seats and a chair

£300-500

the seats 92cm.; 36ins long £1500-2500

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456 A pair of Coalbrookdale style Gothic pattern aluminium seats 2nd half 20th century 152cm.; 60ins wide £800-1200

457 A Coalbrookdale Gothic pattern cast iron seat late 19th/early 20th century 155cm.; 61ins long £800-1200

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458 A pair of Coalbrookdale Nasturtium pattern cast iron seats each fully stamped CBDale and with registration numbers 182cm.; 72ins wide £5000-8000 459 A pair of rare Eagle Foundry Gothic pattern cast iron seats circa 1860 both with maker’s stamp Eagle Foundry No. 2 Glasgow, both seats replaced 99cm.; 39ins wide £2500-4000

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460 A Coalbrookdale Fern and Blackberry pattern cast iron seat circa 1870 the back with indistinct makers marks 147cm.; 58ins wide £1500-2500

461 A Coalbrookdale Fern and Blackberry pattern cast iron seat late 19th century 150cm.; 59ins long £600-1000

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462 A rare Macauley and Wade Foundry cast iron Four Seasons seat circa 1870 with diamond registration stamps old restorations 188cm.; 74ins The design of this seat, number 240338 was registered and patented at The Public Record Office by Morgan, Macauley and Wade, The Bath Works, Rotherham on 5th April 1870 £1500-2500

463 A set of six Coalbrookdale style aluminium chairs 2nd half 20th century £800-1200

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464

467

465

464

466

A Coalbrookdale style cast iron seat early 20th century

A Coalbrookdale Nasturtium pattern cast iron seat

183cm.; 75ins long

circa 1870

£400-600

fully stamped with CBDale and registration number

465 A Coalbrookdale Rustic pattern cast iron seat

152cm.; 60ins £500-800

circa 1870

467

in pieces, lacking slats

A Coalbrookdale cast iron plant stand

£500-800

circa 1870 110cm.; 43ins high, together with a four tier Edwardian wirework plant stand, 91cm.; 36ins wide and a Victorian cast iron urn on pedestal, 81cm.; 32ins high

466 2 0 6 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

£600-1000

468

470

469

468

469

A Regency reeded wrought iron seat

A Regency reeded wrought iron seat

early 19th century

early 19th century

restorations 184cm.; 72ins wide £1500-2500

471

470

471

restorations

A Regency reeded wrought iron seat

A Regency reeded wrought iron games seat

160cm.; 63ins wide

early 19th century

early 19th century

£600-1000

109cm.; 43ins long

hinged foot rest lacking

£1000-1500

203cm.; 80ins wide £1800-2500

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472 A pair of Arras wrought iron curved seats 20th century with brass maker’s plaque 180cm.; 71ins wide £1800-2500

473 A pair of wirework seats circa 1900 156cm.; 61ins wide £1000-1500

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474

475

A pair of wrought iron seats

A wrought iron seat

Scottish, 2nd half 19th century

circa 1900

137cm.; 54ins wide

£400-600

218cm.; 85ins wide

£2500-4000

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476 A strapwork wrought iron tree seat modern 182cm.; 72ins diameter £1500-2500 477 A pair of wrought iron demi-lune seats modern 175cm.; 69ins wide £1500-2500

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478 A wrought iron butchers table French, early 20th century with rectangular limestone top 115cm.; 45ins long £500-800

479 A rare Gaskill and Chambers cast iron table with rectangular marble top circa 1860 stamped Gaskill and Chambers 170cm.; 67ins long £800-1200

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481

482

A cast iron Zodiac table mid 20th century

A Victorian cast iron occasional table

83cm.; 33ins diameter

circa 1860

£300-500

with diamond registration stamp 55cm.; 21½ins diameter £200-300 483

480 A Coalbrookdale cast iron table circa 1870 53cm.; 21ins diameter This design is number 50 in the 1875 Coalbrookdale castings catalogue page 199. £500-800

A Coalbrookdale cast iron table circa 1870 with rectangular white marble top 12cm.; 47ins high by 60cm.; 24ins wide A table of a similar design is illustrated in the 1875 Coalbrookdale Foundry catalogue section II, page 205, No. 40 £300-500

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486 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 £1000-1500 485 A rare cast iron stick stand depicting an Irish farmer 484 A rare Falkirk Foundry cast iron stick stand circa 1880 the back stamped Falkirk and with diamond registration stamp and number

circa 1880 titled Ireland and Erin Is My Home, the back with registration number and model number 76cm.; 30ins high £800-1200

120cm.; 47ins high £400-600 487 A pair of rare Victorian cast iron and marble tables 2nd half 19th century with replaced marble tops 61cm.; 24ins diameter £1200-1800 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 1 3

488 A pair of cast iron console tables with marble tops late 19th century the fronts made-up incorporating staircase uprights designed by Christopher Dresser 90cm.; 36ins wide £400-600

489 Porch Glider Steel 82cms.; 32ins high by 130cm.; 5ins wide by 64cm.; 25ins deep £600-800

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490

491

Nigel Ross

Bob Oakes

Riorus

Sculptural Seat

Ash

Reclaimed & reworked iron

Unique 60cm.; 23½ins high by 178cm.; 70ins wide by 65cm.; 25½ins deep Nigel Ross sculpts from lengths of fallen trees, creating abstract forms sometimes with a functional element. The sculpture, sculptural benches and furniture, bridges etc are situated in woodlands, parks, gardens, schools, hospitals, gardens, and new developments across Britain, Europe and USA. £3000-5000

Unique 100cm.; 39½ins high by 142cm.; 56ins wide by 51cm.; 20ins deep Born and raised in Ilkeston, Derbyshire Bob studied in Cheltenham before embarking upon a teaching career in Nottingham, at the Elle Guilford School, for three years. £1200-1800

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492

493

Two cast iron figures of Egyptian boys

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

French, circa 1860 on a pair of associated zinc and cast iron pedestals

2nd half 20th century

215cm.; 84½ins high

on Kilkenny marble bases

£4000-6000

168cm.; 66ins high overall £1200-1800

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494 Attributed to Austin and Seeley: A composition stone figure of a classical girl 2nd half 19th century 142cm.; 56in high £450-750 495 A carved white marble bust of Caesar Augustus 2nd half 19th century Bust 43cm.; 17ins high, on associated white marble column pedestal 152cm.; 60ins high overall £600-1000 496 J Tarron: A carved white marble portrait bust of a girl signed J Tarron and dated 1888 58cm.; 23ins high, together with a pink Scagliola column pedestal, early 19th century diameter 25cm.; 10ins by 95cm.; 37ins high £1000-1500

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497 A composition stone group of a maiden and dog after a model by Austin and Seeley on plinth modern

498

499

After Michaelangelo: A composition stone figure of David on pedestal

An unusual composition stone bust of Mephistopheles

2nd half 20th century

1920s

163cm.; 64ins high

on composition stone pedestal

£500-800

130cm.; 51ins high £500-700

200cm.; 79ins high £1200-1800 2 1 8 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

500 In the style of John van Nost: A group of composition stone squabbling putti mid 20th century on pedestal 137cm.; 54ins high £800-1200

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

502

130cm.; 51ins high

Emile Aldebert: A carved white marble figure of Galatea

£1000-1500

French, late 19th century

mid 20th century

signed E. Aldebert 74cm.; 29ins high, on Portaro marble pedestal 155cm.; 65ins high overall

503

Emile Aldebert exhibited in various Paris Salons and received honourable mentions in 1883 & 1886.

2nd half 20th century

£2500-4000

A pair of composition stone figures of classical child soldiers on pedestals 160cm.; 63ins high £500-800

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504

506

507

A substantial composition stone bust of a Roman Emperor

A carved white marble portrait bust of George IV

2nd half 20th century

circa 1830

C Panati: After the Antique: A carved white marble bust of Seneca

104cm.; 41ins high

on associated base

£450-750

72cm.; 28ins high £800-1200

titled signed C Panati Roma 1900 on associated plinth 79cm.; 31ins high overall £1000-1500

505 A terracotta bust of a classical youth Italian, 2nd half 19th century 49cm.; 19ins high £300-500

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508 A pair of carved gritstone busts Low Countries, circa 1700 the larger 64cm.; 25ins high £4000-6000 509 An unusual carved white marble bust of a lady in Elizabethan dress 50cm.; 20ins high £400-600

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510

511

After the Antique: A carved limestone figure of the crouching Venus

Joseph Gott: A carved marble group of a young boy with a whippet

2nd half 20th century

mid 19th century

115cm.; 45in high

damages

ÂŁ2000-3000

84cm.; 33ins high

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Joseph Gott (1786-1860) was apprenticed to John Flaxman for two years. In 1805 he joined the Royal Academy Schools winning a Silver Medal in 1806 and a Gold Medal in 1807.

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

512 After the Antique: A carved white marble figure of the Crouching Venus Italian, 1st half 19th century 65cm.; 25½ins high £2000-3000

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

Literature: Biographical Dictionary of Sculptors in Britain 16601851, Ingrid Roscoe, 2009, pp541-547 £1200-1800

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513 A carved white marble Roman style sarcophagus early 20th century 47cm.; 18½ins high by 200cm.; 79ins long by 56cm.; 22ins deep

In the funeral and burial practices of ancient Rome, elaborately carved marble and limestone sarcophagi were characteristic of the social elite from the 2nd to the 4th centuries AD. At least 10,000 Roman sarcophagi survive, with fragments possibly representing as many as 20,000.

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

From the 17th century onwards it became fashionable for the British aristocracy to return from their Grand Tours of Italy with ancient Roman and Greek sculpture reaching its nadir in second half of the 18th century.

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

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were restoring and in some cases faking ancient sculpture to satisfy the growing English market. By the end of the 19th century demand was considerably outstripping supply and a number of Italian sculptors were carving copies from scratch, as in this example, often distressing them to give the appearance of great antiquity. Some were sold as copies of Roman marble originals, whilst others were passed off as the real thing. £5000-8000

514 †

515

A plaster wall plaque torso of Pomona after a model by Coadestone

A carved veined marble torso in the antique style

modern

86cm.; 34ins high

69cm.; 27ins high

£4000-6000

modern

£400-600

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517 A pair of painted composition stone figure gatepier eagles possibly Austin and Seeley, mid 19th century 84cm.; 33ins high ÂŁ800-1200

516 A pair of substantial composition stone armorial lions 2nd half 20th century ÂŁ3000-5000

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518 A composition stone stag 1st half 20th century 183cm.; 72ins high £1000-1500

519 A composition stone group of a child and a goat on pedestal Northern European, late 19th century 170cm.; 67ins high £4000-6000

520 A pair of carved limestone dogs Italian, 1st half 20th century 71cm.; 28ins high by 97cm.; 38ins long £1000-1500

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522 A composition stone fountain mask modern 43cm.; 17ins high £3000-5000 523 A composition stone figure of a boy riding a turtle mid 20th century 83cm.; 33ins high £300-500

521 A composition stone fountain group of a boy and a goose 1st half 20th century goose mouth plumbed for water 81cm.; 32ins high £250-400

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524 A composition stone figure of a young satyr modern 72cm.; 28ins high £300-500 525 A lead figure of an Egyptian early 20th century 80cm.; 31½ins high £300-500

527 A J P White bronze figure of Pan seated on a rock early 20th century 526 An unusual lead figure of lamb mid 20th century 45cm.; 18ins high £400-600

variegated weathered green patination 40cm.; 16ins high Although the firm of JP White based at the Pyghtle works Bedford were primarily known for leadwork and decoration they also produced a limited range of small bronze figures such as this one is illustrated in their 1935 catalogue p.14. £1200-1800

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528 ▲

529 ▲

Jonathan Wylder

Alan Wilson

Renee

Emma

Bronze resin on composition stone plinth

Bronze resin on composition stone plinth

the figure 137cm.; 54ins high, overall height 183cm.; 72ins

figure 127cm.; 50ins high, overall 165cm.; 65ins

£1500-2500

£1000-1500

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530 Lucy Kinsella Ophelia Bronzed resin From an edition of 9 184cm.; 72½ins high by 23cm.; 9ins wide by 21cm.; 8ins deep Lucy Kinsella graduated from Loughborough University B.A. (hons) Fine Art Sculpture in 1989.

Exhibitions include; Chelsea Flower Show, Burghleigh Sculpture Park, Olympia Art Fair, ‘The Sculpture Show’ Osbourne Studio Gallery London.

Her work is represented in collections in Ireland, Belgium, Japan, China, Channel Island, United States, France, South Africa, Dubai, Sweden, New Zealand and throughout the UK. £2500-3500

531 Lucy Kinsella Othello Bronzed resin From an edition of 9 188cm.; 74ins high by 43cm.; 17ins wide by 23cm.; 9ins deep See footnote to lot 530 £1200-1800 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 3 1

532 Ann Vrielinck Awake Bronze Edition of 49 224cm.; 88ins high by 110cm.; 43ins wide by 58cm.; 23ins deep £10,000-12,000 533 Caroline Stacey Draped Form Bronze Edition 1 of 3 105cm.; 41ins high by 28cm.; 11ins wide by 23cm.; 9ins deep £4000-6000

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534 Karen Green Mr Toad Bronze Signed, edition 7 of 12 70cm.; 27½ins high by 32cm.; 12½ins wide by 27cm.; 10½ins deep Karen Meleney Green, has been working in metal for 18 years. She is the granddaughter of celebrated Norwegian doll maker, Rønnaug Petterssen, and has studied sculpture, drawing and painting at The Corcoran, Washington University, and Rhode Island School of Design (RISD). £4000-6000 535 Guido Deleu The Visitors Bronze 75cm.; 29½ins high by 28cm.; 11ins wide by 21cm.; 8½ins deep After retiring from a professional career as a civil engineer, Guido Deleu attended the Academy of Art in Roeselare to develop his passion for art and sculpture.

He then further studied at a workshop in Carrara, Italy to focus on sculpture techniques in marble. £4000-6000

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537 Anon 2nd half 20th century Portland stone 117cm.; 46ins high by 93cm.; 36½ins diameter £600-1000

536 Frederic Chevarin Baleine Blanche Carrara marble Signed Unique 178cm.; 70ins high by 114cm.; 45ins wide by 22cm.; 9ins thick Frederic Chevarin is a self-taught stone sculptor of French origin, now based in Oxfordshire, UK, who carves marble, limestone and alabaster. The central themes to his work are movement and nature, the ability to animate stone or marble by carving a delicate sculpture that creates a paradox between the apparent lightness of the material and its weight.

Associate member of the Royal British Society of Sculptors since 2008, he has mentored with Helaine Blumenfeld FRBS and is a member of the Oxford Art Society. £12,000-15,000 2 3 4 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

538 Simon Buchanan Portal Marble on granite plinth Unique 87cm.; 34ins high by 60cm.; 23½ins wide by 31cm.; 12ins deep Simon Buchanan was born in Bristol in 1966 and educated at St. James School in London. After leaving school, he was apprenticed to the sculptors Edwin Russell FRBS and Lorne McKean FRBS. Having completed the seven year apprenticeship Simon started work in London as a self-employed artist in 1993.

Early work included studio work for the sculptor Nathan David FRBS and designing and carving memorial stones for Memorials by Artists.

245cm.; 96½ins high by 106cm.; 41½ins wide by 17cm.; 6½ins deep

24 carat gold

Jonathan Loxley was born in 1960. His father was a fighter pilot and this meant that Loxley travelled widely throughout his youth. 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 such cult films as Labyrinth and A Fish Called Wanda. In 1989, Loxley established a studio in Carrara, Italy, and began on his current path. He had several exhibitions in Italy, and across Europe, and then in 1993, 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 featured at the Hampton Court Flower Show and Henley Art Show, both in 2001.

Unique

£10,000-15,000

In 1997 he was commissioned to carve an altar piece for the chapel in the new school building of his alma mater, St. James.

In 2013 Simon was elected a member of the Royal British Society of Sculptors. £800-1200 539 Jonathan Loxley, Born 1960 Atman Portuguese marble

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540 Luke Dickinson Singularity to Singularity Portland stone with Kilkenny marble base 80cm.; 31½ins high by 80cm.; 31½ins wide by 80cm.; 31½ins deep £8000-10,000

Luke Dickinson trained as a stonemason and worked on Winchester and Salisbury Cathedrals before attending City and Guilds London Art School where he won the Executive Committee’s Prize for Outstanding Work. He continued his training working with marble at Pietrasanta, near Carrarra in Italy. Between 1993 and 1995, Luke was involved in landscape projects in Zimbabwe, India and Pakistan, before starting an MA course in site-specific sculpture at Wimbledon Art School in 1996. He has exhibited widely in the UK and continues to explore themes of change and growth in his sensual carvings in a wide variety of stones.

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542 Michael Thacker Boundaries Ancaster weathered limestone and gold leaf Unique 90cm.; 35½ins high by 35cm.; 14ins wide by 14cm.; 5½ins deep After studying sculpture at Loughborough University, Michael went on to study stone masonry and gained a job as a stone carver and mason at Lincoln Cathedral.

541 Peter Brooke-Ball Solitude Marble and pewter Unique 118cm.; 46½ins high by 45cm.; 17¾ins wide by 30cm.; 12ins deep Peter was born and brought up in southern India before his family moved back to Britain in the 1960s. He attended three art colleges and a university in England but became disillusioned with

the art world in the 1980s and for ten years worked as a freelance editor and author, publishing 14 non-fiction books. In the mid-1990s, he started making sculpture again and he has subsequently exhibited widely in the UK, Europe, and as far afield as Japan. His work can be seen in the Spanish National Collection in Orense, Taunton’s Musgrove Park Hospital and in many sculpture gardens.

Michael also uses references from natural forms such as seedpods, shells fossils and plant buds. The idea that a form develops and grows from within a hard casing to burst forth and reveal a new appearance is paramount in his thought process. He unbalances the original and juxtaposing taut polished geometric forms against roughly textured organic shapes that emerge from within. £3000-4000

£6000-8000

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543

544

Julie Grose

Lisa Pettibone

Dandelion Clock

Optical Tree

Assorted metals

Powder coated steel, mirror & glass

160cm.; 63ins high by 75cm.; 29½ins diameter

Unique

Julie Grose was born in London, 1978. Whilst on a Silversmithing and Metalwork degree at Camberwell College of Art, Julie found a passion for forging and subsequently travelled to work with blacksmiths around the UK and North America.

240cm.; 94½ins high by 190cm.; 75ins wide by 170cm.; 67ins deep

By incorporating a range of metals, such as, steel, aluminium, copper brass and bronze into her designs, Julie creates pieces that blend well with their situation but also express personal statement.

She was art director for BBC Books until 2001 whereupon she left to freelance and pursue glass making and sculpture, setting up her own glass studio and workshop in Shere, Surrey

£2000-3000

Originally from California, Lisa studied at the California College of Arts and Crafts, then at the University for the Creative Arts (UCA) in Surrey, having moved to the UK in 1990.

Aside from frequent exhibitions, Lisa also works to commission where she can respond to a natural or historical setting, and she has completed numerous commissions for the National Trust. £6000-8000

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545 Simon Hempsell Cow Parsley Steel largest 230cm.; 90½ins high by 30cm.; 12ins wide by 0.8cm.; ½ins deep; smallest 170cm.; 67ins high by 30cm.; 12ins wide by 0.8cm.; ½ins deep £1200-1800 546 Ruth Moilliet Sandblast Panels Glass and mild steel each 200cm.; 78¾ins high by 80cm.; 31½ins wide by 70cm.; 27½ins deep Ruth studied a Foundation in Art and Design at Manchester Metropolitan University, and continued onto a BA Humors course in Fine Art (Sculpture) and then a Master’s degree in Art as Environment. She has won numerous awards, including the AHRB Postgraduate Professional and Vocational Award to study her MA, the North West Arts Board, Setting Up Scheme Award and Placement in 20012003 and Best Bespoke Accessory for ‘Allium’ in the Design and Decoration Awards 2004.

She has completed commissions for Kew Gardens, The Oasis of the Seas cruise ship, and many luxury hotels, public gardens and commercial developments. £4000-6000

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548 Crocodile last quarter 20th century Bronze 178cm.; 70ins long £2000-3000 549 Brendan Hesmondhalgh Seated Greyhound Stoneware, Unique 100cm.; 39½ins high

547 David Cooke, Born 1970 Little Owl Stoneware and steel on a wood base Unique 65cm.; 25½ins high by 22cm.; 8½ins wide by 20cm.; 8ins deep David Cooke has been a professional wildlife artist since graduating in 1992 from Leeds Metropolitan University with a degree in 3D Design. He grew up in East Anglia with ready access to clay thanks to his mother Rosemarie Cooke, who is also a ceramic sculptor. David has been based at Sculpture Lounge Studios in Holmfirth since 2005, and has been running ceramic workshops there with Brendan Hesmondhalgh since 2006. He regularly exhibits at some of the major UK ceramic and wildlife art shows, such as Art In Clay at Hatfield House, Potfest In The Park, Penrith and the annual Society of Wildlife Artists Exhibition at the Mall Galleries in London. £400-600

Educated at North East Wales Institute of Art and Design, then Edinburgh College of Art. Brendan works primarily in ceramic and creates bold animal designs that are often mounted on ceramic plinths.

He uses a hand-building technique that deliberately cracks the surface of the clay.

By pushing out a sheet of clay from the inside the surface breaks as it stretches. In this way wrinkles, textures folds can be readily incorporated into the shape. The wet flexible clay can be pushed out from the inside to form the fullness of a belly, the line of a rib or the undulation of a muscle.

He has won numerous awards, fellowships and prizes for his work, and as his work escalates from smaller scale garden sculpture to larger scale pieces, he has been selected for various private, public and corporate commissions. £2000-3000

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550 Toad under Toadstool Bronze 22cm.; 8½ins high by 30cm.; 11½ins wide by 17cm.; 6½ins deep £200-300

551

120cm.; 47ins high

Brendan Hesmondhalgh Greyhound on Circle

See footnote to lot 549 £4000-6000

Stoneware Unique F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 4 1

552 Patricia Volk Warrior Stoneware Unique 81cm.; 32ins high by 50cm.; 19½ins wide by 40cm.; 15¾ins deep Patricia Volk was born in Belfast and has been creating distinctive, prize winning ceramic sculpture for over twenty years in a style uniquely her own. Her juxtaposition of pure shape and colour portray contradiction of power and fragility, stability and precariousness, meant to reflect the relationships between beings. She is an associate member of the Royal Society of British Sculptors and has exhibited both nationally and internationally. £3000-4000

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553 Tom Joynes Two heads are better than one Bronze Bronze 100cm.; 39ins high by 61cm.; 24ins wide by 40cm.; 16ins deep, on plinth 112cm.; 44ins high ÂŁ6000-8000

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554

555

556

Sue Bryant

Yuelong Shi

Peter Hayes

Glimpses of Beyond

Emerging III

Divided Disc

Galvanised mild steel

Marble

Stoneware, Steel and Wood

160cm.; 63ins high by 200cm.; 78½ins wide by 15cm.; 6ins deep

Unique

Unique

109cm.; 43ins high by 115cm.; 43ins wide by 62cm.; 24½ins deep

98cm.; 38½ins high by 72cm.; 28ins wide by 20cm.; 7¾ins deep

£2000-3000

See footnote to lot 557

Following completion of her Fine Art Degree in Sculpture at Winchester School of Art, Bryant is presently studying for a Master’s degree at Plymouth College of Art. £4000-6000

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£2000-3000

556

557 Peter Hayes Couple Stoneware Unique 66cm.; 26ins high by 40cm.; 15¾ins wide by 16cm.; 6¼ins deep

Hayes was born in Birmingham, England, where, aged 12, he was selected to attend the Moseley School of Art. In 1961 he left to study 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. Moving on to India, Nepal, Japan, Korea and New Mexico, he found similar skills and adopted the

techniques he learned. In 1982, Hayes came home and built a studio in a disused toll house on Cleveland Bridge, Bath.

The distinctive appearance of Peter Hayes’ ceramics comes from the 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. £1200-1800

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560 Martin Scorey Wing Helmet Wood and lead Signed Unique 78cm.; 31ins high by 79cm.; 32ins wide by 31cm.; 12ins deep £1000-1500 558

Unique

Martin Scorey

52cm.; 20½ins high by 93cm.; 36½ins wide by 22cm.; 8½ins deep

Racer Scrap metal, lead and wood Signed

£1000-1500

561 ▲ 559 ▲

Zack Zaltman

John Farnham

Human Form 1989

Spiral Hand 1989 Soapstone

Signed, dated and numbered 1/4 on ebonised base

49cm.; 19ins high by 66cm.; 26ins long

122cm.; 48ins high

£350-550

£600-1000

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563 Ptolemy Elrington Caribbean Squirrel Fish Hubcaps Unique 103cm.; 40½ins long

Unique

Ptolemy Elrington was born in 1965. He lives in Brighton, England and his sculpture is rubbish, literally. When finishing college in Bradford, he lived near a sharp bend in the road where cars often lost their hubcaps. He started collecting them from a ditch at the side of the road and planned to turn them into a suit of armour, but noticed that they could be turned into an array of birds, fish and other creatures. “I like to work with reclaimed materials to show that what is one person’s junk is another man’s treasure. I’m now working full-time mainly doing commissions for councils and companies.”

58cm.; 23ins high

£600-800

562 Evert den Hartog Preening Swan Bronze, dark brown patination on limestone plinth Signed Hartog

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. £1200-1800

564 ‡ ▲ Bruce Gernand ‘Bruce Dreams the Tortoise and Hare’ Bronze 33cm; 13ins high £700-1000

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566 Ann Vrielinck Search

568

Bronze

Jacques Vanroose

Edition of 75

565 Guy Buseyne Building Networks Bronze on steel stand Edition of 75 157cm.; 62ins high by 61cm.; 24ins diameter After an initial career in publishing, Buseyne struck out as an independent graphic designer, working on furniture design, making and restoration as well as jewellery and sculpting.

Having completed further studies at the Academy of Fine Arts in Bruges, he now works full time in furniture design and bronze sculpture.

Tallest 44cm.; 17ins high by 14cm.; 5½ins wide by 8cm.; 3ins 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.

567 Jacques Vanroose Lost in Tango Bronze on corten steel frame Edition of 75 67cm.; 26½ins high by 33cm.; 13ins wide by 12cm.; 30ins deep £1000-1500

£2000-3000

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Challenge Bronze Edition of 75 104cm.; 41ins high by 81cm.; 32ins wide by 23cm.; 9ins deep £1500-2500

569

570

571

Lobster Claw

Carrie Fisher

Eleanor Swan

Plywood

Glass Poppies

Conversation

99cm.; 39ins high by 44cm.; 17ins wide by 20cm.; 8ins deep

Unique

Stoneware

Approx 183cm.; 72ins by 92cm.; 36ins depending on positioning

Unique

£400-600

£2000-3000

73cm.; 29ins high by 50cm.; 20ins wide by 30cm.; 12ins deep Her work is mainly sculptural and based on the human form although she also makes her own distinct fine porcelain vessels. She completed her BA in

Ceramics at NCAD in 2006 and an MA in Ceramic Design in 2010. She has exhibited widely in Ireland and the USA and her work is in many public and private collections including the OPW (Office of Public Works, Dublin), The National Museum of Ireland, Collins Barracks, the Porcelain Museum, Riga, Latvia and the International Ceramic Museum, Jingdezhen, China. £2000-3000

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572 Andy Peters Helena Douglas Fir Unique 110cm.; 43ins high by 44cm.; 17ins wide by 42cm.; 16½ins deep Andy Peters is a self-taught authority on authentic wood carvings of figureheads and other decorative woodwork used in the stern and quarter galleries or interiors of tall ships and all manner of vessels. His interest in wood carving started early, which combined with his passion for sailing tall ships and a life of wandering led to him living aboard in Holland. While completing his own repairs he would offer to help others, and gradually an interest in his craft and demand for his work developed.

Andy has been commissioned to work on high profile restorations including a replica of the Götheborg, 2 5 0 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

a Swedish East India ship from 1738, and the HMS Chesapeake of 1855 from Chatham (a five metre lion figurehead made using 3 tons of timber). His years of experience in restorations enable him to match the styles of the period, country and type of vessel, and the techniques and characteristics from the original carvers. £4000-6000 573 Andy Peters Rocking Sea Horse Pine Unique 90cm.; 35½ins high by 125cm.; 49ins wide by 54cm.; 21ins deep See footnote to lot 572 £5000-7000

575 Martin Williams Hidden Wings Portland and riverbed limestone Unique 90cm.; 35½ins high by 75cm.; 29½ins wide See footnote to lot 91 £6000-8000 576 574

Luke Dickinson

Martyn Barratt

Orbit II

Wavedrop

Black Indian marble on Portland limestone base

Kiln formed glass Signed Unique

Signed Unique

90cm.; 35½ins high by 50cm.;19½ins wide by 20cm.; 8ins deep

60cm.; 23½ins high by 40cm.; 16ins wide by 40cm.; 16ins deep

See footnote to lot 99

See footnote to lot 540

£3000-5000

£4000-6000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 5 1

577 Alex Davies Penguin and Chick Bronze 1 of 25 60cm.; 23½ins high by 35cm.; 14ins wide by 27cm.; 14½ins deep After studying at Farnham and Plymouth Art Schools Alex set up a blacksmithing business, specializing in designing and making furniture, fixings and sculpture for a number of high profile restaurants, retailers and businesses.

He also became involved with an art foundry that shared the studios where he worked, before spending some time at the Frink School and a few months working at Bronze Age in South Africa. A spell as foundry manager with Morris Singer with responsibility for many of the UK’s monumental bronzes helped prepare him to set up his own foundry, from where he has worked on a number of high profile castings (The Bulls at Blagdon Hall) and restorations (The Green Horse, Windsor Great Park). £2000-3000

578 Basso Prufondo Giant Wind Chimes Tempered alloy & rope 426cm.; 167½ins high by 80cm.; 31½ins diameter £2000-3000

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579 Esbe Divers Glass on steel base Edition 1 of 10 136cm.; 53½ins high by 69cm.; 27ins wide by 10cm.; 4ins deep Having worked as an interior and graphic designer, Esbe became interested in working with glass and perspex. Her linear graphic style is well suited to the clean and vibrant medium, in which she

580 produces free-standing sculptures and wall-hung pieces.

Pierre Diamontopoulo

She explores various techniques including sandblasting, enamelling, screen printing and LED’s.

Images are taken from contemporary life and are mainly figurative, her inspiration is drawn from the Art Deco period with its delicate draughtsmanship.

Powder coated steel

£3000-5000

£8000-12,000

13 Flamingos 220cm.; 86½ins high by 360cm.; 141¾ins wide by 70cm.; 27½ins deep

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581

582

Antonia Spowers

Judy Boyt ARBS

Anchorage

The Escapologist

Glass and wood

Painted laser cut mild steel

Unique

146cm.; 57½ins high, 127cm.; 50ins wide

145cm.; 57ins high by 80cm.; 31½ins wide by 26cm.; 10ins deep Antonia Spowers moved to Wales from London nine years ago and has combined exhibiting, commissions and residencies in this country as well as at an International Sculpture Park in Lithuania.

The residencies have combined work with schools, local communities and environmental trust volunteers.

Judy gained a Foundation degree and Masters at Art College.

She is an Associate Member of the Royal Society of British Sculptors, Member of the Welsh group, the 56 group, Sculpture Cymru, and Sculpture Network.

Her work can be found in many noteworthy public and private collections including those of the British Royal Family, The Dubai Royal Family, The Sultan of Brunei, The Royal Palaces of The Oman, British Gas HQ, (RedRow Developments), Cheltenham Racecourse, Epsom and Ewell Borough Council, Liverpool Docks, Duke of Roxburgh and Princeton University, USA and others. She also created the sterling silver Mitsubishi Badminton Trophy.

£3000-5000

£3000-5000

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583

584

Mike Green

Andrew Smith

Seed II

Genesis X

Mild and stainless steel

Portland stone

Unique

Signed

55cm.; 21½ins high by 75cm.; 29½ins wide by 60cm.; 23¾ins deep

Unique

£2000-3000

80cm.; 31½ins high by 40cm.; 16ins wide by 30cm.; 12ins £4000-6000 Andrew Smith was born and raised in London, spending the early years of his career working there before moving to a new studio in Nottingham.

He is a fully trained monumental stone mason, with over twenty years of experience, before turning to a career as a professional sculptor, and broadening his skills by working with wood, plastics, polystyrene, clay and numerous other materials, including compacted snow.

His preferred technique is direct carving, where he works without designs or models, preferring to use his imagination, working with the shape and texture of the stone itself.

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Camden Lock Market The following 30 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 old stables and three storey indoor market hall, designed by architect John Dickinson.

Camden Market showing lots 62, 72, 585-588

For further information on Camden Lock Market including other lots in this sale go to page 68 and www.summersplaceauctions, current catalogue for more images of Camden Market.

585 A bronze relief in two panels of blacksmiths working in a forge 110cm.; 43ins high by 345cm.; 136ins long £600-1000

586 A similar bronze relief in two panels of blacksmiths working in a forge £600-1000 2 5 6 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

587 Two similar bronze relief panels of blacksmiths working in a forge and a dray wagon each 110cm.; 43ins high by 183cm.; 72ins long £400-600

588 A single bronze relief panel of blacksmiths working in a forge 110cm.; 43ins high by 183cm.; 72ins long £300-500

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589

These fibreglass three quarter relief panels were removed from the walls of the historic Camden Stables Market.

Originally built as a horse hospital which served the horses pulling Pickford’s distribution vans and barges

along the canal, Camden Stables Market makes up the largest portion of the market complex. Horses injured pulling barges along the canals would come here for treatment and rehabilitation.

The Grade II listed stables

now house over 450 shops and stalls selling a variety of items from the unique to the exotic. These unique panels which feature horses being reshod and blacksmiths in a forge were modelled in high relief and installed during the

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extensive renovations of the early 1990’s.

Each of these panels are being offered as individual lots, however for clients wishing to purchase all four, a single bid should be entered for the four and if the bid exceeds

590

the total of the highest bids entered for the individual lots, then that will be the winning bid.

589

590

A bronzed fibreglass three quarter relief rectangular panel modelled in high relief with a horse in a blacksmith’s forge

A similar bronzed fibreglass panel modelled in high relief with a farrier and two dray horses

254cm.; 100ins high by 361cm.; 142ins long by 70cm.; 27½ins deep £4000-6000

254cm.; 100ins high by 361cm.; 142ins long by 70cm.; 27½ins deep £4000-6000 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 5 9

591 A similar bronzed fibreglass panel 254cm.; 100ins high by 361cm.; 142ins long by 70cm.; 27½ins deep £4000-6000

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592 A similar bronzed fibreglass panel modelled in high relief with blacksmiths in a forge 254cm.; 100ins high by 361cm.; 142ins long by 70cm.; 27½ins deep £4000-6000

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593 A pair of bronze planters cast with horses and the armorial device for Camden Market 100cm.; 39ins high ÂŁ800-1200

detail

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594

594

595

A similar pair of bronze planters £800-1200 595 A similar pair of bronze planters £800-1200 596 A similar pair of bronze planters £800-1200 597 A similar pair of bronze planters £800-1200

596

597

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598

599

598 A similar pair of bronze planters £800-1200 599 A similar pair of bronze planters £800-1200 600 A similar pair of bronze planters £800-1200 601 A similar single bronze planter

600

601

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£400-600

602 A pair of cast iron benches each with applied Coat of Arms for Camden Market 160cm.; 63ins wide £400-600 603 A similar pair of cast iron benches each with applied Coat of Arms for Camden Market £400-600 604 A similar pair of cast iron benches each with applied Coat of Arms for Camden Market £400-600 602 detail F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 6 5

605 A pair of carved sandstone lion thrones 78cm.; 30½ins high £1000-1500

606 A similar pair of sandstone thrones £1000-1500

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607 A similar pair of sandstone thrones £1000-1500

608 A similar pair of sandstone thrones £1000-1500

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609 A similar pair of sandstone thrones £1000-1500

610 A similar pair of sandstone thrones £1000-1500

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612 A set of five carved black marble urns 56cm.; 22ins high £1000-1500 613 A similar larger black marble urn 76cm.; 30ins diameter £400-600

614 A pair of wrought iron copper and coloured glass gates

611 Two life size bronze figures of farriers 180cm.; 71ins high £1000-1500

253cm.; 99½ins high by 188cm.; 74ins wide together with hanging posts £800-1200

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The Crowther Collection

for details see page 60

Chris Beardshaw’s Gold Medal Winning Garden at the Chelsea Flower Show in 2009 showing lot 615 615 † After Verrocchio: A lead fountain figure of a cherub and fish on plinth 122cm.; 48ins high

Modelled after the Renaissance original in bronze by Verrocchio. This model was produced extensively by the Crowthers Lead Foundry and this example was commissioned for the centrepiece of Chris Beardshaw’s Gold Medal Winning Chelsea Garden in 2009 which was a recreation of Boverage Park Canal Garden designed by Thomas Mason and Gertrude Jekyll for which H. Crowthers Ltd supplied the original figure, an early casting of this model in the early 20th century. £1000-1500

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619 † A lead figure of a girl in Elizabethan dress mid 20th century 616 †

617 †

618 †

on associated stone base

A lead figure of a girl in 18th century French dress holding flowers

A lead figure of a young girl

115cm.; 45ins high

early 20th century

A lead fountain figure of a seat girl

59cm.; 23ins high

2nd half 20th century

£200-400

on composition stone pedestal

2nd half 20th century on composition stone base 190cm.; 47ins high

83cm.; 32½ins high

£500-800

£600-1000

This model was taken from an original early 20th century lead figure at Rudyard Kipling’s home, Batemans in East Sussex. This copy was granted by special arrangement with Kipling’s granddaughter in 1960 in exchange for restoration work on the same figure by Jim Crowther, Paul Crowther’s father. £450-600

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620 622

620 † A rectangular lead relief plaque 18th century cast with sea nymphs and triton 71cm.; 28ins high by 80cm.; 31½ins wide together with an early 20th century lead plaque with putti flanked by rams heads, 30cm.; 12ins high by 74cm.; 29ins wide £300-500 621 †

623

622 † Two rectangular lead relief plaques of frolicking putti 2nd half 20th century the larger 26cm.; 10ins high by 91cm.; 36ins wide £300-500

Three lead plaques 20th century

623 †

one decorated with classical figures, the other with Sagittarius and the last stamped property of the National Trust.

A high relief lead plaque of putti and a goat

the largest 27cm.; 10½ ins high by 45cm.; 18ins long

The original mould was taken from an 18th century marble chimney piece tablet.

£200-300

£150-250

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2nd half 20th century 30cm.; 12ins high by 53cm; 21ins wide

624 † A pair of oval lead planters with rams head terminals early 20th century 69cm.; 27ins long £450-750

626 † A pair of cylindrical lead planters depicting the feast of Bacchus late 20th century 30cm.; 12ins diameter £200-400

625 † A unique D-shaped planter early 20th century decorated with mask and acanthus 43cm.; 17ins high by 76cm.; 30ins long by 52cm.; 20½ins deep

Discovered during the clear out in the vaults. The pattern can also be seen on cylindrical lead urns produced by the Singer Foundry but both probably had their origins in 18th century originals. £300-500

627 † A group of four cylindrical lead herb pots the largest 13cm.; 5ins high by 23cm.; 9ins diameter £100-200

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629 † After Verrocchio: A lead fountain figure of a boy holding a fish 2nd half 20th century on associated limestone base 71cm.; 28ins high £700-1000

628 † After Thorwaldsen: A set of four circular lead plaques representing the Seasons 2nd half 20th century 69cm.; 29ins diameter £2000-4000 2 7 4 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

630 † After Verrocchio: A lead fountain figure of the Young Hercules 2nd half 20th century snake mouth plumbed for water 74cm.; 29ins high £300-500 631 † A set of four oval lead plaques representing the seasons early 20th century 63cm.; 25ins high by 53cm.; 21ins wide £1200-1800

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632 †

633 †

A pair of plaster copies of putti representing Autumn and Winter

A pair of plaster models of seated putti representing Autumn and Winter

61cm.; 22ins high

Probably American, early 20th century

These are copies of the earlier Hope models.

61cm.; 22ins high

£150-250

These were possibly supplied by the Hope lead foundry in America for H.Crowther to make lead models from. £150-250 635 †

634 † A rare Pearson and Page shallow lead birdbath

After Kalide: A high relief wall plaque of a torso of a boy 2nd half 20th century

early 20th century

now adapted as St. Sebastian with arrow wounds

50cm.; 20ins square

80cm.; 31½ins high

A similar birdbath is illustrated in the 1920 Pearson Page of Birmingham catalogue no.

3718

£400-600

£150-250

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636 † The components of a carved fruitwood figure of a Page boy Italian, 19th century £400-600

637 † A pair of lead falcons late 19th/early 20th century on later Portland stone bases 55cm.; 22ins high £1000-1500

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638 † A lead fountain early 20th century the centre portion in the form of a kneeling Moor, plumbed for water, on Bath stone base

640 † A rare lead fountain of a Triton late 19th/early 20th century on associated Ketton stone base

153cm.; 60ins high

75cm.; 29½ins high Unearthed during the recent clearing of the vaults. This is not a model ever produced by H. Crowther and Son and is from an unknown foundry.

£2000-3000

639 † 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 £1200-1800

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£800-1200

641 † A lead fountain figure of a boy holding a gourd 2nd half 20th century on composition stone plinth 86cm.; 34ins high £350-550

642 † A lead figure of a dancing girl

643 † A lead fountain mid 20th century

early 20th century

on composition stone base, top bowl plumbed for water

on later composition stone pedestal

180cm.; 71ins high

144cm.; 57ins high

Based on a 19th century Coalbrookdale foundry cast iron original

£700-1000

£1200-1800 F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 7 9

644 † A lead model of the Townley vase early 20th century on composition stone pedestal This model, which was also produced in a variety of other materials including cast iron was produced by the H. Crowther Foundry for replacements at both Sissinghurst Castle and Hidcote Manor.

645 †

646 †

A set of four lead figures of seasons

A pair of lead owls

modern on composition stone bases the tallest 150cm.; 59ins high The original set of four figures were made by the Bromsgrove Guild £3500-5000

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2nd half 20th century 32cm.; 12½ins high Based on originals made in stoneware by the Doulton Manufactory in the early part of the 20th century. £200-400

647 † A set of four lead figures of children representing the seasons 2nd half 20th century on composition stone pedestals 69cm.; 27ins high £1000-1500 648 † A unique unusual lead fountain figure of a toad early 20th century on associated Bath stone plinth, toad mouth plumbed for water 40cm.; 16ins high This was discovered during the recent clear out of the vaults and is a one off lead example made from a Japanese bronze Meiji example (1868-1912). £300-500

649 †

650 †

A lead fountain figure of a boy blowing a conch shell plumbed for water

After Giambologna: A lead figure of Mercury

on composition stone plinth 105cm.; 41½ins high

mounted on composition stone pedestal

£500-800

209cm.; 82ins high

early 20th century

£800-1200

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651 †

652 †

A pair of lead Georgian cisterns

A similar pair of lead Georgian style cisterns

early 20th century

early 20th century

each bearing the date 1757

each bearing the date 1757

50cm.; 20ins high by 79cm.; 31ins long by 34cm.; 13½ins deep

£1500-2500

£1500-2500

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654 † A unique lead fountain cistern made-up using 19th century components top spout plumbed for water 653 †

92cm.; 36ins high by 76cm.; 30ins wide by 61cm.; 24ins deep

A pair of lead cisterns with Georgian fronts 51cm.; 20ins high by 72cm.; 28½ins long by 33cm.; 13ins deep

Taken from an original at Carville Hall, Middlesex which was one of the original homes of Thomas (Tommy) Crowther whose son Henry Mash Crowther started H Crowther and Son, see picture of Crowther family taken at Carville Hall on page 61.

£1200-1800

£1500-2500

one lacking figures of the lead seasons

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655 † A lead lidded finial 2nd half 20th century on composition stone pedestal 165cm.; 65ins high The urn is based on an original cast iron example from the Val d’Osne foundry in the Haute Marne region in France.

656 †

657 †

658 †

A lead fountain figure of a young girl holding a duck

A lead fountain figure of a young Triton by Hope

A lead dolphin fountain

2nd half 20th century

early 20th century

on composition stone plinth, duck beak plumbed for water

conch shell plumbed for water

with mouth plumbed for water

74cm.; 29ins high

66cm.; 26ins high

£350-550

The Hope leadworks were established in the early 20th century by Henry Hope in Jamestown, New York with showrooms in Park Avenue, Montreal and Toronto. £800-1200

£800-1200

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early 20th century

53cm.; 21ins high £200-300

659 †

660 †

A D-shaped lead planter

A lead fountain figure of a seated boy

2nd half 20th century with lion mask backplate 68cm.; 27ins high by 40cm.;16ins wide by 23cm.; 9ins deep £200-400

mid 20th century

661 †

on composition stone pedestal, clam shell drilled for water.

A pair of lead figures of children representing Spring and Winter

71cm.; 28ins high

2nd half 20th century

Based on an original sold by Erkins Studios an antique dealer based in New York.

on composition stone plinth 116cm.; 46ins high £600-1000

£200-400

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662 †A substantial lead fountain cistern 2nd half 20th century the circular cistern with strapwork decoration bearing the date 1707 surmounted by four lead figures of Seasons and central bull rushes, plumbed for water 170cm.; 67ins high This originally formed one of the centrepieces of the Crowthers display in Chiswick and incorporated a number of pieces in their range. £4000-6000

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663 † A lead fountain 20th century surmounted by a lead figure of a boy and fish after Verrocchio, fish mouth plumbed for water 200cm.; 79ins high by 94cm.; 37ins diameter The entwined dolphins are based on a 19th century original in composition stone made by Austin and Seeley. £3500-5000

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664 † A rare set of twelve lead plaques representing the signs of the Zodiac

665 †

early 20th century

An unusual lead wall fountain

mounted on octagonal Portland stone backs

early 20th century

38cm.; 15ins wide

the mask plumbed for water

These were discovered during the recent clear out of the vaults and were probably originally brought to the Crowther Foundry for reproducing which never happened.

46cm.; 18ins high

£1000-1500

A unique piece discovered during the recent clear out of the vaults. £200-400

667 † A Georgian lead pump head

666 † A pair of oval lead lidded urns 2nd half 20th century 60cm.; 24ins high by 68cm.; 27ins long Based on originals made in Coadestone in the Adams style during the 1780s.

Similar urns are illustrated in the 1784 Coade Catalogue of Etchings. £1000-1500 2 8 8 • G A R D E N , D E S I G N & N AT U R A L H I S T O RY S E A L E D B I D A U C T I O N 2 2 N D O C T O B E R 2 0 1 4

dated 1752 and with initials R.P 80cm.; 31½ins high £200-400

669 † A cast iron crane 2nd half 19th century on later composition stone base 117cm.; 46ins high £400-600

668 †

671 †

A lead model of a French rooster early 20th century

A large composition stone lion head fountain

69cm.; 27ins high

2nd half 20th century

£400-600

mouth drilled for water 74cm.; 29ins high 670 †

£300-500

A pair of lead deer 2nd half 20th century the buck standing and the doe reclining buck 80cm.; 31½ins high These were based on 19th century examples carved in walnut in Southern Germany. £1000-1500

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673 † A Georgian lead Adam style jardinière the period 18th century front with later back and sides 30cm.; 12ins high by 96cm.; 38ins long The original 18th century Adam style front was discovered during the clear out of the vaults and the sides and back made up to turn this in to a jardinière. £400-600

672 † A lead figure of Cupid supporting a bird bath early 20th century 74cm.; 29ins high This is one of the original and most popular of all models produced by H. Crowther and Son and manifests itself in various guises as fountain figures, bird baths, sundials and planter supports. The ones prior to the Second World War, such as this example, include wings, whereas due to a not surprising fall in fashions concerning anything to do with graveyards and death after the Second World War, the wings were removed from the mould turning the cupid in to a putto. £600-1000

674 † A D-shaped lead planter mid 20th century the front bearing the date 1738 46cm.; 18ins high by 135cm.; 53ins wide by 81cm.; 24ins deep £1000-1500

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675 The Acton Hall Farm Barn A rare double aisled oak framed tithe barn, circa 1650.

Length 36m 88cm.; 121ft.

Width 8m 53cm.; 28ft (main aisle 4m 87cm.; 16ft with each side aisle 1m 82cm.; 6ft Ridge 7m 77cms.; 25ft 6in Almost entirely in its original condition and dismantled more than 25 years ago. The barn would have originally have had a thatched roof and walls of wattle and daub over the oak aisled wall frames.

There are two main threshing bays, each with large double doors. Ten main bays (of approx. 12ft) formed by very substantial jowled oak posts connected to the arcade plate and tie beams by main mortise and tenon, subsidiary teazle tenon and lapped dovetail joints. Aisle wall frames of substantial oak studs. The main tie beams and arcade plates are supported and braced by mainly heavy curved braces, with a few replaced in the 19th century with solid knee braces.

Acton Hall is part of Acton Place, near Stowmarket, Suffolk, England. The site on which the barn originally stood was described in the Domesday Book as an extensive Manor known as the hall with capacious cleared farmlands,

The interior of Acton Hall Barn, prior to dismantling

F O R E X T R A I M A G E S G O T O w w w. s u m m e r s p l a c e a u c t i o n s . c o m • 2 9 1

A digital recreation of what the outside could look like woodlands, barn stables, brew houses and livestock. It was the home of Henry Bourchier, second Earl of Essex during the early 14th century, a great friend of Henry VIII and Acton Hall was the first resting place of the young Catherine of Aragon when she first arrived in England to meet her future husband Henry VIII. This lot is offered in a dismantled, fully numbered state and may be viewed by appointment in Suffolk. Full plans are available of it prior to its dismantling and estimates are available for re-assembly by an award winning barn specialist.

For more pictures and plan details please go to www.summersplaceauctions.com.

Current catalogue, lot 675 Detail of architectural plans

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

Estimate; Refer to Summers Place Auctions

Please clearly specify the telephone number or back up mobile phone number on which you may be reached at the time of the sale, including the country code. We will call you from the saleroom shortly before your lot is offered. Telephone bids are operated on a first come first served basis as lines are limited.

FOR TELEPHONE BIDS

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

“Buy” or unlimited bids will not be accepted and we do not accept “plus one” bids. Please place bids in the same order as in the catalogue.

Alternative bids can be placed by using the word “or” between lot numbers

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

FOR WRITTEN/FIXED BIDS

Please note that we may contact you to Request a bank reference. In addition we Will require sight of a government issued ID and proof of address prior to collection of purchases.

New Clients:

Please note that the execution of written and telephone bids is offered as an additional service for no extra charge ,and at the bidder’s risk. It is undertaken subject to our other commitments as the time of the auction. We therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.

IMPORTANT

GARDEN, DESIGN & NATURAL HISTORY

SALE DATE 21 OCTOBER 2014

SALE NUMBER GS044

Summers Place Auctions Ltd

Fax

Email

Lot Description

(tel. bids only)

Maximum Sterling price (excluding premium & VAT)

ONLY)

3

LAST DIGIT OF SECURITY CODE

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

✂

Please send this form by post to Summers Place Auctions Ltd, The Walled Garden, Stane Street, Billingshurst, West Sussex RH14 9AB or by Fax to 01403 331340

Signed _________________________________________ Dated ____________________________

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

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

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

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

Payment is due immediately after the sale in pounds sterling. Full details on how to pay are included in our Guide for Buyers. If you wish to pay for your purchases by card please complete the details below and your Card will be charged.

I agree to be bound by Summers Place Auctions Ltd “Condition of Business” as published in the catalogue which govern all purchases at auction, and to pay the published Buyer’s Premium on the hammer price plus any applicable taxes.

I consent to the use of this information and any other information obtained by Summers Place Auctions I am aware that all telephone bid lines may be recorded.

TELEPHONE NUMBER DURING THE SALE

Lot No.

LIVE AUCTION BIDDING FORM

Please write clearly and place your bids as early as possible, as in the event of identical bids, the earliest bid received will take precedence. Bids should be submitted in (£) sterling at least 24 hours before the auction.

Mobile

Postcode

Last name

Tel

Address

First name

Title

GUIDE FOR ABSENTEE BIDDERS If you are unable to attend an auction in person, you may give Summers Place Auctions Bid Department instructions to bid on your behalf by completing the form overleaf.

This service is free and confidential.

Please record accurately the lot numbers, descriptions and the top hammer price you are willing to pay for each lot.

We will try to purchase the lot(s) of your choice for the lowest price possible and never for more than the top amount you indicate.

“Buy” or unlimited bids will not be accepted.

Alternative bids can be placed by using the word “OR” between lot numbers.

Bids must be placed in the same order as in the catalogue.

This form should be used for one sale only - please indicate the sale number, title and date on the form.

Please place your bids as early as possible, as in the event of identical bids the earliest received will take precedence. Wherever possible bids should be submitted at least twentyfour hours before the auction.

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

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

Please note that the execution of written bids is offered as an additional service for no extra charge at the bidder’s risk and is undertaken subject to Summers Place Auctions other commitments at the time of the auction; Summers Place Auctions

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therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.

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

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

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

In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as "sensitive", they agree that Summers Place Auctions may use it for the above purposes. Summers Place Auctions will not use or process sensitive information for any other purpose without the client's express consent.

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

By signing this Absentee Bid Form you agree to such disclosure. Clients will please note that for security purposes, Summers Place Auctions premises are subject to video recording. Telephone calls e.g. telephone bidding/voicemail messages may also be recorded.

Please mail or fax up to 20th October 2014.

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

New Clients Please note that we May contact you to request a bank reference. In addition we will Require sight of a government Issued ID and proof of address prior to collection of purchases

Clients wishing to bid on an “either or” basis should list the lots they are interested in with the price they are prepared to pay in order of preference with “OR” written between each one.

The winning bid will be the highest left on each lot above the reserve.

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

IMPORTANT

Lot Description

Sealed bid Sterling price (excluding premium & VAT)

ONLY)

3

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

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

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

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

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

Payment is due immediately after the sale in pounds sterling. Full details on how to pay are included in our Guide for Buyers. If you wish to pay for your purchases by card please complete the details below and your Card will be charged.

I agree to be bound by Summers Place Auctions Ltd “Condition of Business” as published in the catalogue which govern all purchases at auction, and to pay the published Buyer’s Premium on the hammer price plus any applicable taxes.

I consent to the use of this information and any other information obtained by Summers Place Auctions I am aware that all telephone bid lines may be recorded.

Lot No.

SEALED BIDDING FORM

Please write clearly and place your bids as early as possible, as in the event of identical bids, the earliest bid received will take precedence. Bids should be submitted in (£) sterling at least 24 hours before the auction closes.

GARDEN, DESIGN & NATURAL HISTORY

Fax

Mobile

Postcode

Last name

Email

Tel

Address

First name

Title

✂

BIDS OPENED ON 23RD OCTOBER 2014

SALE NUMBER GE045

Summers Place Auctions Ltd

GUIDE FOR ABSENTEE BIDDERS FOR SEALED BID AUCTION SEALED BID AUCTION LOTS 301-675 All sealed bids must be with us, at the latest, by 22nd October 5.00pm BST since the bids will be opened on the 23rd October. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence.

Summers Place Auctions decision on which is the winning bid shall be final.

Winning bidders will be invoiced after the bids are opened.

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

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

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

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

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

296

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

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

By signing this Sealed Bid Form you agree to such disclosure. Clients will please note that for security purposes, Summers Place Auctions premises are subject to video recording. Telephone calls e.g. telephone bidding/voicemail messages may also be recorded.

Please mail or fax up to 22nd October 2014 5.00pm BST. The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331 Fax +44 (0)1403 331 340 Email sealedbids@summersplaceauctions.com refer to page 148

Forthcoming Sales at Summers Place Auctions 26th November Evolution Sale

14th-15th April Garden, Design & Natural History

9th-10th June Garden, Design & Natural History

8th-9th September Garden, Design & Natural History

25th November Evolution

A complete Aepyornis (Elephant Bird) egg, 31cm.; 12ins high ÂŁ30,000-50,000 26th November Evolution Sale

For more information please go to www.summersplaceauctions.com

October Cover 2014_Layout 1 11/09/2014 15:24 Page 1

Garden, Design & Natural History

GARDEN, DESIGN & NATURAL HISTORY

SUMMERS PLACE BILLINGSHURST WEST SUSSEX RH14 9AB WWW.SUMMERSPLACEAUCTIONS.COM

01403 331331

21 & 22 OCTOBER 2014

THE WALLED GARDEN

Summers Place Auctions Ltd

21 & 22 October 2014