20th and 21st March 2018 Home & Garden Auction by Summers Place Auctions

Summers Place Auctions Ltd

Home and Garden Conversation Pieces

Viewing 18th & 19th of March 10a.m.- 4p.m. Auction starts at 1p.m. 20th March at Summers Place Auctions, The Walled Garden, Stane Street, Billingshurst, West Sussex, RH14 9AB For more information and further images please refer to

www.summersplaceauctions.com C.I.T.E.S.

Rupert van der Werff

James Rylands

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

Specialist

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rupert.werff@summersplaceauctions.com

james.rylands@summersplaceauctions.com

Errol Fuller

Kate Diment

Curator for Natural History

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kate.diment@summersplaceauctions.com

Letty Stiles

Lindsay Hoadley

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lindsay.hoadley@summersplaceauctions.com

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We’ve had a lot of fun putting together this early Spring sale and been very fortunate in securing some interesting private collections. The sale is particularly strong in 20th century garden sculpture, showcasing both established and upcoming sculptors. As with so many areas of collecting, tastes have expanded from the purely antique to 20th century design and sculpture which is now becoming a hot ticket, with opportunities to acquire pieces by recognised living sculptors for substantially less than gallery prices. Included are works by David Williams-Ellis, Mark Coreth, Dylan Lewis, Paul Vanstone, Ian Rank Broadley, Guy Portelli, and Michael Speller, to name but a few. As sculpture specialists, used to dealing with solid assets, we view the recent fluctuating fortunes of crypto-currencies like Bitcoin with both bafflement and amusement. Do you invest in the ethereal or the physical….? We may be biased, BUT, for anyone wanting to make a BIG statement, it doesn’t get better than the pair of 13 foot long bronze “Trafalgar Square” lions, recently liberated from Camden Lock Market together with eight other monumental bronze horse sculptures. Whilst on the subject of monumental, and in light of the recent film, “The Darkest Hour”, we are also offering no 3/6 of the limited edition over life size bronze busts of Sir Winston Churchill, taken from the original in Parliament Square, London, under licence from the Trustees of the sculptor, Ivor Roberts-Jones.

We’ve always been particularly keen on the “Toys for Boys” element of our sales and so to even up the global balance of power, from Churchill’s Britain to across the Iron Curtain, we are including some Cold War military hardware, headed up by a rare Soviet SA-4 Ganef missile, dating to the 1960’s and nearly 9 metres in length….no home complete without one! You may wonder how we manage to display this wonderful diversity of objects. As well as having 6 acres of Victorian landscaped gardens, we also have a custom built 5000 sq ft gallery…(see our map). There is nowhere else on the planet where you can view rockets next to a family of Ice Age Mammoth skeletons, which are also in the sale. We’ve always believed that Mother Nature herself is the best artist of all and the glittering minerals and fossils, often hundreds of millions of years old are increasingly popular in modern interiors. However, although stuffed animals isn’t everyone’s bag, for a real ﬂight of fancy, you have the opportunity to own a very rare and now extinct passenger pigeon, once America’s most populous bird. Come and pay us a visit in the glorious Sussex countryside… don’t be put off by the ofﬁcial viewing times; if you want to come any weekday before the sale, just let us know and there will be a cup of tea or coffee waiting…. If you can’t make it, then browse the lots on our brand new interactive tablet/phone friendly website. We are happy to provide condition reports on any lot on request. Happy hunting James and Rupert

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1 A rare and early medieval carved limestone coffin lid fragment 13th century 86cm high A similar 13th century coffin lid may be seen in Woodnewton Church, Northamptonshire. For image please visit http://www.britishhistory.ac.uk/sites/default/files/publications/ pubid-1330/images/fig245.jpg £1000-1500

2 A monumental and rare carved travertine marble cistern Italian, 16th/17th century on paw feet, restorations 127cm high by 259cm long by 120cm deep In the 15th century Pope Nicholas V began the rebuilding of the Acque Vergine, the ruined Roman aqueduct which had brought clean drinking water to the city from eight miles away. Water features subsequently became an important feature of Italian Renaissance villas and reached an apotheosis at the Villa d’Este (15501572), at Tivoli near Rome, which featured a hillside of basins, fountains and jets of water, as well as a fountain which produced music by pouring water into a chamber, forcing air into a series of ﬂute-like pipes. Carved stone cisterns of this scale are extremely rare. The majority of antique carved stone or marble water features brought back from Italy are in the form of 16th18th century wellheads usually from the Veneto area and carved in Istrian stone. The present example is also unusual in being carved on all four sides and would

probably originally have stood in the centre of a palazzo courtyard rather than as a basin for a wall fountain. There are old ﬁxing holes on the rim, suggesting that it would originally have had some sort of wrought iron overthrow with a pulley system for water containers. Travertine stone was more commonly used as an architectural material from Roman times onwards and was used by Gian Lorenzo Bernini to build The Colonnade of St. Peter’s Square in Rome in 1500. Michaelangelo also chose travertine as the material for the external ribs of the dome of St Peter’s Basilica. Travertine derives its name from the former town, known as Tibur in ancient Roman times. The ancient name for the stone was lapis tiburtinus, meaning tibur stone, which was gradually corrupted to travertine. Due to it’s exceptionally hard nature, it is seldom used as a material for sculpture carved in the round. The sculptor has compensated for this by carving impressive grotesque masks, but in low relief in deference to the difﬁculty of the material. These are very similar to a bronze fountain mask of King Midas with asses ears at the Villa Cittadella near Lucca, which could be a pointed reference to a rival Italian family such as the Medicis who were bankers. £30,000-50,000

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shadow of which indicates the position of the sun at the point where the straight edge of the shadow intersects the hourline 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 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.

3 A ﬁne and rare William and Mary double-horizontal bronze sundial by Henry Wynne signed Henricus Wynne Londini Fecit, Richard Earle of Lauderdale, and monogrammed with his initial R E L and his wife’s A C L , the gnomon engraved both sides with the Lauderdale coat of arms the octagonal dial 43cm wide by 32cm high The double-horizontal sundial, as the name implies, is a dual instrument, its principal features

comprising a ‘double’ gnomon and complementary hour-scales 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 hourscale 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

The dial plate is engraved with various scales and tables, the primary hour-scale in the outer ring being graduated in hours and minutes. 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. Other scales engraved on the dial include a semi-circular lunar hour-scale (situated within the arc of the inner hourscale 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. Two calendrical tables are also engraved either side of the gnomon. Unusually no latitude or longitude is engraved on the dial which is in remarkably good condition with all of the engraving very crisp. The lack of verdigris would suggest that it has spent little time outdoors. 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 1606-1654, 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 well-known 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. A similar double horizontal dial by Henry Wynne on a Portland stone pedestal was sold at Summers Place Auctions, 21st October 2014, lot 12. Richard Maitland, 4th Earl of Lauderdale 16531695, was the eldest son of Charles Maitland, 3rd Earl of Lauderdale and his spouse Elizabeth Lauder. He served as joint General of the Mint and Lord Justice Clerk. In 1678, he married Anne daughter of Archibald Campbell, 9th Earl of Argyll, whose initials are also engraved on the dial. He was present at the Battle of the Boyne on the side of King James, 1 July 1690, after which he retired to Limerick and subsequently went to the exiled Court of James II at Saint-Germain-en-Laye. The following year he succeeded to the Earldom of Lauderdale, but was outlawed by the Court of Justiciary on 23 July 1694 before dying the following year, thus dating this sundial to between 1691 and 1695. £2000-4000

4 A Georgian carved Portland stone sundial early 19th century the replaced bronze dial signed Tomlinson Thame 170cm high £2000-4000

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5 A carved Portland stone sundial 1st half 19th century with 10in bronze dial and inscribed Rubergall, Coventry Street, London Thomas Rubergall is recorded as working at 27 Coventry St., Haymarket London from 1805-22 in 21 Coventry Street in 1839 and in 24 Coventry St., from 1840-51. ÂŁ1500-2500

6 An extremely rare carved Bathstone urn on helix pierced and carved pedestal circa 1840 234cm high ÂŁ6000-10,000

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7 A Coade stone keystone of the laughing satyr stamped Coade Lambeth 1791 26cm high by 24cm wide by 23cm deep Eleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769, and appointed the sculptor John Bacon as its manager two years later. She was employed by all the leading late 18th Century architects. From about 1777 she began her engraved designs, which were published in 1784 in a catalogue of over 700 items entitled A Descriptive Catalogue of Coade’s Artificial Stone Manufactory. The London 1774 Building Act provided great opportunities for the Coade firm. The Act reduced exterior woodwork to the absolute minimum in an attempt to make houses as nearly incombustible as possible. A set of blocks and voussirs could be bought for less than £3, while a suitably-sized keystone cost 2 guineas. A whole page from the “Etchings of Coade’s Artificial Stone Manufacture” is devoted to keystones. The factory also made a habit of stamping their keystones on the underside at the front, as in this example, so that the Coade name could be seen by the pedestrian underneath, even when the keystone was rebated into a wall. Provenance: From the collection of Alison Kelly, 1913-2016, renowned academic, Coade stone expert and author of Mrs Coade’s Stone, published 1990 by SPA in which this piece is illustrated on page 158, attributed to the author’s collection. £1000-1500

8 A stoneware keystone of Minerva, most probably Coade stone late 18th century 28cm high by 23cm wide by 27cm deep Although not stamped, this example is very similar to a Coade example illustrated in the “Etchings of Coade’s Artiﬁcial Stone Manufacture”. See also footnote to the previous lot. Provenance: From the collection of Alison Kelly, 1913-2016, renowned academic, Coade stone expert and author of Mrs Coade’s Stone, published 1990 by SPA, page 157 £800-1200

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9 A carved white marble urn on pedestal French, 19th century 230cm high ÂŁ5000-8000 10 A rare carved limestone cylindrical pedestal Southern French/Northern Italian, 16th/17th century carved in relief with papal armorials (top moulding missing) For more pictures please view our website 150cm high by 82cm diameter ÂŁ4000-6000

11 A pair of fine lead finials French, circa 1760 117cm high The majority of 18th European century leadwork was produced in England rather than France, with John Cheere and John Van Nost being the most famous manufacturers, based at Hyde Park Corner in London. Often the pieces were either painted white to simulate the more expensive marble or in naturalistic colours. In France a number of books illustrated prints of the lead statuary at Versailles, such as Simon Thomassin’s Recueil des Figures, Groupes, Thermes, Fontaines, Vases…dans le Chateaux et Parc de Versailles, 1694, and a number of the figure makers’ models were taken from these works. Many of these are reversed copies such as the figures of L’Aurore, La Terre and L’Europe at Avington Park and Hecule Tuant L’Hydre and these must have been modelled from prints, such as those illustrated in Thomassin’s

publication. However the majority of these pieces were manufactured in the late 17th and early 18th century, whereas stylistically these impressive ﬁnials date to the second half of the 18th century. The very high quality of modelling

and chiselling would suggest that they were made to be viewed from close up rather than being architectural adornments on the parapet of a building. The applied decoration and higher antimony content of the lead, making it harder are both typical of French lead manufacture. £8000-12,000

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12 A rare Val d’Osne foundry cast iron urn 2nd half 19th century 83cm high This urn is illustrated in the late 19th century Val d’Osne foundry catalogue plate 495 no 209 (See engraving). A similar marble urn with different handles is recorded in Naples Museum. £1500-2500

13 A pair of rare composition stone planters Spanish stamped J Piquet Sevilla, 1914 124cm high ÂŁ2500-4000

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14 A pair of carved white marble urns Italian, 19th century on later limestone pedestals 160cm high overall ÂŁ2500-4000

15 A set of four Compton Pottery Apple pattern pots early 20th century one with small circular makers stamp 43cm high The Compton Potters Art Guild was started by Mary Watts, the wife of G.F. Watts the Victorian allegorical painter. In 1895 work began on the Watts Mortuary Chapel. Designed by Mary Watts, it was to be built from local clay by the villagers of Compton, near Godalming, Surrey. Mr and Mrs Watts were dedicated supporters of the growing Home Arts and Industries Association, a voluntary movement launched by Earl Brownlow in 1885 to revive the dying art of handicraft among the working classes. The idea was that young uneducated artisans should have their eyes opened to the wonders of art. They would be rescued from idleness, gambling and drinking -so the notion ran- during long winter evenings. Uplifted and taught how to use their hands with skill they would acquire a hobby to be proud of and develop this hitherto unknown talent, where possible to professional standards. The Pottery Art Guild continued from strength to strength, winning medals at the Royal Botanical Society and the Home Arts’ highest award, the gold cross.

These Apple pattern pots are illustrated in the Art Potters Guild catalogue page 11. Literature: The Watts Chapel, An Artsand Crafts Memorial by Veronica Franklin Gould, Arrow Press, Farnham, Surrey £800-1200

16 A pair of rare Doulton terracotta planters early 20th century stamped Doulton, Lambeth, London 44cm high by 80cm long by 40cm deep £1500-2500

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17 A pair of Regency reeded wrought iron seats early 19th century 153cm wide ÂŁ2500-4000

18 A rare Regency reeded wrought iron seat early 19th century 200cm wide ÂŁ2500-4000

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19 An extremely rare W.G Grace cast iron rectangular table with mahogany top early 20th century stamped Biclam 148cm long by 54cm wide ÂŁ1500-2500

20 A Coalbrookdale Water Plant pattern cast iron seat 2nd half 19th century stamped Coalbrookdale with pattern number and diamond registration stamp 188cm wide (see watercolour design). This design by Christopher Dresser no. 206162 was registered and patented by the Coalbrookdale Foundry at the Public Records Ofﬁce on 18th February 1867 and is seat no. 45 in their 1875 Castings Catalogue, section II page 251 (see watercolour design) Importantly, Christopher Dresser became the ﬁrst ‘product designer’ in the modern sense. He founded a studio in 1860 which soon employed a dozen people, creating designs for ceramics, glass, metal, fabrics, carpets, linoleum, wallpaper and furniture. At the 1867 Universal Exhibition he exhibited a few of his own works, including a ‘Water Plant’ cast iron garden seat, which was also available as an armchair (plates 166-167). It was also exhibited at subsequent exhibitions, London 1871, Vienna 1873, Paris 1878, proof of his preeminence within the ‘Arts and Carfts’ world of the second half of the 19th Century. George Himmelheber, Cast Iron Furniture Nature made of iron page 35 £3000-5000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

21 A rare Coalbrookdale cast iron seat late 19th century with walnut slats stamped with registration number 397749 pattern number 71-2 and diamond registration. 195cm long This design, number 397749, was patented and registered by the Coalbrookdale Iron Foundry at the Public Record OfďŹ ce on 5th May 1883 and still featured in the Coalbrookdale Illustrated Catalogues of Garden and Park Furniture in 1894 and 1907. (See engraving) ÂŁ2500-4000

22 A Coalbrookdale Medallion pattern cast iron seat 2nd half 19th century stamped C.B.Dale Co no. 35 with diamond registration stamps and the medallion monogrammed J.K. 170cm 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) £4000-6000

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23 A carved white marble ďŹ gure of Pandora French, circa 1900 signed Romanelli 88cm high ÂŁ5000-8000

24 Joseph Durham: A carved white marble group of two children titled ‘Trying the lesson’ and signed J Durham 120cm high Joseph Durham ARA, 1814-1877 in London was an English sculptor and exhibited his ﬁrst piece of sculpture in the Royal Academy in 1835. In 1858 he won the commission for the Memorial to the Great Exhibition of 1851, which ultimately included the electrotyped statue of Albert, Prince Consort following Albert’s death in 1861. Between 1835 and 1878 Durham exhibited 126 pieces of sculpture at the Royal Academy and six at the British Institution. He was noted for his ﬁgures of boys engaged in sporting activities. A porcelain reproduction of his sculpture Go to Sleep was distributed as a prize to members of the Art Union of London in 1865. He became an associate of the Royal Academy in 1866. This piece is recorded as being sculpted in 1865 of Edith and G C Ashton Jonson and was exhibited at the Royal Academy. £3000-5000

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25 After the Antique: A plaster bust of Hercules early 19th century 92cm high After an original marble bust now in the British Museum, which was found in the 18th century buried in lava at the foot of Mount Vesuvius. While there had long been an interest in classical antiquity, the arrival of the Elgin marbles in London, and their display at the British Museum from 1816, opened up new markets for plaster casts as museums and academies in Britain and on the Continent began to develop more comprehensive cast collections for teaching purposes and for wider display. ÂŁ400-600

26 A pair of carved white marble ďŹ gures of children Italian, 2nd half 19th century each seated reading or writing on later composition stone plinths the group 58cm high; 109cm high overall Pedestals not shown. For more images please see our website ÂŁ2500-4000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

27 A bronze Pan ďŹ gure playing the pipes on composition stone base circa 1900 127cm high overall Base not shown. For more images please see our website ÂŁ2500-4000

28 A lead figure of Punch circa 1900 on associated stone plinth 160cm high The Punch and Judy show can trace its roots to the 16th century to Italy. The figure of Punch derives from the stock character of Pulcinella, which was Anglicized to Punch. He is a manifestation of the Lord of Misrule and Trickster figures of deep-rooted mythologies. Punch’s wife was originally “Joan”. 9th May 1662 is the day traditionally reckoned as Punch’s UK birthday, for that was the first recorded date on which the figure who later became Mr. Punch was seen in England. The diarist Samuel Pepys observed a show featuring an early version of the Punch character in Covent Garden in London. It was performed by an Italian puppet showman, Pietro Gimonde. Pepys described the event in his diary as “an Italian puppet play, that is within the rails there, which is very pretty.” In the British “Punch and Judy” show Punch wears a jester’s motley and is a hunchback whose hooked nose almost meets his curved jutting chin. £5000-8000

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29 After Sir Edwin Landseer: A pair of monumental bronze lions, after the originals at Trafalgar Square 175cm high by 384cm long Sir Edwin Henry Landseer RA 1802 -1873, was an English painter and sculptor, well known for his paintings of animals-particularly horses, dogs and stags. However, his best known works are the lion sculptures in Trafalgar Square. Landseerâ&#x20AC;&#x2122;s life was entwined with the Royal Academy. At the age of just 13, in 1815, he exhibited works there. He was elected an Associate at the age of 24, and an Academician ďŹ ve years later in 1831. He was knighted in 1850, and although elected President in 1866 he declined the invitation. The lions being transported past the originals in Trafalgar square 28

In 1858 the government commissioned Landseer to make four bronze lions for the base of Nelson’s Column in Trafalgar Square, following the rejection of a set in stone by Thomas Milnes. The lions were made at the Kensington studio of Carlo Marochetti, who also cast them. Work was slowed by Landseer’s ill health, and his fractious relationship with Marochetti. The sculptures were installed in 1867 and have subsequently become one of the most popular and iconic sculptures in the country. Provenance: Recently removed from the world famous Camden Lock Market in London. The lions were originally commissioned in the early 1990’s as part of the redevelopment of the site the by architect John Dickinson.

Camden Lock Market is situated by the Regent’s Canal on a site formerly occupied by warehouses and other premises associated with the canal. By the early 1970s the canal trade had ceased and in 1974 a temporary market was established. It is now the fourthmost popular visitor attraction in London, attracting approximately 100,000 people each weekend. Camden Lock market is now undergoing a major redevelopment resulting in a number of sculptures and furniture from it being sold through Summers Place Auctions, with this monumental pair of lions being the most impressive. Also see lots 438 to 449. £80,000-120,000

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30 A rare painted composition stone group of toadstools French, mid 20th century 85cm high by 190cm wide £1200-1800 31 A similar smaller group of toadstools 85cm high by 170cm wide £1200-1800 32 A similar single toadstool 84cm high £600-1000

Guy Portelli (born 13 June 1957) is a contemporary British sculptor. His work is found in public and corporate collections in Britain and the USA. Ringo Starr possesses several of his pieces. Portelli is a Fellow of the Royal Society of British Sculptors and Vice-President of the Royal Society of British Artists. In 2002, he won the Elisabeth Frink School Award, and the Scott Goodman Harris Award in 2003. In 2008, Portelli gained £80,000 from three investors of the TV programme Dragons’ Den, convincing them that modern art is a viable and realistic investment. This centred upon his “Pop Icons” collection, 18 pieces exhibited at the Mall Galleries in London.

S Guy Portelli

Swallows II, Bronze

Swallows III, Bronze on ebonised wood base

Flow II, Bronze

Signed G Portelli 07 8/10

Signed G Portelli ‘03 10/10

Signed G. Portelli 4/10

75cm high

54cm high

70cm high

£800-1200

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36 S David Williams Ellis Sunrise Bronze Monogrammed, dated 2014 and numbered 4/9 Approximately 360cm high Born in 1959 David Williams-Ellis is internationally celebrated as one of the world’s leading ﬁgurative sculptors whose commissions have brought him international acclaim. David works primarily in clay before casting in bronze, silver or glass. He has exhibited around the world as well as working on both public and private commissions. Some notable public commissions include Sir Kyfﬁn Williams, Lawrence of Arabia, and two over life-size salmon for the Eden Rivers Trust. David has most recently been commissioned to create the “D-Day Sculpture” for the Normandy Memorial to be unveiled in France on 6th June 2019 to coincide with the 75th anniversary of D-Day. £10,000-15,000

37 S David Williams Ellis Bronze mermaid Monogrammed DWE, dated 2005 and numbered 8/9 Weathered green patination 170cm high ÂŁ4000-6000

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38 S David Williams Ellis Seated nude model Monogrammed, numbered 2/9, 2007 and with foundry stamp 90cm high ÂŁ3000-5000

39 S William Lazard Monk in contemplation Fibreglass 170cm high William Lazard attended Camberwell School of Art where he studied painting and drawing, lithography, sculpture, lettering and general design. He worked part time at the Royal College of Art following his studies at Camberwell, before turning to full time teaching, where he was involved in pioneering work in association with Goldsmiths College and the Royal College of Art in developing the philosophy and practice of Design and Technology in schools. After retiring from full time education in 1993, he now focuses his attention on his creative work of painting and sculpture. Billâ&#x20AC;&#x2122;s work is in private collections in the UK, America, Canada, France, Germany, and Wales. ÂŁ2000-4000

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40 S Bruno Locatelli “Le Bagnanti” (The Bathers) Bronze, signed B. Locatelli, Fond Art Battaglia Milano 1981 on the base with later painted and gilded patination 235cm high by 195cm wide by 145cm deep Bruno Locatelli was born in Milan in 1908 and attended, the Umanitaria School in Milan where he learnt to be a goldsmith and engraver. Later he took courses in painting and sculpture at the Brera Academy and also the School of Design of the Castello Sforzesco. Subsequently, he worked as a medallist and sculptor at the Art Institute of Parma. Many of his sculptures are located in different Italian cities and in private collections. In 1966 the Municipality of Milan, awarded him the gold medal of merit, and in 1969 he became an associate of the Tiber academy. This lot is sold with original photographs. Collection of Senator Walter Fontana, President of the Brena Fine Arts Academy and Senator of the Italian Republic. Sold Summers Place Auctions 23rd October, 2012, lot 59. £8000-12,000

41 S Bruno Locatelli “Donna al Vento” (Woman in the Wind) Bronze, 1974 signed Bruno Locatelli, variegated green patination 180cm high by 160cm wide by 200cm long This lot is sold with original photographs showing the piece on location and certiﬁcated by the Walter Fontana collection. Collection of Senator Walter Fontana, President of the Brena Fine Arts Academy and Senator of the Italian Republic. Sold Summers Place Auctions 23rd October, 2012, lot 60. £5000-8000

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He was born in Cape Town, South Africa in 1903 and moved to Horsham, West Sussex in England as a young child after the death of his mother. His father, photographer Edward White Copnall (born 1878, Isle of Wight), lived and worked in Horsham from 1915 to 1962. The Copnall family have a long association with Horsham, the street Copnall Way is named after them. The exterior sculptural scheme for the Royal Institute of British Architects new building in Portland Place, London, completed in 1934, was an important early commission. In the Second World War, he worked as a camouflage officer in the Middle East, building dummies as part of the military deception for Operation Crusader. Copnall lived in Burma from 1955 to 1956, and completed 50-60 paintings, mainly portraits, during that time. He was also commissioned to do a memorial of General Aung San, the first Prime Minister of Free Burma. The statue was unveiled in Burma in 1955. Other notable works include; Wood carvings for the Cunard Line liners RMS Queen Mary and RMS Queen Elizabeth. The Stag, 1962, Maidstone, Kent. His largest work, originally located in Stag Place, London but moved to Maidstone in 2004. Crucifixion of Jesus, 1964, St John’s Church, Horsham. Made from coal dust and resin, it was removed from the facade of the church in December 2008 to Horsham Museum and Art Gallery. Rev Ewen Souter, the vicar at St John’s Church said it was “a horrifying depiction of pain and suffering” that ‘scared children and deterred worshippers’. Thomas Becket, 1970, St. Paul’s Cathedral Churchyard, London The Boy David, 1971, Chelsea Embankment 42 S Edward Bainbridge Copnall Evolution Carved Portland stone 190cm high by 107cm square Edward Bainbridge Copnall MBE, 1903 -1973 was a British sculptor and painter best known for his architectural and decorative sculptures featuring allegorical and religious subjects. He was the President of the Royal Society of Sculptors from 1961 to 1966.

Exterior work at St. Columba’s Church, Pont Street, London He was president of the Royal Society of British Sculptors from 1961 to 1966. He wrote A Sculptor’s Manual, published in 1971, a copy of which is included with this lot, in which he gives a detailed explanation of the carving of this piece, together with related newspaper cuttings commenting; ‘I carved each of the three sides which had been sawn off making the following works: “Creation”, “Conception” and “Resurrection”’. Provenance: Carved in North Street House, Horsham and then with Mr Turner of Nutley Green before being gifted to the present owner in 1980. £2000-3000

43 S Ernest Shone-Jones A carved white marble group of Adam and Eve Signed E. Shone-Jones ARBS 1953 On stone pedestal the marble 137cm high ÂŁ5000-8000

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44 S Andrew Sinclair Aphrodite Bronze resin in iron frame Signed Sinclair 2002 and with monogrammed artist roundel 255cm high by 92cm wide by 69cm deep Born in 1961, Andrew Sinclair studied Fine art at the Bournemouth and Poole College of Art. He has lived in South Africa and worked in Europe and is inﬂuenced by the great classical sculptors of the renaissance. This piece would appear to be a modern female interpretation of Leonardo da Vinci’s drawing of Vitruvian man executed in 1490. He lists the Earl and Countess of Leicester, Oldham City Council, Christopher Moran of Crosby Hall, publisher Felix Dennis, Georgio Logothetis of Lomar Shipping, Royal Ascot racecourse and Royal Caribbean amongst his clients. Sinclair has work in private and corporate collections in the UK, USA, Norway, Greece, Holland and South Africa. He has exhibited in London and the Home Counties. £3000-5000

45 S Ian Rank Broadley A resin group of two wrestlers on staddlestone bases Signed I Rank Broadly FRBS and with artist’s monogram The group 213cm high, overall height 280cm Bases not shown Born in Walton-on-Thames, Surrey, Rank-Broadley was educated at Epsom School of Art (1970-74) tutored by Bruce McLean, and Slade School of Fine Art (1974-76) with Reg Butler as his Director of Studies. In 1997 he won the Royal Mint competition for a new efﬁgy of H.M Queen Elizabeth II to appear on the obverse of circulated British and some Commonwealth coinage from 1998 onward and has subsequently designed a number of other coins for the Royal Mint.

His works are in the permanent collections of the British Museum, London’s National Portrait Gallery, the Ashmolean Museum, Fitzwilliam Museum Cambridge, St Paul’s Cathedral, the Rijksmuseum, and several others. In 2007, he sculpted a number of over life size bronze ﬁgures for the Armed Forces Memorial at the National Memorial Arboretum for which he received the Marsh Award for Public Sculpture in 2008. In 2010 he executed a memorial to Dean Colet founder of St Paul’s School, London; which can be seen in St Paul’s Cathedral. Other major works are St Matthew at St Matthew’s Northampton, H M Queen in Garter robes at the Supreme Court, Charles James Fox at Chertsey, The Royal Anglian Regimental Memorial, Imperial War Museum, Duxford. £2000-4000

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46 S Ian Rank Broadley Natura Pudorum Virium Contegit (Nature covers up the shame of strength) Bronze resin Original artist’s models with sculptor’s monogram 168cm high

Sold with a copy of a letter from the sculptor to the purchaser dated November 2001 relating to casting rights. £1200-1800 47 S A similar bronze resin statue 168cm high £1200-1800

48 S Michael Speller “Balance” Bronze on slate 200cm high Michael Speller studied at the Chelsea College of Art and design and works from a studio near Tate Modern in south London. He was named ofﬁcial artist for the BT Art of Sport Programme for The 2012 London Olympics and was for many years a resident artist at The Art Academy, London. £5000-8000

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49 S Mark Coreth Playing Leopards Bronze Signed M.Coreth A/C On limestone base 250cm high overall Born in 1958 in London, Mark lived on the family farm in Kenya until 1971 when he returned to the UK to attend Ampleforth College. In 1986, he was commissioned to sculpt and cast in silver ‘Belisarius’, the Blues and Royals’ drum horse, for the Warrant Ofﬁcer’s Mess. A second cast, in bronze, was the Household Cavalry’s wedding gift to The Duke and Duchess of York. In 1993 he became a full-time sculptor. His specially commissioned work includes a pair of lifesize Cheetah in a bronze tree for the ruling family of Dubai, a large ﬁgure for the re-launch of Shakespeare’s Globe Theatre, and the monumental Millenium sculpture “The Waterhole” at The Natural History Museum which incorporates over 50 animals. His work may also be found in the following collections; HRH The Queen, HRH The Sultan of Brunei, The Earl and Countess of Halifax, The Marquess of Hartington, Sir Anthony Bamford, Sir Christopher Lever and Lady Fairfax. £30,000-50,000

50 S Dylan Lewis, (born 1964) Trans ﬁgure II Life Size Signed and numbered ‘Dylan Lewis S251 3/8’ and with foundry stamp on leg Bronze 114cm high by 117cm wide by 70cm deep Dylan Lewis is a South African artist who has emerged as one of the foremost ﬁgures in contemporary sculpture. Lewis’s work features in private collections throughout the UK, Continental Europe, United States and Australia. £8000-12,000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

“The best portraits often contain a mixture of love and malice” Ivor Roberts-Jones, 1985

51 S Ivor Roberts-Jones Winston Churchill Monumental bronze bust Bronze marked ‘Estate IR-J 2015’ 3/6 95cm high by 127cm wide by 92cm deep Bronze edition 3/6 cast directly from the plaster taken from the statue of Sir Winston Churchill in Parliament Square. The casting process supervised by the sculptor Nigel Boonham FRBS, Past President of the Society of Portrait Sculptors, on behalf of the Trustees of the Ivor Roberts-Jones Estate.

Ivor Roberts-Jones, RA (2 November 1913-9 December 1996) He was born in Oswestry, where one of his works, “The Borderland Farmer”, stands in the town centre. He studied at Oswestry School and Worksop College before attending Goldsmiths College, London and the Royal Academy of Arts. During the Second World War he served in the Burma Campaign. Roberts-Jones was a founder member of the Society of Portrait Sculptors in 1953 and was head of the sculpture department at Goldsmith’s College of Art from 19641978. He established his reputation for portrait sculpture including commissions for Yehudi Menuhin and George Thomas, Viscount Tonypandy, as well as over life size ﬁgures including Field Marshall Viscount slim of Burma and Field Marshall Viscount Alanbrooke both of which stand in Whitehall.

In 1971 he was commissioned to produce the fulllength statue of Winston Churchill which now stands in Parliament Square, London, which is, without doubt, his most famous work. He later indicated that the pose of the statue had been largely inspired by the famous photograph of a grim-faced and sorrowful Churchill inspecting the smouldering bomb wreckage of the chamber of his beloved House of Commons on the morning of 11th May 1941. Ivor Roberts-Jones ‘portrays him as the wartime leader at the time of the Normandy Landings and the return of the Allies to Europe. Consequently the figure exudes total confidence: facing the Houses of Parliament, their greatest servant in modern times is portrayed as a giant at the height of his powers’1. After the statue was unveiled in 1973 it ‘provided a much needed breakthrough in post-War portraiture’, subsequently the statue has rightly achieved iconic status. In 1987 the statue appeared in party political broadcasts for the Conservative party, thanks to Mrs Thatcher’s intense admiration for and identification with Churchill. It subsequently featured in Simon Schama’s award winning History of Britain broadcast on BBC1 in 2000-2002 and again five years later in Andrew Marr’s History of Modern Britain. Perhaps the apogee of the statue’s status within the British imagination came on 27th July 2012, when it was prominently featured in the ‘Happy and Glorious’ section of Danny Boyle’s Isles of Wonder film, broadcast during the opening ceremony of the London Olympics.

the Churchill statue in Parliament Square. It is from the plaster cast of the head and shoulders made at this time, that this bronze was cast. The Trustees of the Ivor Roberts-Jones Estate have kindly given permission for a limited edition of only 6 bronze casts to be made from the plaster of the head and shoulders of the Churchill ﬁgure of which this is number 3. No other casts will be authorised and as such this represents a unique opportunity to acquire an enduring sculpture of Churchill, voted as the greatest ever Briton. Literature: Ivor Roberts-Jones - The Journey to Harlech, 1 Dr Peter Cannon-Brookes, (National Museum of Wales, 1983), p.57 Abstraction and Reality; The sculpture of Ivor Roberts-Jones, by Jonathan Black and Sara Ayres, Philip Wilson 2013 £60,000-80,000

In 1995 Ivor Roberts-Jones was commissioned by the Czech government to make another cast of the Churchill figure to stand in the recently renamed Winston Churchill Square in Prague. Ivor replied that his original mould for his figure in Parliament Square had disintegrated, and he doubted very much whether Parliament would allow him to make a cast from the statue himself. He did produce a clay maquette for a new Churchill head, but died a couple of months after sending it to the Meridian foundry. After further negotiation, his widow, Monica Roberts-Jones gave her permission for a copy to be made of the statue in Parliament Square, somewhat swayed by the fact that “With his statue of Sir Winston Churchill in this proposal had the support of Lady Thatcher and Parliament Square, unveiled in November the Czech President Vaclav Havel. With the British 1973, Ivor Roberts-Jones created one of the Foreign Office and the Royal Parks Agency also giving grandest works of public sculpture in Britain” their project their blessing, permission was given and an up-coming portrait sculptor, Nigel Boonham was The Times, December 1996 given the task of supervising the making of a cast from For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

52 S Ian Chappell A carved wood swan 48cm high by 85cm long Born in Gloucestershire within ﬁve miles of what is now the Wildfowl & Wetlands Trust Ian had a keen interest in art, woodworking and birds from a very early age. Whilst maintaining these interests in various ways he did not start carving birds until 1990 when his wife gave him a set of carving chisels. That same year he joined the British Decoy & Wildfowl Carvers Association, and entered a Kestrel in his ﬁrst competition held at WWT Slimbridge with great success. He attended the

World Wildfowl Carving Championships in Ocean City, Maryland, USA in 1997 for the ﬁrst time and won four ribbons for his entries, and has continued to compete, both at World level and National level winning the British Wildfowl Carving Championship in 2003 and more recently the Best in Waterfowl Carving with a Gadwall in 2011 at Bakewell, Derbyshire. His work is appreciated by connoisseurs, collectors and bird lovers who like the accuracy of his life size carvings of all species of birds. He has exhibited at many events including the BBC Natural History Fair at Bristol, the National Exhibition of Wildlife Sculpture in Norfolk and at the Wildfowl and Wetlands Trust at Slimbridge. His carvings have featured in Wood Carving Magazine. £500-800

53 Teymur Rüstamov A laser cut stove enamelled steel and brass mounted abstract sculpture laser cut with Teymur Rüstamov 2014 330cm high on anodised steel base (not shown in illustration) 20cm high by 124cm square, 350cm high overall Teymur Rüstamov was born in Baku in 1960. He graduated from Azim Azimzadeh College of Art and continued his education at the Tbilisi Art Academy faculty of sculpture. Rüstamov has participated in many exhibitions since 1982, and his works are held in state museums in Baku and the Azerbaijan Culture Center in Paris. Along with his brother and father he has produced numerous busts, memorials and monuments in Azerbaijan. His work also featured at the 53rd Venice Biennale in 2009. Selected exhibitions: 2012 Aluminium, 5th International Biennial of Contemporary Art, Baku, Azerbaijan, Saatchi Gallery, London 2017 £5000-8000

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54 S Paul Vanstone Reclining female ﬁgure White marble 165cm high Paul Vanstone studied sculpture at Central St. Martins School of Art before completing an MFA in sculpture at the Royal College of Art, from which he graduated in 1993. Following his graduation Vanstone worked in Italy at the traditional marble carving studios near the famous Carrera quarries. He also spent time working in Berlin and has travelled to Rajasthan to learn India’s traditional marble carving techniques. On his return to the UK, and for the next ﬁve years, Vanstone became an assistant to leading British sculptor, Anish Kapoor. Consequently,

works carved by Vanstone on Kapoor’s behalf have been exhibited at world leading galleries, including the Tate Modern, London. Since then Paul has shown his work at a number of major galleries in London, including the British Museum and the Victoria and Albert Museum, as well as galleries and sculpture gardens throughout the UK. He has gained a number of prestigious awards and commissions, among them being the Henry Moore Award (1991) and the Lady Carrington Sculpture Garden commission (1991 and 1996). Paul carves sculpture from stone, the nature of the material dictating how each piece evolves. His fascination is with the hardness and light reﬂecting qualities of marble and how this can be transformed to portray the curvature of the human body and the delicacy and ﬂow of covering cloth. £5000-8000

55 S Paul Vanstone Female torso Rosso Levanto serpentine marble 170cm high Normally considered to be a green stone, serpentine can turn red when water percolates through the rock. Of all the red serpentines, the best known is Rosso Levanto from the Levanto region in Liguria, Italy. ÂŁ2000-3000

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56 S Barry Mason Stainless steel fountain (Thales) Limited edition of 10 in stainless steel surround 320cm by 152cm diameter Barry Mason FRBS is a British sculptor who specialises in sculpture using water and light. He studied Fine Art at Reading University, (1970- 74), and at the Slade, University College London (1974-76). He has completed several large pieces, which are accessible to the public, as well as many more in private collections in Britain and abroad. These include a similar fountain to this one which was commissioned by the Crown Estate and presented to HRH Queen Elizabeth II as the centrepiece of the Jubilee Garden in the Savill Garden in Windsor Great Park. He also did HALF MOON in the grounds of Eton College and SPHERE at the Hurlingham Club in London. His earliest large sculptures were conceived to be installed in landscape rather than art gallery settings, and used sunlight and shadow as an integral and dynamic element in their composition (the HELIOS series). Most of Masonâ&#x20AC;&#x2122;s recent work has been commissioned privately for gardens in England, Scotland, Spain and Germany. Highlights include VESSICA in a gold medal winning garden at Chelsea Flower Show, designed my Mark Anthony Walker. ÂŁ3000-5000

57 S Mark Stoddart Hippo and baby coffee table Bronze and glass Signed M. Stoddart 62/99 55cm high 135cm wide ÂŁ5000-8000

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– relies on the destruction of the original mould as it is vaporised by molten aluminium. The result is an entirely unique, one-off sculpture.

58 S Jonathan Clarke Botescarlus II from 2004 Sand cast aluminium 96cm high by 89cm wide

Jonathan Clarke was born in 1961 in Suffolk, UK, where he continues to work today. At the

age of 16 he took up an apprenticeship with his father, the sculptor Geoffrey Clarke (RA), and he began exhibiting his own sculpture in the early 1980s. Jonathan works in sandcast aluminium, initially carving his sculpture in polystyrene. This method – pioneered by his father and mastered by Jonathan

Writing about Jonathan’s ﬁrst solo show (Chappel Galleries, 1993), Galleries magazine noted his ‘line of inheritance from the masters of the century, from Gabo, through Moore, to Paolozzi.’ His style, whilst abstract and architectural, carries a great deal of emotional resonance, often taking inspiration from social, spiritual and mythological subject matter. Other

inﬂuences that Jonathan cites include the sculptors Eduardo Chillida and Anthony Caro, as well as two-dimensional artists such as Robert Motherwell and Mark Rothko. Commissions, include an 11-metre wall-mounted cross for Ely Cathedral (The Way Of Life, 2001), an eye-catching ﬁgure for the town of Colchester (Boudica, 1999) and a twelve-piece exhibit for Trinity Hall’s permanent collection in Cambridge (Twelve, 2006).

£2000-3000

59 A large Lapis Lazuli specimen 37cm by 30cm by 14cm 34.4kg ÂŁ2800-5000

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60 A Chrysanthemum stone China on stand 50cm high ÂŁ1600-2500

61 A large red Jasper freeform Madagascar 54cm high ÂŁ1250-1800

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62 A Lapis Lazuli specimen with pyrite 37cm by 26cm by 12cm 20.94kg Â£1800-2500

63 A Lapis Lazuli specimen with pyrite 30cm by 23cm 15.8kg ÂŁ1500-2500

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64 A Rose Amethyst polished specimen Rio Grande do Sul, Southern Brazil on stand 53cm high A rare occurrence from the amethyst mines ÂŁ800-1200

65 An Amethyst freeform of particularly good colour Uruguay on stand 74cm high overall ÂŁ950-1200

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66 A nickel iron meteorite Campo di Cielo, Argentina, fall estimated at 4000-5000 years ago 22cm wide 8.6kg ÂŁ2200-2500

67 A Rare NWA L-Chondrite Meteorite-L4-6 fragmental breccia Region of Algerian and Moroccan Ténéré, state borders, North Africa 21.7cm high by 23.5cm wide by 7cm deep Approximate weight: 6.2 Kg Discovered in the western desert, hence a classiﬁcation of a NWA chondrite meteorite. Amazing alien objects, bits of the nebula crash from space into our terrestrial world on a daily basis, many burning up in our stratospheres, only a few impact £3000-5000

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68 A petriďŹ ed Araucaria araucana wood tree section Ambilobe, Madagascar, Mesozoic era, Early Triassic period, Olenekian stage, approximately 250 to 247 m.y.a. 54cm high by 36.5cm wide by 9cm deep including mount Approximate weight 7,400kg ÂŁ1500-2500

69 A Fagesia peroni ammonoid (cannon ball) (described by Pervinquiére 1907) exhibiting fine calcification which can been seen now the shell has been removed Asfla Mountains (Jbel Timetrout), Goulmima, Region Rich, Morocco, North Africa, Mesozoic era, Cretaceous period, Turonian stage approximately 93.9 - 89.8 m.y.a. 32.5cm high by 23cm wide overall Cannon ball weight 7,637kg, total weight on stand 8,300kg £1500-2500

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70 A natural Goniatite Ammonoid (Gonioclymenia speciose), (Clymenia sp. described by Münster 1839) displaying calciﬁcation within the chambers which can been seen now the shell has been removed Gonioclymenia limestones, Taﬁlalt Platform (Anti-Atlas, SE Morocco), North Africa, Palaeozoic era, Devonian, Famennian age, 372 to 359 m.y.a. 39cm high by 35cm wide by 9.5cm deep The limestone Goniatite has been prepared using an acid preparation which creates a more organic appearance. £1500-2500

71 A fossil Ammonitoceras Ammonite (Ancyloceratidae) on a bronze base Atlas range, Nr Agadir, Morocco, North Africa, Mesozoic era, Cretaceous Period, Hauterivian to Albian stages, 135 to 100 m.y.a. 59cm high by 50cm wide by 12cm deep Approximate weight 35kg ÂŁ1500-2500

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72 A ruby in fuchsite sphere and point South India sphere 20cm diameter, point 42cm high Â£1600-2500

73 A double dinosaur egg Henan Province, China, Upper Cretaceous, 70 million years 26cm wide ÂŁ1200-1800

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74 A ﬁne fossilised Chlamys lattissima sp. pecten clam shell Lacoste quarries near Marseilles, Bollene, Vaucluse department Provence-Alpes-Côte d’Azur, Southern France (more commonly known in France as ‘Coquille St. Jacques’), Cenozoic Era, Miocene Period; Burdigalian/Aquitanian Stages, around 23 to 15 m.y.a. 21.4cm high by 20.3cm wide by 10cm deep Approximate weight 2,673 kg £1200-1800

75 A Megalodon shark tooth Carcharodon/Carcharocles. (Family; Lamnidae/Otodontidae). (Order; Lamniformes). Beaufort County, South Carolina, USA, Cenozoic era, late Oligocene to early Pleistocene, approximately 28 to 1.5 m.y.a. 14.8cm from the bottom of the root to the tip of the crown taking the longest diagonal as the accurate measurement by 10.5cm wide by 2.9cm deep Approximate weight 0,362g An atypical shape pristine and rare specimen, no repairs or conservation, no over polishing, as found. A ďŹ ne honest fossil tooth of one of the greatest predators of all time. ÂŁ3000-5000

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76 A collection of three ﬂint hand axes Neolithic on bronze stands the largest 20cm overall The following lots of prehistoric stone tools are made from chert with its distinctive reddish brown colouring.

They are collected in the “tenere” area of the Sahara a vast tract of land between Niger, Mali and Algeria. This very attractive rouge colour is typical of tools from Mali and Niger, in the area where the two states meet Algeria. They are found in open sites, where the weathering has made the habitations rise to the surface of the desert. £1000-1500

A large ﬂint Neolithic axe

A carved stone ﬁgure

A Paleolithic quartzite Acheulean hand axe of exceptional size on bronze stand

Tenere

on bronze base

damages

25cm

14cm high

£700-1000

£800-1200

Neolithic

from the Ténéré Central Sahara desert, Southern Algeria, Mali and Niger borders, Africa on bronze stand, overall 37cm high This Acheulian hand axe is made of granular quartzite, the axe now honed to a ﬁne prehistoric desert varnish, the term varnish refers to the surface which has attained, through the aeons, a good and natural desert weathering. £1000-1500

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painstaking preparation that goes into readying the bones for exhibition.

A unique survival from the Ice age, a family group of Mammoths These four skeletons are in excellent condition both in terms of bone quality but also completeness. The nature of their discovery as a group in ﬂuvial deposits strongly suggests that their demise was a rapid event and that they were together before being overwhelmed by a cataclysmic disaster, giving us a remarkable insight into life around 10,000 years ago. The Mammoth is one of the great icons of extinction. Perhaps only Tyrannosaurus rex, the Dodo, or a long-necked dinosaur can compare with its graphic power.

Even the word ‘mammoth’ has now transcended its original meaning and is now a synonym for huge size, strength, or great value. Its image is so familiar, and even though it is very much a prehistoric animal, the species survived until comparatively recent times; in human terms its existence is almost close enough to touch. Although its heyday was long, long ago, mammoths still survived in many places 10,000 years ago. It is a little known fact that on remote islands in the Bering Straits mammoths lived on until around 2,000 years BC - which means that there were living mammoths at the time when the pyramids

were being built! In earlier times herds of mammoths roamed over large areas of the world and fossilized fragments of bone or teeth are found in many places. But complete preserved skeletons are comparatively rare, and their preparation for museum exhibitions even rarer. This is for two main reasons. The intrinsic rarity of such complete fossils is the ﬁrst, of course. The second concerns the great cost of digging out entire specimens from the deposits they have lain in for thousands of years. Then comes the cost of transporting them from the remote places in which they are found. Add to this the enormous amount of

On an autumn morning at the start of the 21st century, workers from a nearby construction site noticed that recent ﬂooding had washed away tons of earth and sand close to the River Chulym in the Tomsk Region of Russia. This action of the water revealed something remarkable. The area was littered with bones - some of them very large - that had been preserved in ancient ﬂuvial deposits. On investigation it was discovered that the bones belonged to mammoths that seemed to have died around 10,000 years ago in some kind of natural disaster. Certainly, there was no evidence that the hand of man had had anything to do with the deaths. A number of more or less complete mammoth skeletons were eventually extracted, including the family group now being offered for sale. This group consists of an adult male, two females of very different ages, and a very young individual - perhaps no more than a year old. This particular baby is probably only the second relatively complete skeletal example in the world. It is so well preserved that it can be seen that small portions of the long leg bones are not

yet fully ossiďŹ ed and not completely fused. The bones of the adult male are in exceptionally good condition, and reveal that whatever disaster overtook these animals, it must have done so very quickly. The bones of the ďŹ rst of the two females come

from an individual that is judged (from dental evidence) to have been around 45 years of age at the time of her death. The second female was a much younger animal, perhaps only 8 or 9 years old and not completely fully grown. Because of their unique importance,

these mammoths have been exhibited across Europe at various venues. In 2004 they were shown at Erbach in Germany, before moving on during the following year to Bad Belzig. Then in 2006 they were shown at Montreux in Switzerland and the next year in Fribourg.

80 A large male mammoth skeleton Ice Age Tomsk Region, Siberia 240cm high by 400cm long ÂŁ115,000-150,000

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81 A mother and baby mammoth skeleton Adult female 200cm high by 328cm long; Infant 155cm high by 284cm long ÂŁ80,000-120,000

82 An adolescent female mammoth skeleton Adolescent female 195cm high by 325cm long ÂŁ50,000-80,000

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83 A Leopard skin by Rowland Ward with Jungle label 1st half 20th century 244cm long by 160cm wide ÂŁ1500-2500 84 A giraffe skull recent, 75cm ÂŁ800-1200

85 A full mount Jaguar 129cm wide ÂŁ5000-8000 86 A giraffe skull recent 74cm ÂŁ800-1200 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

87 An exceptional example of the extinct Passenger Pigeon (Ectopisces migratorius) North American, 2nd half 19th century This specimen is particularly unusual in that it is a female and is

in an exemplary state of preservation, later recased in the late 20th century 40cm high by 50cm wide This species was once the most common bird on earth with numbers estimated at the start of the 19th century in billions, but these

numbers fell dramatically and the very last individual expired in its cage at the Cincinatti zoo 100 years ago in September 1914. (See Errol Fuller, The Passenger Pigeon, Princetown University Press 2014). ÂŁ4000-6000

GLOSSARY OF TERMS

In renaissance style

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

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

Please read carefully the terms of the Authenticity Guarantee and the Conditions of Business for Buyers set out in this catalogue. Antonio Canova In our opinion a work by the artist. In the case of 19th century sculpture this indicates that the work was made in our opinion either by the artist or by a foundry or editor who had the rights to reproduce the artist’s original model either during the artist’s lifetime or for a deﬁned posthumous period. (When the artist’s forenames are not known, a series of asterisks, followed by the surname of the artist, whether preceded by an initial or not indicates that in our opinion the work is by the artist named). Attributed to Antonio Canova In our opinion probably a work by the artist but less certainty as to authorship is expressed than in the preceding category.

The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are original to the model or authorized by the sculptor’s studio or editor but not necessarily from the hand of the artist. The term bearing the signature and/or date and/or inscription means that in our opinion the signature and/ or date and/ or inscription have been added at a later date. Dimensions are given height before width Condition of lots Condition is only noted in the catalogue where an item is severely distressed. Prospective purchasers making commission bids without viewing the sale can be given condition reports on any lot on request. It is essential for buyers to satisfy themselves as to the condition of lots prior to the sale and to arrange their own insurance cover against loss and damage immediately after the sale. Please refer to the Conditions of Business for Buyers.

Manner of Antonio Canova In our opinion a work in the style of the artist and of a later date After Antonio Canova In our opinion a copy at a later date of a known work by the artist. In the 19th century this indicates that in our opinion the work was made by a foundry or editor at a later date and apparently without exclusive rights. Italian 18th century In our opinion a work from that region and of that date. Probably Italian 18th century In our opinion a work that is likely to be from that region and/or of that date but less certainty as to the region and/or date than is expressed in the preceding category.

SUMMERS PLACE AUCTIONS AUTHENTICITY GUARANTEE

of the auction at which it was purchased and the reasons why it is thought to be counterfeit; and

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.

(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.

For these purposes, “counterfeit” means a lot that in Summers Place Auctions Ltd reasonable opinion is an imitation created to deceive as to authorship, origin, date, age, period, culture or source, where the correct description of such matters is not reflected by the description in the catalogue (taking into account any Glossary of Terms). No lot shall be considered a counterfeit by reason only of any damage and/ or restoration and/or modification work of any kind (including repainting or over-painting). Please note that this Guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinion(s) of scholar(s) and expert(s) at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a counterfeit would have been by means of processes not then generally available or accepted, unreasonably expensive or impractical to use; or likely to have caused damage to the lot or likely (in Summers Place Auctions Ltd reasonable opinion) to have caused loss of value to the lot; or (iii) there has been no material loss in value of the lot from its value had it been in accordance with its description. This Guarantee is provided for a period of five (5) years after the date of the relevant auction, is solely for the benefit of the Buyer and may not be transferred to any third party. To be able to claim under this Guarantee, the Buyer must:(i) notify Summers Place Auctions Ltd in writing within three (3) months of receiving any information that causes the Buyer to question the authenticity or attribution of the item, specifying the lot number, date

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 @ symbol

From 200,000.01 to 350,000 1%

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

From 350,000.01 to 500,000 0.5%

It is assumed that items sold to buyers whose address is outside the EU, will be exported from the EU. The property will be invoiced under the normal VAT rules (see ‘Property with a † symbol above). Property sold with a ‡ or 1 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% 1 @ 20% Summers Place Auctions Ltd must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at 20% on this premium, which will not be shown separately on the invoice. VAT Refunds VAT may be cancelled or refunded on export if strict conditions are met and a fee of £30 plus VAT will be charged for this service. For advice, please contact us on 01403 331 331 Sales and Uses Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of items following purchase (for example, the Use Tax payable on import of purchased items to certain states of the USA). Buyers should obtain their own advice in this regard. Artist’s Resale Right Purchase of lots marked with the following symbol S will be subject to payment of the Artist’s Resale Right, at a percentage of the hammer price calculated as follows: Portion of the hammer price (in) Royalty Rate From 0 to 50,000 4% From 50,000.01 to 200,000 3%

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.

C.I.T.E.S.

Live Auctions

The auction takes place in the gallery with each lot displayed on a plasma screen as it is sold. Prospective purchasers are encouraged to attend the sale and must register their details with us beforehand. Bidding is by numbered paddle.

Condition of Lots All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 3 of the Conditions of Business for Buyers. Electrical and Mechanical Goods All electrical and mechanical goods are sold on the basis of their artistic and decorative value only, and should not be assumed to be operative. It is essential that any electrical system is checked and approved by a suitably qualiﬁed electrician, prior to use.

4. The Auction Auction speeds vary, and generally average between 50 and 120 lots per hour. The auctioneer will commence and advance the bidding at levels and in increments he considers appropriate (generally in increments of approximately 10% of the previous bid) and is entitled to place a bid or series of bids on behalf of the seller up to the reserve on the lots, without indicating he is doing so and whether or not other bids are placed. Please note Conditions 5 and 6 of the Conditions of Business for Buyers contain additional information on bidding. Bidding in Person To bid at auction you must register with us to obtain a bidding number. Before the auction, ﬁll in the form at the registration desk, provide proof of identity, and you may be given a paddle showing your bidding number. This paddle should be used for bidding. The auctioneer will note this number when you purchase a lot.

Absentee Bids If you cannot attend the auction we will be happy to execute written bids on your behalf, so long as you have registered your details with us beforehand. A bidding form may be downloaded from www.summersplaceauctions.com website. A bidding form is also printed in the back of the catalogue. This service is conﬁdential. Lots will always be bought as cheaply as is consistent with other bids, the reserves and other commission bids. To avoid confusion, the sale date, lot number and a brief description should be ﬁlled in and signed. Commission bids by email without a signature will not be accepted. In the event of identical bids, the earliest received will take precedence. Always indicate a top limit, i.e. the highest price you would bid if you were attending the auction. Don’t forget that buyers premium and any VAT applicable will also be added onto your bid if you are successful. “Buy” and unlimited bids will not be accepted. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues. To ensure a satisfactory service please ensure that we receive your bids at least 24 hours beforehand. Telephone bids If you cannot attend the auction, it is usually possible to bid on the telephone. You will need to have registered your details with us 5 days before the auction. As the number of telephones is limited, it is necessary to make arrangements on which lots you wish to bid on, at least 24 hours before the sale. We also suggest that you leave a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues. Online Bidding If you cannot attend the auction, you may wish to bid using the.saleroom.com, which will incur an additonal 3% of the hammer price plus VAT at the rate imposed

Sealed bid For further information please see pages at the end of this section. Sale by private treaty Summers Place Auctions shall, from time to time, be offering some lots for sale by Private Treaty in our architectural portfolio. These will usually comprise larger pieces of an architectural nature, which will require a longer period of planning and consultation than an auction can provide. Additionally if you are looking for a speciﬁc piece please let us know and we will use our worldwide network of trade and private clients to help source the most suitable item for you. Please contact us for further information. Payment Payment is due in sterling immediately after the sale and before purchases can be released. Payments in person can be made in the saleroom on the day of the auction using mobile banking, debit cards or by cheque. Thereafter payments may also be made by electronic transfer to our bank, by post or by debit card transactions by telephone. Cash will not be accepted. Sterling Banker’s Draft or Building Society Cheque and Electronic or Wire Transfer

RH14 9AB, Monday to Friday between 9.30am and 12.30pm and 2.00pm and 4.00pm. Collection of lots is strictly by prior appointment and must be arranged at least 48hours in advance. If Lots have not been collected within 35 days of the auction date then storage charges may be applied at a rate of £10 per Lot per day. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, Summers Place Auctions accept no responsibility for any damage which may occur, even in the event of Summers Place Auction staff assisting carriers during collection. Summers Place Auctions also reserves the right to charge storage fees of £10.00 per lot, per week, for any pieces left at Summers Place over a longer period than six months irrespective of whether they have been entered into a sale or not. Shipping We are happy to arrange shipping quotations and have extensive experience in working in conjunction with leading domestic and international shippers. There is no charge for arranging quotations.

CONDITIONS OF BUSINESS FOR BUYERS

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

1. INTRODUCTION

Credit/Debit Card

(i) these Conditions of Business for Buyers;

We are pleased to accept all major personal debit cards. Regrettably we are no longer able to accept credit cards

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

Sterling Cheque

(iii) Summers Place Auctions Ltd ‘s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer’s announcement.

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

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

(b) As auctioneer, Summers Place Auctions Ltd acts as agent for the Seller. Occasionally, Summers Place Auctions Ltd may own or have a ﬁnancial interest in a lot.

Collection and Storage

2. DEFINITIONS

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

“Bidder” is any person making, attempting or considering making a bid, including Buyers; 85

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

(i) is liable for any errors or omissions in any oral or written information provided to Bidders by Summers Place Auctions Ltd, whether negligent or otherwise;

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

(ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Seller to the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers;

““Buyer’s Expenses” are any costs or expenses due to Summers Place Auctions Ltd from the Buyer; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price or winning sealed bid price at the rates set out in the Guide for Prospective Buyers; “Hammer Price” is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable. 3. EXAMINATION OF LOTS (a) Summers Place Auctions Ltd knowledge of lots is partly dependent on information provided by the Seller and Summers Place Auctions Ltd is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of Summers Place Auctions Ltd opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at Summers Place Auctions Ltd absolute discretion. 4. EXCLUSIONS AND LIMITATIONS OF LIABILITY TO BUYERS (a) Summers Place Auctions Ltd shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of Summers Place Auctions Ltd Authenticity Guarantee. (b) Subject to Condition 4(a), neither Summers Place Auctions Ltd nor the Seller:86

(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 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. 11. DATA PROTECTION (a) Summers Place Auctions Ltd will use information supplied by Bidders or otherwise obtained lawfully by Summers Place Auctions Ltd for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i). 12. MISCELLANEOUS (a) All images of lots, catalogue descriptions and all other materials produced by Summers Place Auctions Ltd are the copyright of Summers Place Auctions Ltd. (b) These Conditions of Business are not assignable by any Buyer without Summers Place Auctions Ltd’s prior written consent, but are binding on Bidders’ successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of Summers Place Auctions Ltd.

Sealed bid- How it works Our sealed bid auctions close at 4.oopm on the day after the live auction, but are on view at the same time and are included in the same catalogue with an illustration, description and estimate. Clients wishing to leave bids should do so in writig or by emailing a signed scanned page detailing lot numbers, brief description and the bid(s) which they wish to leave. All clients should also have registered with us beforehand and provided photographic identification. Sealed bids, when placed by telephone, are accepted only at the the caller’s risk and must be confirmed by letter or e-mail to info@summersplaceauctions.com. You can also e-mail the completed sealed bid form to sealedbids@summersplaceauctions.com Next give us your bid(s). This can be done by filling in the bidding slip found in your catalogue. If you are sending your bidding slip to Summers Place Auctions by post, please mark the envelope “Sealed Bid” so that we know it contains a sealed bid and do not open it accidentally. Bids and IDs may also be sent by e-mail. If you choose to send the bid electronically please email sealedbids@summersplaceauctions.com. This is a closed mailbox and will not be opened before the advertised time. However, we strongly recommend that if you have not viewed the sale in person, that you ask for condition reports on any lots you are thinking of leaving bids on. Sealed bid auctions differ from established auctions in that the bid left is the bid that will be exercised in full. Therefore, if you decide to leave a bid of, say, £900 on the lot estimated at £800-1000 and there is no higher bid (where two identical bids are received, the earliest received bid will take precedence), £900 will secure the lot subject to buyer’s premium and VAT on the premium. We will contact you if you have been the successful bidder to inform you of the lot or lots that you have purchased, so that you can make payment and make arrangements for delivery. We have had many years of experience dealing with both UK carriers and international shippers and are happy to obtain quotations and facilitate transport and shipping of single lots and multiple purchases to anywhere in the world. Bids will be opened on Thursday 22nd March; and sales results will appear on the Summers Place Auctions website. Please be mindful that we will have to process a large number of bids, which does take time. However, we will endeavour to get this accomplished as quickly as possible and will expect to have the results of the sale posted by the end of the day. If you have never bid in a sealed bid sale before, here are some things to be aware of as regards leaving bids for this auction: Every lot in the sale has a fixed reserve, (the minimum price for which the lot can be sold) and this is never above the low estimate, it can be slightly below, but in the vast majority of cases it is the low estimate. The highest bid (as long as it is on or above the reserve) will be the winning bid. This is the ‘hammer price’ that the lot will be sold for. You should consider leaving a bid of an odd amount in pounds, for example, rather that bidding £1,000, try say £1,004, as many lots have been bought for the sake of the odd £1! You can tailor your bid in ways that are impossible to do in a live auction. For example, if you really like three lots, but only need one, and the piece you like the most is later in the sale, simply mark your order of preference. As long as your instructions are clear, having looked at any other bids left on the lots, we will do our best to comply with your preferences. In the event of two identically highest bids, the earliest bid received will take precedence. An auction price is made up of different components; the winning bid is called the ‘hammer price’; A commission, which is in addition to the ‘hammer price’ is payable to the auctioneers. This is known as the buyers premium, on which VAT is payable. Lots marked with S are subject to Artist Resale Right (ARR), which is 4% of the “hammer price”. All lots that have additional VAT are clearly marked in the catalogue with a †.

Sealed bid auction Lots 200-581 All sealed bids must be with us, at the latest by 4pm GMT on the 21st March since the bids will be opened on the 22nd March. 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 ďŹ nal. Winning bidders will be invoiced after the bids are opened. For further information on sealed bids and how they work see our conditions of business.

200 A large wrought iron estate gate 19th century 195cm high by 330cm wide ÂŁ700-1000 201 A wrought iron estate gate circa 1900 136cm high by 307cm long and another similar wrought iron estate gate ÂŁ200-400

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

202

204 A pair of small wrought iron gates

203

late 19th century 202

90cm high by 128cm wide

A wrought iron estate gate

£300-500

mid 19th century 175cm high by 320cm wide

£800-1200 203 A wrought iron estate gate 19th century 146cm high by 270cm long £300-500

205 A wrought iron gate late 19th century 163cm high by 63cm wide £250-400

206

207

A pair of composition stone ﬁnials 2nd half 20th century

A pair of composition stone armorial gate pier beasts with lead collars

130cm high

modern

A pair of composition stone pineapple gate pier ﬁnials

£1800-2500

80cm high

2nd half 20th century

£250-400

52cm high

208

together with a pair of composition stone gate pier balls 30cm diameter £250-400 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

209 A substantial pair of Victorian wrought iron gates 274cm high by 348cm wide Removed from St Pancras Station. St Pancras Station was opened in 1868 and is one of the wonders of Victorian engineering. Along with the former Midland Grand Hotel, it is a masterpiece of Victorian Gothic Architecture and one of the most elegant stations in the World. It was designed by one of the leading Victorian architects George Gilbert Scott.

These gates were removed during the recent refurbishment to accommodate the Eurostar trains to the continent. ÂŁ4000-6000

210 A similar pair of gates ÂŁ4000-6000

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

211 An impressive cast and wrought iron entranceway by Walter Macfarlane last quarter 19th century restored and with later cast iron lanterns (illustrated with faux brickwork walls) Gates and piers 437cm wide, and with 366cm opening; height of piers 221cm high, and with lanterns 350cm high, together with sixteen interlocking cast iron panels each with back stay and makerâ&#x20AC;&#x2122;s stamp, each 104cm high by 117cms wide, which can be reconďŹ gured as required. Overall width including panels 23 metres, 6cm 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. The panels from this entranceway are illustrated in the sixth edition of Walter MacFarlane’s catalogue, published in 1882, plate no 42 (See engraving). £25,000-40,000

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

212

214

A pair of large carved stone gate pier balls modern

A pair of unusual cast iron gate pier balls with pierced iron frames

57cm diameter

late 19th century

£1000-1500

68cm high £400-600

213 A pair of carved stone gate pier balls

215

19th century

56cm diameter

36cm diameter

£1500-2500

£300-500

A large quartz sphere

216

217

† A pair of unusual lead ﬁnials modern

A composition stone ﬁnial on ﬂuted column pedestal

80cm high

modern

£1500-2000

180cm high £1800-2500

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

218 A pair of substantial composition stone urns on pedestals 2nd half 20th century 282cm high overall ÂŁ3000-5000 219 A sheet iron weather vane in the form of a galleon early 20th century with direction indicators the ship 150cm wide, 268cm high overall ÂŁ500-700

220 A sheet metal weathervane 19th century later painted decoration on both sides 175cm wide £800-1200 221 A copper weather vane ﬁnial in the form of a cockerel 19th century with traces of earlier gilding 60cm high £700-1000 222 A spelter and cast iron weather vane in the form of a cockerel early 20th century 160cm high £500-800 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

223 A wrought and sheet iron lantern with bracket late 19th century 80cm high £400-600 224 A pair of bronze wall lanterns late 19th/early 20th century with glass shades

223

50cm high £1000-1500 225 225

A pair of unusual wrought iron lanterns possibly Venetian, 19th century 64cm high £300-500

226 A large wrought iron lantern

224

French, circa 1900 160cm high £500-800

226

100

227

228

A pair of sheet metal and wrought iron wall lanterns with brackets

A pair of unusual sheet brass tea light lanterns

early 20th century

ﬁtted with taps

122cm high by 104cm long, together with another pair of copper gas lanterns, 81cm high

167cm high

£600-800

229

20th century

£1200-1800

A set of four cast iron industrial light ﬁttings mid 20th century 38cm high £400-600 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

101

230

231

An Edwardian brass lantern

early 20th century

with cut glass panels

with convex glazed oval panels

131cm high by 35cm square ÂŁ2000-3000

102

45cm high by 35cm square ÂŁ800-1200

234 A pair of cast iron boot scrapers mid 19th century on square York stone bases 37cm high by 40cm square £600-800 235 232

233

A Victorian Kenrick foundry cast iron boot scrubber

A Victorian cast iron boot scraper

late 19th century

on granite base

32cm wide

35cm long

This model is illustrated in the Kenrick foundry catalogue no. 613

£300-500

2nd half 19th century

An unusually large wrought iron and stone boot scraper mid 19th century 115cm high, the base 61cm square £800-1200

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

103

236 A harlequin set of six carved limestone staddlestones the tallest 87cm £800-1200 237 A harlequin set of six carved limestone staddlestones the tallest 80cm £800-1200 238 A near pair of large carved limestone staddlestones the larger one 79cm high £600-900 239 A pair of carved limestone staddlestones 78cm high £500-800

238

104

239

240 A harlequin set of three carved stone staddlestones the tallest 74cm £300-500 241 An unusually tall harlequin set of carved staddlestones average height 110cm £1400-1800 242 A set of four squat Cotswold stone staddlestones the largest 64cm high £700-1000

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

105

243

245

A pair of carved staddlestones with later composition stone eagles

A Victorian wrought iron anchor

112cm high overall

£600-1000

£300-500 244 A Victorian carved stone mounting block dated 1874 61cm high by 94cm long £1500-2500

106

196cm long

246

247

A 200 bottle wine rack with lockable doors

A similar 200 bottle wine rack with lockable doors

113cm high by 102cm wide by 60cm deep

together with a 100 bottle lockable wrought iron wine rack, French, late 19th century, 110cm high by 56cm wide by 54cm deep

£300-500

£400-600 248 A four hundred bottle wrought iron wine rack with hinged front doors 220cm high by 103cm wide by 56cm deep £250-400

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

107

249

251

An unusual ciment fondu medieval style grotesque gargoyle making obscene gesture

A collection of seven painted wood architectural embellishments

mid 20th century

18th/19th century

with mouth plumbed for water 46cm high by 55cm long together with another medieval style ciment fondu bust of a man, 43cm high

now mounted on board the swags 68cm wide

£600-800

A rare carved sandstone architectural element in the form of a man

250 A pair of bronze architectural plaques 1950’s 71cm high £300-500 108

£500-800 252

Northern France, probably medieval with grimacing expression 47cm high £600-1000

253

254

255

A wrought iron brazier/grate

A pair of bronze doors

80cm by 62cm

† After Thorwaldson: A set of four plaster roundels representing the Seasons and the Ages of Man

£200-300

modern

20th century

66cm diameter, together with a lead and plaster plaque depicting the Leonardo da Vinci’s Vitruvian man, modern 39cm high by 35cm wide

French, late 19th century 214cm high by 90cm wide £1000-1500 256 A faux bamboo ash set of library steps early 20th century 274cm high

£500-800

£400-600 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

109

259 An Oldsmobile Toronado car front American, 1978-85 175cm wide

The music is driven by a handle on the side of the piano. It used to be on Bury market for years and was played with a real monkey attached. £600-800 257

258

A Victorian barrel organ by A. O. Wintle

A painted wooden military type drum

circa 1870

circa 1900

in ebonised case with makers label and winding mechanism and tune indicator

with rope and leather mounts with indistinct makers name gbut**e, London and Dublin

139cm high by 103cm wide

51cm high by 84cm diameter £300-500

110

The Oldsmobile Toronado is a personal luxury car produced by the Oldsmobile division of General Motors from 1966 to 1992. Designed to transcend Ford Thunderbird and GM’s own Buick Riviera, with its all new transaxle version of GM’s Turbohydramatic transmission the Toronado is historically signiﬁcant as the ﬁrst U.S.-produced front-wheel drive automobile since the demise of the Cord in 1937. The Toronado was placed third in the 1966 European Car of the Year contest, a distinction no other U.S. car has achieved before or since, and won the 1966 Motor Trend Car of the Year award in the U.S. £1000-1500

260

261

A mahogany roulette table with baize

A dog cart

2nd half 20th century

215cm overall

diameter of wheel 80cm, together with a baize covered Blackjack board

£400-600

£1200-1800

262

early 20th century

A paper dispenser 19th century probably a shop ﬁxture 65cm wide £100-150

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

111

263

264

265

266

A Coalbrookdale cast iron hall stand

A Victorian cast iron hall stand

A cast iron hat and stick stand

A Falkirk foundry cast iron stick stand

last quarter 19th century

French, circa 1900

circa 1870

fully stamped Coalbrookdale and with diamond registration stamp and registration no. 17442

with diamond registration stamp and model no.17

203cm high

fully stamped Falkirk and with diamond registration stamp and model no. 32

206cm high £500-800

112

203cm high £400-600

£300-500

114cm high £200-400

267

268

A rare Coalbrookdale Fern pattern cast iron corner stick stand

An unusual Spanish style leather and brass mounted stickstand

circa 1870 stamped CBDale and Co and with diamond registration mark and patent number 22

modern 74cm high by 122cm long by 28cm deep £800-1200

58cm high This stick stand is illustrated in the 1875 Coalbrookdale catalogue section V number 22

269

£300-500

French, 1970’s

A pair of bronze and glass side tables 91cm high by 61cm wide £800-1200

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

113

270 271 A wooden bed warmer 31cm high Before the advent of copper bedpans in the 18th century metal bottomed wooden frames were used. £200-300 272

271

A wall tack/harness stand Swiss/German 19th century or earlier, 77cm high £200-300 273 273 A mahogany boot rack

272

270

late 19th century

An unusual aluminium child’s fairground ride in the form of a tank

for 6 pairs of boots, 82cm high

mid 20th century now converted to a coffee table with glass top 58cm high by 117cm wide £1200-1800

114

£100-150 274 A cast iron table with inlaid marble top 20th century, 60cm square £200-300

275 An aluminium and upholstered seat created from the cowling of an RB211 jet engine originally ﬁtted to a Boeing 747

The RB211 was ofﬁcially superseded in the 1990s by the Rolls-Royce Trent family of engines, the conceptual offspring of the RB211.

147cm high by 185cm wide by 104cm deep

£1200-1800

The Rolls-Royce RB211 is a British family of high-bypass turbofan engines made by Rolls-Royce plc. Entering service in 1972, it was the ﬁrst production three-spool engine, and it was to turn Rolls-Royce from a signiﬁcant player in the aero-engine industry into a global leader. Already in the early 1970s the engine was reckoned by the company to be capable of at least 50 years of continuous development. For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

115

276 A Georgian cast iron cannon early 19th century on later softwood carriage with iron mounts 323cm long, 15cm bore diameter £2500-4000 277 A large quantity of terracotta pots late 19th/20th century approximately 200 £300-500 278 A set of three elm and wrought iron scariﬁer rollers 19th century each one 30cm long £400-600 116

279

280

282

A painted wood passe-boule game board of a soldier

A painted wood passe-boule game board of a playing card knave

A painted wood passe-boule game board of a pirate

modern

81cm high

89cm high

87cm high

Passe-boule (ball toss) was a very popular fairground game in France from the late 19th century onwards. These recent recreations by the leading fairground artist, John Dupret, in hand painted antique reclaimed wood feature typical characters of the time. His work can be seen in the Museum de Musique Mechanique in Lesgets, whilst original examples are on view in the Musee des Arts Forains, Paris.

£200-400

281

283

A painted wood passe-boule game board of a playing card queen

A painted wood passe-boule game board of Jafar the Grand Vizier of Agrabah in Aladdin

modern 88cm high £200-400

modern 86cm high £200-400

£200-400 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

117

284 A wrought iron arbour enclosing seats mid 20th century 280cm high by 360cm long by 220cm wide £2000-3000

285 A cast iron bridge with wooden slats 145cm high by 400cm long by 96cm wide £1000-2000

118

286 A wrought iron gazebo early 20th century 350cm high by 185cm diameter £1500-2500 287 A wrought iron arbour 2nd half 20th century 300cm high by 192cm wide £400-600 288 A wrought iron rose arch 2nd half 20th century 255cm high by 183cm wide

287

£600-1000

288

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

119

289 A carved limestone rectangular trough 51cm high by 170cm long by 112cm deep ÂŁ3000-5000 290 A circular carved limestone trough 63cm high by 100cm diameter ÂŁ1200-1800

120

291 A carved rectangular limestone trough 54cm high by 206cm long by 92cm deep ÂŁ3000-5000 292 A circular stone trough 65cm high by 95cm diameter ÂŁ1000-1500

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

121

293 A carved limestone rectangular trough 56cm high by 175cm long by 82cm deep ÂŁ1200-1800

294 A rectangular carved limestone trough 46cm high by 106cm long by 64cm deep ÂŁ1200-1800

122

295

296

A carved limestone trough

A carved stone rectangular trough

with later composition stone divider

45cm high by 130cm long by 72cm deep

60cm high by 183cm long by 85cm deep

£1000-1500

£500-800

297 A carved D-shaped limestone trough with divider 43cm high by 100cm long by 61cm deep £400-600 298 A pair of D-shaped carved limestone troughs 34cm high by 83cm long by 61cm deep £600-1000

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

123

300 299

299

301

A set of four carved marble urns

A carved white marble oval cistern on stand

2nd half 19th century, 73cm high £2000-3000

French, 19th century on later composition stone pedestal

300

117cm high by 84cm wide

A similar pair of carved marble urns

£1000-2000

19th century, 73cm high

302

£1000-1500

A carved white marble tazza shaped urn late 19th century on later carved limestone pedestal

122cm high by 71cm diameter £1200-1800

124

303

304

A near pair of Victorian carved stone urns circa 1860

A pair of carved limestone urns on pedestals

61cm high

2nd half 20th century

ÂŁ400-600

140cm high ÂŁ600-1000 305 A pair of substantial composition stone urns early 20th century 105cm high ÂŁ500-800

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

125

306 A large composition stone bowl 2nd half 20th century 50cm high by 184cm diameter ÂŁ1000-1500

307 A similar large composition stone bowl ÂŁ1000-1500

308 A pair of composition stone basketweave planters on stands 2nd half 20th century 88cm high ÂŁ600-1000

126

309 309 A pair of composition stone Anduze style planters 2nd half 20th century 50cm high £300-500 310

310

A large composition stone urn 2nd half 20th century 80cm high by 110cm wide £2500-4000 311 A pair of unusual composition stone urns early 20th century, 85cm high

311

£400-600 312 A pair of composition stone urns

312

2nd half 20th century 81cm high £200-300 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

127

313

315

A pair of composition stone mortars

A pair of composition stone urns on pedestals

2nd half 20th century

60cm wide

135cm high

£300-500

314

316

A pair of composition stone circular planters

A pair of composition stone campana shaped urns

2nd half 20th century 62cm high by 76cm diameter £600-1000

2nd half 20th century 79cm high, together with a lead heron on composition stone base, 140cm high £500-800

128

317 318

317

319

A pair of composition stone urns

A pair of glazed ﬁreclay urns

2nd half 20th century

circa 1870

72cm diameter

the bases stamped Preston Grange

£400-600 318 A pair of terracotta urns

£500-800

late 19th century stamped Sankey Bulwell

320

52cm high

A pair of unusual ﬁreclay urns

£350-500

319

56cm high by 52cm diameter

probably Scottish, circa 1870

320

53cm high, together with a Stiff and Sons stoneware urn 64cm high £250-400

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

129

321 A pair of Compton Pottery apple pots early 20th century with makers stamp inscribed Compton Pottery, Guildford 48cm high by 65cm diameter £1000-1500

322 A pair of Garnkirk ﬁreclay Medici urns late 19th century stamped Garnkirk, on associated stoneware pedestals stamped Doulton, Lambeth 130cm high £350-550 323 A terracotta oil storage jar Southern Mediterranean, 19th century 114cm high £250-400

130

324

325

A set of four cast iron urns

A Handyside Foundry cast iron shallow urn

2nd half 19th century

50cm diameter

72cm diameter

£200-400

A similar urn is illustrated in the 1848 Handyside catalogue No. 24 £300-500 326 A pair of tazza shaped cast iron urns English, 2nd half 19th century 37cm high by 56cm diameter £250-400 327 A pair of cast iron urns 2nd half 19th century 53cm diameter, together with another 19th century campana shaped urn 76cm high £200-400

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

131

328 A pair of substantial Whichford swag and acanthus pottery planters with makers stamps 70cm high by 100cm diameter

329

132

The Whichford pottery in Whichford, Warwickshire was established in 1976 by Jim and Dominique Keeling with two apprentices and now comprise a team of 30 local people, including Jin’s eldest son Adam, designing and making a wide range of English ﬂowerpots using traditional hand-thrown and hand-pressed methods. All these urns and planters were bought at a Whichford Exhibition

in 1985. By repute, these are the largest models ﬁred in their kilns at the time. Although most terracotta potteries produced their models in moulds, Whichford are renowned for producing hand thrown pots with a very high degree of detail and ﬁnishing. £2500-4000 329 A pair of Whichford Pottery Ham House pattern terracotta urns with makers stamps 70cm high by 58cm diameter £500-800

330 330

332

A pair of Whichford pottery Swag and Acanthus terracotta planters on circular trays

A set of four rounded rectangular Whichford pottery terracotta planters

with maker’s stamps

56cm high by 66cm diameter

30cm high by 62cm long

331

£500-800

£800-1200 333 331 A pair of Whichford pottery terracotta planters on trays

A similar pair of Whichford pottery terracotta rounded rectangular planters

with maker’s stamps

45cm high by 55cm diameter

£250-400

£350-550

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

133

334

336

An unusual cast iron urn 2nd half 19th century

A Carron Foundry iron pestle and mortar

64cm high by 71cm diameter

mid 19th century

£400-600

the pestle stamped Carron the pestle 23cm high

335

£300-500

A pair of cast iron urns 2nd half 20th century

337

76cm high

An unusual wrought iron Versailles tub

£300-500

early 20th century 52cm square £300-500

134

338 A rectangular copper planter modern 61cm high by 180cm long by 69cm deep £1800-2500 339 A near pair of Victorian washing coppers 19th century of riveted construction 38cm high by 51cm diameter £400-600 340 A Victorian washing copper 19th century

339

of riveted construction

340

41cm high by 57cm diameter £300-500 341 A set of three substantial cast iron Versailles tubs 2nd half 20th century 69cm high £1000-1500

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

135

342 A pair of burnished cast iron urns 2nd half 19th century with maker’s plaque Corneau Alfred, A Charleville, No. 3 58cm high by 63cm wide £1000-1500 343 A Victorian style plaster urn 20th century 90cm high by 91cm wide £300-500

136

344 A Gothic style composition stone font planter 2nd half 20th century 118cm high ÂŁ600-1000

This model is based on tracery originally removed from the palace of Westminster ÂŁ2500-4000 346

A Gothic style composition stone wellhead frame

A rare and unusual square carved white marble fountain basin/ birdbath

modern

Italian, circa 1900

with wrought iron overthrow

corners drilled for water

345

200cm high by 130cm wide

18cm high by 110cm square ÂŁ600-1000

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

137

347

348

A composition stone wall fountain with lead lion mask spout

A carved limestone wellhead

modern

with wrought iron overthrow

150cm high by 82cm wide by 48cm deep ÂŁ1800-2500

French, 19th century

243cm high by 108cm square ÂŁ1200-1800

138

349

351

† A rectangular lead cistern

A rare zinc fountain

modern

probably American, late 19th century

77cm high by 66cm wide by 33cm deep

ﬁsh mouth and birds’ beaks plumbed for water

£1200-1800

45cm high by 85cm wide £400-600

350 A carved limestone fountain with cast iron animal spout 142cm high by 122cm wide by 82cm deep £2000-3000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

139

352 A pair of composition stone ﬁgural bird baths 2nd half 20th century 130cm high £1000-1500

353 A cast iron hand pump with dolphin’s head spout French, circa 1860 110cm high, together with an oval stone trough 83cm long £600-1000

140

354

355

356

A cast iron pump French, circa 1870

A bronze fountain group of dolphins

170cm high

mid 20th century

A composition stone bird bath with bronze hemispherical sundial

ÂŁ300-500

mouths plumbed for water, variegated green patination

modern 130cm high ÂŁ1800-2500

183cm high ÂŁ2000-4000

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

141

357

358

359

An unusual carved Portland stone multi-dial sundial

A carved limestone sundial

A green serpentine marble pedestal

early 20th century

with bronze plate inscribed Thos Wright, instrument maker to his majesty, the baluster with applied lead decoration

with bronze gnomens on octagonal base 274cm high ÂŁ1500-2500

modern

140cm high ÂŁ1800-2500

142

late 19th century 110cm high ÂŁ250-400

360

362

A pair of carved limestone square plinths

A composition stone ﬂuted column pedestal surmounted by a bronze armillary sphere

120cm high by 30cm square £100-200

modern

361

surmounted by an earlier ﬁnely detailed bronze galleon

A pair of Brèche d’Alet marble columns

see also inside back cover

19th century lacking socles

298cm high overall £3000-5000

94cm high £800-1200

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

143

363

364

A composition stone and bronze armillary sundial

A rare slate sundial by Richard Melville

modern

with four subsidiary corner dials with bronze gnomons and inscribed Richard Melville fecit AD 1845 for latitude 35 30 north inscribed with world cities and calendar dial

213cm high ÂŁ1800-2500

46cm by 40cm square ÂŁ400-600

144

365 A pair of granite Turtles Japanese, Meiji period (1868-1912) 34cm high by 46cm long by 28cm wide ÂŁ2000-4000 366 A pair of painted iron cranes Japanese, 20th century the taller 112cm high ÂŁ600-1000

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

145

367 367, 369 & 368

A marble carving of a dragon in front of a mountain with cloud bands Chinese, 2nd half 20th century 94cm high £300-500 368 A marble carving of a stylised ﬁsh and a dragon Chinese, 2nd half 20th century 104cm high £300-500 369 A marble dog of Fo Chinese, 2nd half 20th century 75cm long £300-500 370 An unusual Chinese bowl on stand 20th century 91cm high by 107cm diameter £500-800

146

371 A large Persian turquoise glazed pottery jar late Sassanian or early Islamic 10th/11th century AD 50cm high £700-1000

372 A Persian turquoise glazed pottery jar late Sassanian or early Islamic 10th/11th century AD 27cm high £600-1000 373

374

A collection of eight embroidered cotton Egyptian wall hangings and cushion covers

A bronze Urli

1920’s

£600-1000

the largest 138cm high by 130cm wide

375

Indian, 19th century 100cm diameter

These would have been made and sold as Egyptian “Grand Tour” pieces following the huge interest in Egyptian decoration following the sensational discovery of Tutankhamun’s burial tomb by Howard Carter in 1922.

A similar bronze Urli

£200-400

£600-1000

107cm diameter £600-1000 376 A similar bronze Urli 100cm diameter

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

147

377 A carved Vicenza stone seat modern 183cm wide ÂŁ2000-3000

378 A carved white marble bench circa 1900 with later slate top 110cm long ÂŁ1000-1500

148

379 A carved limestone Neo Classical style seat late 20th century 167cm long ÂŁ3000-5000 380 A carved Istrian stone bench circa 1900 with later slate top 110cm long ÂŁ1000-1500 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

149

381 A large stone rectangular table modern on pierced scroll supports 250cm high by 100cm wide £1800-2500

382 A carved limestone bench on three supports 19th century 225cm long £500-800

383 A plain carved limestone bench 19th century 120cm wide £250-400

150

384 A carved limestone seat 2nd half 20th century with earlier wrought iron back 147cm long £2000-3000

385 A bronze seat modern 153cm long This model was originally made by the ﬁrm of A.D Berry & Sons of Regent Street, Westminster. The seated camel is the device of the Grocers company. Victorian examples of this seat may be seen on the Embankment, London. £1500-2500

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

151

386 A set of three hardwood seats by Lister 2nd half 20th century with makers plaques 183cm long £600-1000

387 A pair of hardwood seats by Lister 2nd half 20th century with makers plaques 191cm long £400-600

388 A hardwood seat by Lister 2nd half 20th century with makers plaque 188cm long, together with another smaller seat 165cm long £400-600

152

389 A small elm wood rustic seat last quarter 20th century 138cm long £300-500 390 An elm wood table 389

last quarter 20th century 122cm long £200-300

391

390

391 A similar elm wood table 122cm long £200-300 392 A large elm wood seat last quarter 20th century 190cm long £500-800 393

394

A similar seat

A suite of hardwood furniture

190cm long

mid 20th century

£500-800

bearing title plaque for inscribed made by Hughes Bolckow Limited, Blyth, Northumberland of teak taken from SS Reino Del Paciﬁco table 84cm square £400-600

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

153

395 A wrought iron strapwork seat 2nd half 19th century 150cm wide £400-600

396 A wrought iron strapwork seat 2nd half 19th century 142cm wide £300-500

397 Two wrought iron seats with wooden slats early 20th century the larger 214cm long £400-600

154

398 A wrought iron and hardwood seat early 20th century bearing stamp inscribed an improved garden seat with teak wood from old Navy ships broken up, patent 2118871 153cm long ÂŁ250-400

399 An unusual wrought iron strapwork bench late 19th century 180cm long ÂŁ300-500

400 A collection of four primitive stools in various woods 18th/19th century including a leather topped stool and a boot makers stool Less utilitarian furniture of this nature has survived compared to more formal walnut and mahogany furniture of the last 300 years. ÂŁ400-600

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

155

401

402

A driftwood chair by Bill Ayres

A suite of rootwood furniture probably Eucalyptus

1990’s Bill Ayres based in New Zealand specialises in making artefacts and furniture out of recycled materials £600-1000

156

2nd half 20th century comprising two chairs and a stool £800-1200

403 A rootwood seat 187cm wide ÂŁ1000-1500

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

157

404 A pair of hardwood seats by Lister 2nd half 20th century with makers plaques 244cm long £500-800

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

406 A pair of unusual stoneware rustic stools circa 1870 restorations 50cm high £500-800

158

407 A similar near pair of carved hardwood seats with makers plaque inscribed RA Lister Ltd the larger 193cm long ÂŁ400-600

408 A suite of painted wood furniture American, 1st half 20th century comprising a table and six chairs the table 165cm long Provenance: Reputedly Gomersham park, Kent sale by Christies 1983, together with a suite of cast iron furniture, comprising a table and two chairs, and a wicker sofa ÂŁ300-500

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

159

409 A suite of cast iron and wooden slatted Carron Foundry furniture early 20th century comprising seat and two chairs the seat 150cm long This seat is illustrated in the Carron Foundry catalogue No. 15 £500-800 410 A wrought iron seat Scottish, mid 19th century 140cm wide £1500-2500

411 A Coalbrookdale cast iron table late 19th century with diamond registration stamp 55cm diameter This table is illustrated in the 1875 Coalbrookdale catalogue section II no. 39 (See engraving) £300-500

160

412 A Carron Foundry Royal Park pattern cast iron and wooden slatted seat late 19th century 190cm long This seat is illustrated in the Carron foundry catalogue No. 14 £400-600 413 A Coalbrookdale cast iron seat early 20th century with registration number, diamond registration stamp and pattern no. 20 122cm long This design number 90929 was registered and patented by the Coalbrookdale Foundry at the Public Records Ofﬁce on 20th April 1853 and was seat no. 20 in their Castings catalogues (See engraving) £600-1000 414 A Victorian cast iron occasional table 2nd half 19th century with diamond registration stamp 58cm diameter £300-500 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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415 A Coalbrookdale style cast iron seat 20th century 125cm long £300-500 416 A pair of unusual cast iron pub tables circa 1860 with marble tops 66cm diameter £500-800 417 A pair of Coalbrookdale style Fern and Blackberry pattern cast iron seats 2nd half 20th century 152cm long £1000-1500

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418 An oak branch pattern cast iron seat 2nd half 19th century 132cm long This pattern was ﬁrst designed by McDowell Steven & Co, Glasgow circa 1840 and later copied by other foundries notably by the Phoenix Foundry and the John Finch Foundry Dudley, Worcestershire. £300-500 419 A Coalbrookdale style cast iron Fern and Blackberry pattern seat mid 20th century 120cm long £300-500

420

2nd half 20th century

A suite of Fern and Blackberry pattern aluminum furniture

seat 152cm wide £1200-1800

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

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421 A Coalbrookdale Nasturtium pattern cast iron seat circa 1870 fully stamped CBDale and co with diamond registration stamp and registration number together with raised foundry stamp on seat 185cm long £2500-4000

422 A Coalbrookdale Horse Chestnut pattern cast iron seat last quarter 19th century fully stamped Coalbrookdale Co. and with registration no. 217568 193cm wide The design of this seat number 217568 was registered and patented by the Coalbrookdale Iron Foundry at The Public Record Ofﬁce on 23rd March 1868 and is number 46 in their 1875 Castings Catalogue Section III page 256. (See engraving) £2000-4000

164

423 A Coalbrookdale Fern and Blackberry pattern cast iron seat stamped Coalbrookdale and with indistinct registration number and pattern number 184cm long (See engraving) ÂŁ3000-5000

424 A rare Coalbrookdale cast iron and wooden seat late 19th century 145cm long This seat is illustrated in the 1894 Coalbrookdale catalogue No. 82 (See engraving) ÂŁ400-600 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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425 A pair of cast iron seats late 19th century with wooden slats and diamond registration stamp 180cm long £2500-4000 426 A Victorian cast iron seat by John Finch circa 1870 with wooden slatted back 167cm wide This design No. 199811 was registered and patented at the Public Record Ofﬁce by the John Finch foundry, Priory Road, Dudley, Worcestershire on 10th August 1866. £600-1000 166

428 A strapwork plant stand late 19th century

427 A rare Barbezat foundry cast iron seat after a design by Robert Wood

140cm long, together with a quantity of hand thrown and other ﬂower pots £400-600

circa 1860 190cm long See footnote to lot 434 £2500-3500 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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429

431

A suite of three Edwardian wrought iron plantstands

A cast iron occasional table

early 20th century

together with a pair of chairs en-suite

one of three tiers with two zinc trays

the table 60cm diameter

114cm high by 130cm wide; the other containing zinc trays 110cm wide

£150-250

£600-1000

432

430 A Victorian wrought iron plant stand in two halves 2nd half 19th century 127cm diameter, together with a later plant stand, 101cm long £800-1200

168

early 20th century

A set four cast iron hall chairs late 19th/early 20th century £500-800

433 Adam Williams A bronze and bronzed iron seat modern 160cm long £3000-5000

434 A rare Barbezat foundry cast iron seat after a design by Robert Wood circa 1860 155cm long This seat design was ﬁrst cast by the Robert Wood foundry, Philadelphia, U.S.A, circa 1855 but was also cast by other foundries including the Barbezat foundry £800-1200

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

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435 A rare Val d’Osne foundry Gothic pattern cast iron seat circa 1860 188cm wide £1500-2500 436 An unusual child’s strapwork iron seat 2nd half 19th century 86cm long £500-800 437 A cast wrought iron and stone boot scraper circa 1860 103cm high £300-500

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The following 12 lots and lot 29 in the live sale 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. Camden Lock Market is situated by the Regent’s Canal on a site formerly occupied by warehouses and other premises associated with the canal. By the early 1970s the canal trade had ceased and a northern urban motorway was planned that would cut through the site, making any major permanent redevelopment impossible, and in 1974 a temporary market was established. By 1976, when plans for the motorway were abandoned, the market had become a well-known feature of Camden Town. Originally, the Lock was a market for crafts, occupying some outdoor areas by the canal and various existing buildings. It attracted large numbers of visitors partly due to stalls being open on Sundays, when previous to the Sunday Trading Act 1994, shops were not permitted to operate on Sundays. It is now the fourth-most popular visitor attraction in London, attracting approximately 100,000 people each weekend. In 1991 a three-storey indoor market hall designed by

architect John Dickinson was opened on the site of the ﬁrst outdoor market. In the style of the traditional 19th century industrial architecture and housing in the area, it is built of brick and cast iron. From 2006 a large indoor market hall was constructed in a yard between the Camden Lock Market and the Stables Market that was previously used for open air stalls. In November 2007 a large part of the Stables Market was demolished as part of a long-term redevelopment plan for the area and rebuilt as a year-round permanent market area. Please go to www.summersplaceauctions.com, current catalogue for more images of Camden Lock Market. 438 A painted and carved wood armorial plaque late 20th century inscribed ‘The Stables since 1854’ 102cm by 101cm wide £500-800

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

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439 A life size bronze group of a farrier shoeing a dray horse 200cm high by 300cm long ÂŁ4000-6000

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440 A life size bronze group of a farrier shoeing a dray horse 200cm high by 300cm long ÂŁ4000-6000

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

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441 A monumental over life size stallion 304cm high by 340cm long

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This impressively large piece was originally covered with stickers and grafďŹ ti put on by members of the public. For images go to the catalogue on our website

www.summersplaceauctions.com ÂŁ20,000-30,000

442 A life size bronze ďŹ gure of a mare 214cm high by 240cm long ÂŁ4000-6000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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443 A life size bronze ďŹ gure of a stallion 240cm high by 210cm long ÂŁ5000-8000

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444 A life size bronze ďŹ gure of a dray horse 210cm high by 290cm long ÂŁ4000-6000

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

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445

446

A life size bronze group of a farrier shoeing a dray horse

A monumental bronze fountain group of horses

200cm high by 300cm long

plumbed for water

ÂŁ4000-6000

280cm high by 255cm wide by 150cm deep

modelled in high relief on an oval basin

This fountain group is very similar in modelling to the iconic Horses of Helios fountain at the top of Haymarket, London. ÂŁ15,000-25,000

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

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447 A life size bronze group of a stallion jumping over a log 240cm high by 280cm long ÂŁ20,000-30,000

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448 A painted brass plaque from Camden Lock Market with a Royal Coat of Arms and titled “The Stables Since 1854” 27cm high by 31cm wide £80-120 24 available to purchase 449 A life size bronze ﬁgure of a farrier at work at an anvil 196cm high £3000-5000

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

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450 Aristide Fontana: A carved white marble ﬁgure of an urchin

A carved white marble lower portion of a classical ﬁgure

late 19th century

mid 19th century

signed Aristide Fontana Sc with indistinct date, restored

now cut to be a table base

the ﬁgure 95cm high, 170cm high overall

£1000-1500

Aristide Fontana was active in Carrara in the second half of the 19th century, and was known for his romantic classical style, often inspired by Canova. £3000-5000 182

451

75cm high

452

from Portland cement, broken stone, pounded marble and coarse sand (The Builder 1868). However, like Mrs Coade, he encouraged leading architects and designers to work for 2nd half 20th century him. Around 1840 he entered into 91cm high partnership with John Seeley. Seeley had trained at the Royal Academy £600-1000 Schools and also made an artificial stone which he called artificial limestone, before entering into 453 partnership with Austin. In 1841 An Austin and Seeley they published their first catalogue, composition stone figure of a Pleasure Grounds etc. from their girl and dog address in New Road. The preface begins “Austin’s Artificial Stone is 2nd half 19th century of a light tint, requires no painting or colouring, will not sustain injury 135cm high from the severest winter, and, being Felix Austin went into business impervious to wet, is particularly in 1828 having bought moulds applicable to all kinds of water works. from a firm that had gone out Its superiority is now so thoroughly of business. He established established, that the most eminent works in New Road, London, architects and scientific gentlemen describing himself variously as have expressed, in their highest an architect, statuary mason and terms, their approbation of its sculptor as well as artificial stone durability, and close resemblance to maker. His material was not the real stone”. the same as the ceramic body used by Mrs Coade but made £1500-2500 A pair of composition stone eagles

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454

455

456

A composition stone ﬁgure of Venus

Two composition stone owls

2nd half 20th century

A composition stone group of two putto representing Summer and Autumn

on pedestal

2nd half 20th century

183cm high

130cm high

£1200-1800

£800-1200

184

20th century the larger 73cm high £300-500

457 A set of four composition stone ﬁgures representing the Seasons 2nd half 20th century on panelled pedestals 163cm high £1200-1800 458 A rare limestone ﬁgure of a Pekingese French, 19th century 66cm high £400-600 459 A composition stone classical horse’s head 44cm high together with a roughly hewn granite trough 74cm long £200-400

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

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461 An unusual painted wood figure of a French Pompier mid 20th century 100cm high Originally this figure would have held a collection box in his right hand for donations for the French fire service. £500-800

460 A pair of terracotta ﬁgures late 19th century one after Canova of a Terpsichore the other After the Antique of the Callipygian Venus indistinctly stamped L Carouste, Castnaudant on pedestals damages and old repairs 203cm high overall £1500-2500

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462

463

464

After the Antique: A bronze ﬁgure of Silenus holding aloft a planter bowl

A cold painted spelter jardinière in the manner of Louis Hottot with a woman in Arab dress

A bronze bust of Flora

probably Chiurazzi Foundry, Italian, circa 1900

circa 1900

£1200-1800

64cm high

84cm high

A similar example is illustrated in the Chiurazzi catalogue no. 90, based on an original discovered at Pompeii.

£1500-2500

circa 1900 55cm high

indistinctly signed and incorporating a zinc liner

£400-600 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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465 † After John Cheere: A painted lead figure of a shepherdess modern 137cm high John Cheere was first in partnership with his brother Sir Henry Cheere, but took over John Nost’s yard and his moulds for lead figures in about 1739. Until his death in 1787 he was the leading producer of lead statuary. Contemporary accounts of his yard, which was situated on Hyde Park Corner indicate that his oeuvre was very varied and included rustic figures as well as classical statues and busts from antiquity. During the 18th Century, masked balls or fete champetres set in Arcadian settings of country houses or in London’s Ranelagh and Vauxhall pleasure gardens, were immensely popular. These were attended by fashionable society dressed as milkmaids, fruit and flower girls or in the costume of the commedia dell’arte. Most popular of all, however, were the costumes of a shepherd or shepherdess. Numerous contemporary references to their popularity remain. The Spectator of 1711 recounts: “There is not a girl in town but let her have her will in going to a masque and she shall dress as a shepherdess.” J.T. Smith in his “Life of Nollekens” tells of a visit he paid with Nollekens and his wife to an old lady, “quite the old school,” who lived near Hamstead Heath.” Her evergreens were cut into the shapes of various birds, and Cheere’s leaden painted figures of a Shepherd and Shepherdess were objects of as much admiration with her neighbours as they were with my Lord Ogleby, who thus accosts his friend in the second scene of the popular current comedy ‘Clandestine Marriage’: ‘Great improvements, indeed Mr Stirling, Wonderful Improvements! .......You have as many figures as the man at Hyde Park Corner” A similar figure may be seen in the recently restored Grecian Valley at Stowe where a circle of shepherds and shepherdesses surround a bronze Faun. £2000-3000

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466 † After John Cheere: A lead sphinx head modern on composition stone base 66cm high This head is based on John Cheere’s full size 18th century lead sphinxes which may be seen at Chiswick House and on Pall Mall. £400-600

467 † A pair of lead ﬁgures of a shepherd and ﬂower girl late 20th century on composition stone bases 90cm high £1500-2000

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

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468 S Ludwig Vierthaler (1875-1967): A bronze female nude ďŹ gure German, early 20th century signed L Vierthaler weathered green patination with traces of gilding to the hair 143cm high Ludwig Vierthaler ďŹ rst came to prominence around 1906 as a metalwork designer in Munich and for a brief time worked in New York for Tiffany & Company ÂŁ2000-3000

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469 S Maida Crowe A carved Forest of Dean stone figure 203cm high Maida Crowe was born in Axminster, Devon in 1915. After a private education, she studied at the City and Guilds of London Art School from 1957-1962. She became a member of the Free Painters and Sculpture movement working in both wood and stone. Established in 1952, FPS was originally associated with the ICA (Institute of Contemporary Arts). Founding members featured many high profile and influential artists, including Roy Rasmussen, Lyall Watson and Maurice Jadot. FPS played a significant part in the establishment of abstract art in the 1950’s and 60’s and was the first of a number of post war movements that freed artists from the orthodoxy of rigid and purely technical judgements. In 1981 there was an exhibition of sculpture by Maida Crowe in Southwark Cathedral. Roy Rasmussen in the preface to the History of Free Painters and Sculptors commented; “Her wood carvings were at home in any modern collection, and graced many FPS exhibitions. But the deeper implication of her sculptures was religious, and for her it was appropriate that they should be shown in the place where she worshipped. She worked mainly on a scale of two to six feet. Her sculptures were not overtly religious; she did not use obvious religious symbols. A woman who was comfortable and tolerant in the company of diverse opinions, she could reveal a sparkling humour.” “She was passionately involved in the endless debate over forms of modern expression. She described her own work as an inward search.” She showed at the RBA as well as in the provinces and had solo exhibitions at the Cockpit and Loggia galleries. A copy of Maida Crowe’s book of her work; First and Last: A Search for Meaning, A Spiritual Journey Through Sculpture in 1994 is included in this lot which gives a full account of the carving of this statue and the placing of it in her garden. £2000-4000

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

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470

471

S John Nelson Battenberg

S Guy Buseyne

Pilot

Innocence

Bronze

91cm high by 58cm wide by 44cm deep

80cm high

£3000-4000

£1200-1800

192

472

473

Ian Tatum Ormer Shell

S Chaim Stephenson (1926-2016)

Cast iron and bronze

The Warrior (made 1971)

Signed and numbered 1 out of 3

Bronze resin over metal armature

33cm high by 30cm wide by 18cm deep

Unique

ÂŁ1500-2500

161cm high by 59cm wide by 51cm deep ÂŁ2000-3000

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

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474

475

Toma Nenov

Stan Jankowski

Angel

Woowoo

Bronze

Large kinetic wheel

Signed and numbered 1 of 3

Copper, brass, stainless and mild steel

102cm high by 24cm wide by 18cm deep

Unique

ÂŁ1500-2500

Spinner 100cm diameter, 45cm high; overall 225cm high See www. summersplaceauctions. com for video ÂŁ2000-3000

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476

477

S Neil Wilkin

Elisabeth Hadley

Blue Flower Fountain

Aquila

60cm high by 100cm wide

Bronze

Since graduating in 1981, Neil Wilkin has specialised in glass sculpture.

Signed

As well as numerous public and private commissions, he has also produced work for Thomas Goode, Asprey, Liberty, Cunard, Disney, Grosvenor Estate, and the Four Seasons Hotel group.

£1200-1800

68cm high by 18cm wide by 15cm deep

His specialist restoration skills earned him coveted commissions including the ‘blanks’ for the Royal Windsor Castle ﬁre damaged chandeliers and speciality working with international artists to make their own artworks. £2000-4000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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478

479

Sirio Tofanari, Italian (1886 - 1969)

An unusual marble bird

Red Squirrel with nut

Hungarian, Art Deco 1930’s

Bronze

possibly by Bela Kadar

Signed with foundry marks ‘Fuse Marinelli Firenze’

38cm high

45cm high by 26cm wide by 18cm deep

£400-600

£2000-4000

196

480 S Roger Warrell A copper Frog boat race comprising two rowing boats with frogs the longer boat 343cm long Roger Warrell is a Hertfordshire based humanist sculptor with an engineering background. His work is hand crafted in high quality copper

which is either polished, patinated in green or natural copper colour. Venues and awards received include the London Garden Show - Silvergilt prize 2001; Showman show ﬁrst prize 2001.

Berkshire Henley on Thames Music Festival. £1500-2500

481 A set of six sheet metal reindeer modern 70cm high £1000-1500

Other work has also been displayed at Blenheim Palace Garden Show, Crystal Palace, J P Morgan and the Royal

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

197

482

483

A carved hardwood frog

S John Skelton

last quarter 20th century

Carved Torso

signed K Celilinc Juga

Carved trunk on marble base

107cm high

Unique

ÂŁ800-1200

Signed and dated 1979 76cm high by 41cm wide by 23cm deep ÂŁ800-1200

198

484

trainer at Windsor Safari Park. His work has taken him all over the world and encompassed a variety of activities from working with killer whales and sea lions to expeditions in Australia, Congo and Borneo. He has also volunteered in Hawaii studying humpback whales, and in Scotland helping with research on echo location in dolphins.

Both BASC and GWCT His sculpture has won have commissioned several awards and prizes trophies from Bill, as and his work has been Turning Big Cat have various other bodies exhibited at various including the Norwegian galleries including the Laminated beech Airforce. His work has Mall Galleries, London, Unique sold at many auction the SWLA (Society Signed and dated 03 houses and is held in of Wild Life Artists) collections worldwide. annual exhibition, and 87cm high by 118cm wide Pensthorpe (where by 91cm deep ÂŁ4000-6000 Springwatch is now held) Born in 1965 in Kent, UK, National Wildlife Carving Bill was intent on working and Sculpture Exhibitions with animals and at 17 he where he has twice won started work as a dolphin the peopleâ&#x20AC;&#x2122;s choice award. For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers S Bill Prickett

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485 A rootwood console table 85cm high by 200cm wide by 50cm deep £600-800

486 Root Divider Salvaged Hardwood Root Unique 200cm high by 200cm wide by 70cm deep £1000-1500

200

487 Philip Hearsey Rootworks II Scorched and natural oak with bronze Unique Signed 62cm wide by 42cm deep by 27cm high Philip Hearsey has spent more than 30 years employed as an architectural, interior and furniture designer, working with wood and metal in all forms, making highly individual furniture and sculptures. He left Camberwell School of Art to go into the building and joining industry, before turning to design in 1975. £1000-2000 488 S R Onians Zeugma English walnut Signed on base Unique

489

72cm high by 38cm wide by 25cm deep

A turned red birch platter made by Kemp Lenihan

£600-800

2002 signed and dated, 66cm Kemp Lenihan is based in New Zealand and is a full time sculptor working with wood. His work is exhibited in museums as well as the collections of Bill Gates and Jona Lomu amongst others. £150-180

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

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490

492

King Root Chair

† Inﬁnity Curve

Hardwood, Unique

Stainless steel on marble plinth

240cm high by 210cm wide £400-600 491 Table and Four Stools Glass re-inforced plastic Table 90cm high; stools 70cm high £600-800

202

54cm high £1200-1800

493

494

S Errol Tompkins

Abbot

Fishman

Illusion Face

Fabricated steel

Resin on velvet backing within wood frame

180cm £1500-2500

Signed and dated 2015 57cm high by 50cm wide by 19cm deep £400-600 495 Jona Chariot, Carved oak, Unique 139cm high by 202cm wide by 70cm deep £2000-4000

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

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496

498

† Reﬂection tower: Shaft of Light

An unusual aluminium ﬁgural sculpture

Stainless steel

2nd half 20th century

210cm high

on hardwood base

£800-1200

92cm high £250-400

497 Won Lee

499

Entwined

Simon Brittain

Marble, Unique

Waveline

101cm high by 26cm wide by 19cm deep

Portland stone

£400-600

52cm high by 104cm wide by 19cm deep

Unique

£1200-1800

204

500

501

502

An Ostrich egg trinket box with silvered eagle claw feet and pineapple

Angler Fish Lamp Mixed media

† Reﬂection tower: Zenith

Unique

Stainless steel

73cm high by 53cm wide by 37cm deep

202cm high

28cm high by 16cm wide by 16cm deep £500-800

£800-1200

£600-800

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

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503 A wind tunnel test model circa 1980 320cm long now mounted vertically on granite base together with original sheet metal carrying case. From Russia’s Central Institute of Aviation Motors (C.I.A.M), the largest aerospace engine testing facility in Europe. The massive aluminum/ composite test model measures approximately 10.5 feet long with a diameter of 8.5 inches, and has rotating ﬁns at the rear which measure 26 inches across; the model weighs approximately 110 pounds. It is held in an

206

11-foot long heavy duty black metal transport case, which weighs an additional 120 pounds. An apparently identical model has been used in tests conducted at NASA’s Langley Research Center Unitary Plan Wind Tunnel. Provenance: Ex Air and Space Collection of the scramjet rocket engineer, Professor Alexander Roudakov £5000-8000

504 A glass topped table the frame supporting an AT-3 “Sagger” missile 100cm by 70cm AT-3 “sagger” missiles were developed in 1962 in Russia and entered service as a wire guided anti-tank missile in September 1963 and produced until the present. £300-500

505 A circular topped table incorporating 1930’s aircraft pistons the central boss engraved Wright Aircraft Engines 104cm diameter £300-500 506 An OKB-2 liquid fuel second stage rocket engine mounted on stand with circular glass table top late 1950’s, 104cm high Designed by the studio of Alexei Mikhailovich Isayev and built by the Soviet aircraft design bureau (OKB). Isayev was

granted his own section of OKB in 1947 which became known as OKB-2, these both came under the umbrella of the scientific research institute of the Ministry of Aviation. Isayev focused on small liquid fuel rockets which powered much of the soviet space programme between 1957-1967 and his engines powered the vehicles carrying the first artificial satellites, the first unmanned probes to the Moon and Venus and the world’s first unmanned spacecraft, the Vostok. He also worked in the development of surface to air missiles and air to sea missiles, his most famous being the R-11 “Scud”. Provenance: Ex Professor Roudakov Air and Space Collection. £600-1000

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

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508 A SA-6 Ramjet missile body 1960’s Russian 6m long The SA-6 “gainful” was a ground to air low to medium height anti aircraft missile developed in the late 1950’s and ﬁnally entered service with the Russian army in 1967, it was produced until the mid 1980’s £2500-4000

507 A side table with circular glass top made from the casing of a Soviet AT-3 missile 70cm diameter £600-1000

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509 A rare SA-4 “Ganef” missile circa 1968 878cm long, overall width including fins 274cm The 2K11 Krug (NATO code SA-4 Ganef) is a Soviet-made medium-range air defence missile. The development of the system started in 1958. The first version, Krug-A, entered service in 1967, with extensively modified versions, the Krug-M in 1971 and the Krug-M1 in 1974, which were developed to rectify problems discovered during army service. It was first unveiled during a military parade in Moscow in May 1965. Modified versions, the Krug-M in 1971 and the Krug-M1 in 1974 were developed to rectify problems discovered during army service. The 2K11 was briefly operated by the Soviet army during the war in Afghanistan in 1979 and 1980, but was withdrawn several months after the initial invasion. In 1997, it was reported that, between 1993

and 1996, some 27 ﬁre units of Krug and 349 missiles had been sold to Armenia. Each TEL (Transporter Erector Launcher) SA-4 Ganef 2P24 (2P24M for the Krug-M version) consists of a tracked armoured chassis on top of which is mounted a hydraulically operated turntable carrying two missiles. The launcher can be traversed through 360º and the missiles elevated up to an angle of 45º on their launcher arms for launching. The missiles are launched with the aid of four solid fuel rocket motors inside boosters attached to the outside of the missile. Once they have burned and the missile is aloft, a liquid-fuelled ramjet sustainer engine is ignited. It reaches speeds of up to Mach 4 and has an effective range of 50-55 km (31-34 miles) depending upon the version. It carries a 135 kg (300 lb) fragmentation warhead. Possible engagement altitudes range from 100 m to 27 km (330-88,500 feet). £15,000-25,000

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

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510 A Lapis Lazuli veneered roundel modern, 80cm diameter Lapis lazuli is found in a very small area of Badakhshan in Afghanistan and the vein has been continuously quarried for over 3000 years. The striking blue colour of lapis lazuli has been admired and coveted since the earliest days of civilization. The ancient Egyptians prized it highly and throughout antiquity it was considered more valuable than gold. Its use as jewellery or crushed and used as a pigment were signs of extreme wealth. The ancient Egyptians used it as a pigment notably in their renditions of the night sky on tomb roofs as famously seen in Tutankhamun’s tomb and inlaid on his funeral mask. By the Middle Ages it had reached Europe and was used to produce Ultramarine the most expensive of paint colours. Wealthy patrons would supply it to artists and

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prescribe exactly how much of the painting should be blue as a demonstrating of their power and wealth. These lots from the Sar-eSang mine deposits are of unusual large size and weight. Famed for the richness of its deep, celestial blue with aventurine inclusions, these are increasingly being appreciated as sculptures in their own right and as stunning additions to any interior. £2500-4000 511 A polished rose quartz freestanding freeform 28cm high, 5.4kgs £300-500

512

513

A pink Mangano calcite freestanding specimen

A Lapis Lazuli specimen with pyrite

61cm high

22.7kg

51.6kg

ÂŁ1500-2500

42cm high

ÂŁ3000-5000

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

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514 A ruby in Fuschite and Kyanite sphere India 20cm diameter ÂŁ2000-3000

212

515 An amethyst and calcite specimen of exceptional deep colour with wooden stand Uruguay 65cm wide ÂŁ1800-2500

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

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516

518

A Labradorite sphere Madagascar

An open Amethyst sphere

16cm diameter

Brazil

£500-800

17cm diameter £700-900

517 A clear quartz sphere Brazil 14cm diameter £600-1000

214

519 Two large fossil wood spheres Java, 2 m.y.a. 28cm diameter ÂŁ1050-1500 520 A collection of eight mineral spheres including K2 and polychrome jasper the largest 10cm diameter ÂŁ300-400

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

215

521

522

A Lapis Lazuli specimen

An aquamarine freeform

41cm by 33cm by 12cm

Madagascar

33kg

21cm high

£2500-4000

£180-250

216

523 Two green serpentine spheres the larger 17cm 9kg and 5kg ÂŁ600-1000

524 A green serpentine freeform 51cm high 24kg ÂŁ800-1200

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

217

525 Two large Preseli stone (spotted dolerite) spheres Preseli Mountains, Wales 16cm diameter The same stone was used to construct some of the components of Stonehenge and was transported 150 miles to Salisbury plain ÂŁ1100-1500

526 A Malachite freeform bowl Zaire 32cm wide ÂŁ900-1200

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527 A large quartz bowl 41cm diameter ÂŁ1000-1500

528 An agate bowl Madagascar 22cm ÂŁ400-600

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

219

529 An impressive crystal quartz, smoky quartz adularia and mica bed Skardu, Pakistan 65cm by 33cm ÂŁ3000-5000 530 A large Pyrite Specimen Peru on stand 30cm wide ÂŁ700-900

220

531 A collection of four quartz single points on stands Brazil the largest 33cm high ÂŁ1050-1500

532 A quartz bowl Madagascar 32cm by 19cm ÂŁ800-1000

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

221

533 A massive quartz and agate freeform Madagascar 58cm wide ÂŁ2000-3000

222

534 A Lapis Lazuli freeform Afghanistan partially Madani quality 33cm high 20.3kg ÂŁ4000-6000

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

223

535

537

A large polished Labradorite pebble

A large slice of Mookaite

Madagascar

34cm wide

37cm wide

£200-300

£850-1200 536 Two Sodalite freeforms Brazil the taller 44cm £600-1000

224

Western Australian

538

539

A botryoidal hematite specimen North Africa

A geode in two pieces containing quartz “stalactites”

20cm

Morocco

3.6kgs

17cm wide

£400-600

£400-600 540 An unusual Lilac Lapis specimen Afghanistan 31cm high £600-1000

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

225

544 A ruby and zoistite obelisk Afghanistan 20cm 3kgs £250-400

541

542

543

A Sphalerite/Quartz specimen

A specularite and hematite specimen

A Lapis Lazuli veneered brass candelabra

Madan, Bulgaria

Morocco

50cm high

43cm wide

17cm

£300-500

£400-600

2.9kgs £300-500

226

545 Two square blue calcite boxes Argentinian, the larger 20cm wide, together with a ﬂuorite goblet, Argentinian, 21cm £500-800 546 An agatised Dinosaur bone section Colorado, USA, Morrison formation, Jurassic period, 150 m.y.a. 33cm wide £600-1000 547 A collection of pebbles consisting ﬁsh eye, jasper, chrysocolla, shattuckite, polychrome jasper, dulcote agate, quartz, cornish serpentine, boulder opal, stichtite, Moroccan picture stone the largest 13cm £300-500 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

227

549

550

551

549 A petriﬁed wood slice with carbon and manganese oxide mineralisation Indonesia, Triassic 48cm £150-250 550 A petriﬁed wood slice with manganese and iron oxide mineralisation Indonesia, Triassic 18cm £80-120 548

551

A pair of circular topped occasional tables the top veneered in Indonesian fossilised wood

A petriﬁed wood slice with iron oxide mineralisation

51cm diameter

Indonesia, Triassic

£1000-1500

28cm £100-150

228

552 A polished fossil wood slice Arizona, from the Araucaria (monkey puzzle) tree, Triassic period, 240 m.y.a 51cm wide £800-1200

553 A petriﬁed wood slice with iron oxide mineralisation Indonesia, Triassic 57cm £200-300

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

229

554 A small ammonite, Douvilleiceras Mammillatum described by Grossouvre, 1894 Mitsinjo, Mahajanga, Madagascar, Albian stage 113 - 100 m.y.a. on bronze stand, 21cm high overall Marie Félix Albert Durand de Grossouvre, 1849-1932, Bourges was a French geologist, best known for his research in the fields of stratigraphy and paleontology. He studied at the École Polytechnique and the École des Mines de Paris, and afterwards worked as a mining engineer in his hometown of Bourges. In 1889 he attained the post of chief mining engineer. He conducted stratigraphic investigations throughout France, and in the process, uncovered numerous fossils, most notably ammonites. In 1878 he was one of the founders of the Société scientifique, historique et archéologique de la Corrèze. He was an officer of the Légion d’honneur, and in 1913 became a correspondent member of the Académie des sciences mineralogy section. £600-800

230

555 A Trilobite (Cambropallas tellesto) Geyer 1993, Jbel Wawrmast formation, Anti Atlas Mountain region, Northern Sahara desert, Morocco, North Africa, Lower to middle Cambrian, Fortunian to Guzhangian stages approximately 550 to 500 m.y.a. 39cm high by 15.5cm wide by 10cm deep Approximate weight 2,500g On bronze base Cambropallas tellesto is one of the earliest trilobites to have crawled over the Cambrian seabed, surmounted bronze cradle on bronze plinth base. The exoskeleton is superbly preserved on the original matrix which once was the sea ﬂoor over 500 million years ago. £800-1200

556

557

A rare pair of opposed Mantelloceras species Ammonites

A collection of seven polished fossil nautiloids

Moroccan, Devonian

Madagascar, Cretaceous period,.110 m.y.a

on fossil marble plinths

the largest 14cm wide

66cm high overall

ÂŁ600-1000

ÂŁ2500-4000

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

231

558

560

A pair of cut and polished Cleoniceras ammonite halves

A double jelly ﬁsh

Madagascan

26cm wide

on bronze stands

£200-300

Wisconsin, USA, Lower Cambrian, 550 m.y.a

20cm high £800-1200 559 A fossil crab (Harpactocacinus puntatus) Verona, Italy, Eocene period, 40 m.y.a on matrix with details collected in 2003 overall 13cm wide £600-1000

561 A large predatory tooth of the earliest extinct mackerel shark, (Otodus Obliquus) in specimen case Phosphate deposits of Khouribga, Ouled Abdoun Basin, Northern Sahara, Morocco, Cenozoic era, late Palaeocene, approximately 50 to 70 m.y.a. 8.8cm long by 5.2cm wide by 2.2cm deep Approximate weight 0,044g £100-200

232

just a small selection showing 562

563

A collection of mineral and coral specimens with bronze wall brackets

A Victorian collection of coral

originally these formed an impressive wall display

the largest piece 31cm

(qty) ÂŁ500-800

19th century and earlier ÂŁ200-300 564 A large Mammoth tooth Ice Age on stand 31cm wide Dredged from the North Sea ÂŁ700-1000

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

233

234

565

566

A Neolithic tool

A bronze Moa foot

Central Saharan

modern

on bronze stand

on limestone base

25cm

41cm high

ÂŁ1000-1500

ÂŁ800-1200

567 A pair of Tibetan snowcocks by Rowland Ward circa 1883 103cm high by 76cm wide by 31cm deep Rowland Ward (18481912) the most celebrated of all taxidermists, operated from premises in Piccadilly. Here, he catered to Dukes and Duchesses, the rich and famous, and sportsmen the world over. He was so successful, and his reputation so great, that following his own death in 1912, the company he founded stayed in business for another 60 years, despite the general decline in interest in taxidermy through the twentieth century. During this period, the ďŹ rm employed hundreds of workers, and was always renowned for the high quality of the work produced and the top quality standards maintained by its employees. Ward himself made many innovations in terms of taxidermy, and always maintained that a good taxidermist was not simply a craftsman but an artist and that he or she should be regarded as nothing less. ÂŁ1200-1800 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

235

568

569

A Coco de Mer

A Coco de Mer adapted as a basket and now on wooden base

30cm high Coco de Mers were originally found ﬂoating in the sea hence the name since nobody knew where they came from and it was believed by many to grow on a mythical tree at the bottom of the sea. Famed for their resemblance to the female form. European nobles in the sixteenth century would often have the shells of these nuts polished and decorated with valuable jewels as collectibles for their private galleries. The true source of the nut was only discovered in 1768 by MarcJoseph Marion du Fresne in the Seychelles and it is now endemic to only Praslin and Curieuse islands where it is now a rare and protected species. £300-500

236

33cm overall £200-300

570 A large mounted Merino ram’s head mid 20th century 64cm high £400-600 571 A carved hardwood tribal plaque 196cm high £1000-1500 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

237

572 A large Cape buffalo skull mounted on a carved shield early 20th century 70cm high by 89cm wide ÂŁ500-600

238

573 Two Pheasants in unusual plumage in a glass case by James Gardner 19th century with Gardner label on reverse 62cm by 92cm wide James Gardner was one of Victorian Londonâ&#x20AC;&#x2122;s most successful taxidermists and operated from premises in Oxford Street. ÂŁ200-300 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

239

574 A pair of Scoter ducks late 19th century 58cm high by 81cm wide £100-200

575 A Mistle thrush in wall case recent 37cm high by 33cm wide £250-400

240

576 John Cooper & Sons: A rare and large Otter in bow fronted case with trade label early 20th century 68cm high by 110cm wide ÂŁ400-600

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

241

577 Hutchinson of Derby: A Victorian case of game birds 104cm high by 62cm wide (one glass side broken) ÂŁ400-600

242

578 A mixed case of tropical birds under glass dome circa 1900 79cm high (this cannot be exported to the US) ÂŁ2500-4000

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

243

579 A massive antique Loggerhead turtle shell (Caretta caretta) 19th century 94cm high With A10 certiďŹ cate ÂŁ1000-1500

244

580 A large blond, green turtle shell 19th century 74cm high on metal hanging frame With A10 certiďŹ cate ÂŁ700-900

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

245

581 A massive Tiger head on shield probably by Theobold Bros Indian, early 20th century 70cm high ÂŁ3000-4000

246

Illustrated map of Summers Place Auctions

247

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

Auctioneers of Fine Modern and Vintage Sporting Guns, Ri es and Accessories

Forthcoming Auction: Fine Sporting Guns at Sotheby's London 18th April 2018

Forthcoming Free Valuation Days: Paris London Tiverton Edinburgh Glasgow Harrogate

6 February 9 February 16 February 21 February 22 February 1 March

Fine sporting guns continue to achieve record prices at auction. To discuss selling your guns at auction, or to make an appointment for a free valuation call us now:

Tel 01798 875300 www. gavingardiner.com

✂

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode SALE NUMBER

GS073

SALE DATE 20 March GARDEN, DESIGN & 2018 NATURAL HISTORY

Tel

Mobile

Fax

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.

LIVE AUCTION BIDDING FORM IMPORTANT Please note that the execution of written and telephone bids is offered as an additional service for no extra charge ,and at the bidder’s risk. It is undertaken subject to our other commitments as the time of the auction. We therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.

Lot No.

Lot Description

Maximum Sterling price (excluding premium & VAT)

New Clients: Please note that we may contact you to Request a bank reference. In addition we Will require sight of a government issued ID and proof of address prior to collection of purchases. FOR WRITTEN/FIXED BIDS

Bids will be executed for the lowest price as is permitted by other bids or reserve. “Buy” or unlimited bids will not be accepted and we do not accept “plus one” bids. Please place bids in the same order as in the catalogue. Alternative bids can be placed by using the word “or” between lot numbers Where appropriate your written bids will be rounded down to the nearest amount consistent with the auctioneers bidding increments

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

TELEPHONE NUMBER DURING THE SALE

(tel. bids only)

I agree to be bound by Summers Place Auctions Ltd “Condition of Business” as published in the catalogue which govern all purchases at auction, and to pay the published Buyer’s Premium on the hammer price plus any applicable taxes. I consent to the use of this information and any other information obtained by Summers Place Auctions I am aware that all telephone bid lines may be recorded. Payment is due immediately after the sale in pounds sterling. Full details on how to pay are included in our Guide for Buyers. If you wish to pay for your purchases by card please complete the details below and your Card will be charged.

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

DEBIT CARD NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISSUE NUMBER..............(SWITCH

ONLY)

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________ Please send this form by post to Summers Place Auctions Ltd, The Walled Garden, Stane Street, Billingshurst, West Sussex RH14 9AB or by Fax to 01403 331340

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

250

therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise. Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods. All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue. We reserve the right to seek identification of the source of funds received. In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as "sensitive", they agree that Summers Place Auctions may use it for the above purposes. Summers Place Auctions will not use or process sensitive information for any other purpose without the client's express consent. In order to fulfil the services clients have requested, Summers Place Auctions may disclose information to third parties (e.g. shippers). Some countries do not offer equivalent legal protection of personal information to that offered within the EU. It is Summers Place Auctions policy to require that any such third parties respect the privacy and confidentiality of our clients' information and provide the same level of protection for clients' information as provided within the EU, whether or not they are located in a country that offers equivalent legal protection of personal information.

By signing this Absentee Bid Form you agree to such disclosure. Clients will please note that for security purposes, Summers Place Auctions premises are subject to video recording. Telephone calls e.g. telephone bidding/voicemail messages may also be recorded.

Please mail or fax up to 19th March 2018 The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331

✂

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode

SALE NUMBER GE074 BIDS MUST BE RECEIVED BY 21st March 2018, 4PM BST

Tel

Mobile

Fax

SEALED BIDDING FORM

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

Lot No.

Lot Description

Sealed bid Sterling price (excluding premium & VAT)

Clients wishing to bid on an “either or” basis should list the lots they are interested in with the price they are prepared to pay in order of preference with “OR” written between each one.

New Clients Please note that we May contact you to request a bank reference. In addition we will Require sight of a government Issued ID and proof of address prior to collection of purchases

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

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

EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISSUE NUMBER..............(SWITCH

ONLY)

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

GUIDE FOR ABSENTEE BIDDERS FOR SEALED BID AUCTION

SEALED BID AUCTION LOTS All sealed bids must be with us, at the latest, by 21st March 4.00pm BST since the bids will be opened on the 22nd March. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. Sealed bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or e-mail to the Bid Department. Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods. All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue. 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

252

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 up to 21 March 4.00pm BST. The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331 Email sealedbids@summersplaceauctions.com

Invitation to consign to our next Home and Garden auction to be held on 12th June 2018 closing for receipt of entries 10th April 2018

Bronze ship that surmounts Lot 362

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

THE WALLED GARDEN SUMMERS PLACE BILLINGSHURST WEST SUSSEX RH14 9AB +44(0)1403 331 331