Garden & Natural History Auction 5th/6th April 2016 by Summers Place Auctions

Garden & Natural History 5 & 6 April 2016

Summers Place Auctions Ltd

Garden & Natural History Live Auction

SPECIALISTS AND AUCTION ENQUIRIES

Sale No GS056

Tuesday 5 April 2016 at 1.30 pm

Viewing

James Rylands MRICS

Rupert van der Werff MRICS

Specialist

Tel +44 (0)1403 331334

Tel +44 (0)1403 331333

james.rylands@ summersplaceauctions.com

rupert.werff@ summersplaceauctions.com

Errol Fuller

Alistair Morris FRICS

Curator for Natural History

Consultant

errol.fuller@ summersplaceauctions.com

alistair.morris@ summersplaceauctions.com

Letty Stiles

Katharine Diment

letty.stiles@ summersplaceauctions.com

kate.diment@ summersplaceauctions.com

Tel +44 (0)1403 331336

Tel +44 (0)1403 331335

Sunday 3rd to Monday 4th April 2016 and on the day of the sale 10 am to 4 pm or by appointment

Sealed Bid Auction

Sale No GE057

Bids opened on Thursday 7th April 2016 Bids should be with us by 5pm BST 6th April 2016

Viewing Sunday 3rd to Wednesday 6th April 10 am to 4 pm Cost of catalogue £10 at the gallery; £15 by mail; £20 overseas

Front cover lot 45 Bidding online available at invaluable.com with additional fee of 3%.

Back cover lot 74

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

Fax: +44(0)1403 331340

IMPORTANT CONDITIONS RELATING TO THIS SALE C.I.T.E.S. All the relevant lots in this sale have been carefully vetted, mindful of current C.I.T.E.S. regulations, concerning the sale of endangered species. We are happy to provide advice on any lots, to overseas buyers concerning export restrictions. However, it is ultimately the buyers responsibility to satisfy themselves that the correct licenses can be obtained prior to bidding. Condition of Lots Condition is only noted in the catalogue where an item is severely distressed. Prospective purchasers making commission or telephone bids without viewing the sale can be given condition reports on any lot on request. It is essential for buyers to satisfy themselves as to the condition of lots prior to the sale and to arrange their own insurance cover against loss and damage immediately after the sale. Please refer to the Conditions of Business for Buyers.

Bidding in Person To bid at auction you must register with us beforehand with photographic identification and proof of address to obtain a bidding number. Registration will be available throughout the auction. If you cannot attend the auction, there are other ways in which you can make your bid. Please refer to the Buyers conditions of business at the back of this catalogue for details. Payment of Purchases Payment is due in sterling immediately after the sale and before purchases can be released. Payments in person can be made in the saleroom on the day of the auction and thereafter. Payments may also be made by post, card transactions by telephone or electronic transfer to our bank. Cash will not be accepted. For further details please see Buyers conditions of business in the back of the catalogue. Collection and Storage On receipt of cleared funds, lots can be collected from the Walled

Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. Collection of lots by appointment. If Lots have not been collected within 35 days of the auction date then storage charges may be applied at a rate of £10 per Lot per day. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, Summers Place Auctions accept no responsibility for any damage which may occur, even in the event of Summers Place Auction staff assisting carriers during collection. Shipping and Transport Summers Place Auctions have extensive experience dealing with both UK carriers and international shippers. We would be happy to obtain quotations and facilitate transport and shipping. Payment for purchases is due in Pounds Sterling, however the equivalent amount in any other currency will be accepted at the rate prevailing on the day that payment

is received in cleared funds. Settlement is made to vendors in the currency in which the sale is conducted, or in another currency on request at the rate prevailing on the day that payment is made by Summers Place Auctions Ltd Safety at Summers Place Auctions Summers Place Auctions is concerned for your safety while you are on our premises and we endeavour to display items safely so far as is reasonably practicable. Nevertheless, should you handle any items on view at our premises, you do so at your own risk. Some items can be large and/or heavy and can be dangerous if mishandled. Should you wish to view or inspect any items more closely please ask for assistance from a member of Summers Place Auctions staff to ensure your safety and the safety of the property on view. Some items on view may be labelled “PLEASE DO NOT TOUCH”. Should you wish to view these items you must ask for assistance, from a member of Summers Place Auctions staff, who will be pleased to assist you. Thank you for your co-operation.

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

Important notice Please note that all lots are sold subject to our Conditions of Business for Buyers and Authenticity Guarantee, which are set forth at the back of this catalogue and Conditions of Business for Sellers, which are available from Summers Place Auctions office on request. For all lots marked with a †, ‡, α or Ω please refer to the VAT information pages at the back of the catalogue. For all lots marked with s and ´ please refer to the Guide for Prospective Buyers.

MAP OF SUMMERS PLACE AUCTIONS, GARDENS AND GALLERY, enclosed in 6 acres of landscaped grounds including our new 5,000ft gallery. Completed in 2012 it has recently won Best Small Commercial Building in the Southern Local Authority Building Control Awards and was shortlisted in the Innovation and Environmental Design category for the Royal Institute of Chartered Surveyors (RICS).

1 An exceptionally large harlequin set of four carved limestone staddlestones the largest 102cm.; 40ins high ÂŁ1800-2500

2 A rectangular carved limestone trough 71cm.; 28ins high by 156cm.; 61ins long by 98cm.; 38Â˝ins deep ÂŁ4000-6000

3 A circular carved limestone trough 78cm.; 31ins high by 100cm.; 39Â˝ins diameter ÂŁ2500-4000

4 A pair of carved limestone figures of putti Northern European, 18th century 105cm.; 41ins high ÂŁ4000-6000

5 A pair of carved white marble figures of putti and goats on pedestals Italian, second half 19th century 145cm.; 57ins high Provenance: The Rushrooke Estate, Bury St Edmunds, Suffolk. With accompanying letter of provenance, the estate was recently sold by the Rothschild family. ÂŁ20,000-30,000

6 Constantino Corti (1824-1873): An impressive marble figure entitled Il Vincitore seated on a rocky outcrop 190cm.; 75ins high Constantino Corti worked together with another Milanese sculptor Pietro Calvi (1833-1884) on a number of occasions. They are responsible for some of the figures in Milan Cathedral and works at the Gallerie Vittorio Emanuel. Corti is known to have made a colossal statue of Lucifero which is in the Museo Nacional de Belles Artes Buenos Aires. The variation on the theme of the Devil is only different in the treatment of the hair and toenails and the wings, which are lacking, producing powerful and striking images without any of the satanic qualities which characterise other similar versions of this piece which was also executed by Pietro Calvi. A bronze example entitled Lucifero was sold at Sothebyâ&#x20AC;&#x2122;s London on 21st June 1988. ÂŁ6000-10,000

7 Giovanni Bastianini (1830-1868): La Danza (The Dance) Italian white marble signed Bastianini Giulio Firenze 129cm.; 51ins high A plaster version of this group is in the Galleria Dâ&#x20AC;&#x2122;Arte Moderna, in the Palazzo Pitti, Florence. Bastianini is notorious for his activity as a forger of Italian Renaissance sculpture, however this joyful group demonstrates his outstanding natural ability as a modeller and carver in a more conventional contemporary manner. Related Literature: Panzetta vol 2, p23, fig 81 ÂŁ20,000-30,000

8 A carved white marble figure of a naked girl seated on a rocky outcrop late 19th century 119cm.; 47ins high ÂŁ3000-5000

9 A rare lead fountain figure of a child and goose attributed to the Bromsgrove Guild early 20th century goose bill plumbed for water 94cm.; 37ins high The Bromsgrove Guild of Applied Arts was established in 1894 by Walter Gilbert who took over a foundry in Bromsgrove, Worcestershire. It was first involved with decorative ironwork, but the business soon expanded into a great many other fields. By 1900 Gilbert had gone into partnership with a Mr McCandlish and had taken over further premises in the town which housed bronze and lead foundries, as well as wood and stone carving studios. By 1908 they had established an outlet in London, and as a result of their most famous commission, the iron and bronze gates outside Buckingham Palace, they were issued with a Royal Warrant appointing them metal workers to Edward VII (an honour repeated two years later under George V). Unlike the majority of other contemporary English manufacturers of garden ornaments most of the Guildâ&#x20AC;&#x2122;s figurative subjects were modelled in the popular styles of the day. In 1921 the Guild became a limited company, but by this date some of the members had left to start companies of their own. However the Guild continued to produce a variety of garden ornaments for many years finally closing in 1966. Literature: John Davis, Antique Garden Ornament, pp.313-316 ÂŁ4000-6000

10 A rare lead Pointer dog mid 20th century 80cm, 31½ins high, together with a Boulton and Paul wrought iron whelping cage, circa 1900, incorporating two doors and with various makers’ stamps, 213cm.; 84ins high by 148cm.; 58ins wide by 200cm.; 78½ins long £4000-6000

11 A monumental bronze figure of St Francis probably Italian, late 19th century on later wooden plinth, weathered green patination 200cm.; 78Â˝ins high ÂŁ18,000-25,000

12 A rare Coadestone figure of Westmacott’s nymph stamped Coade’s Lambeth as the act directs 1831 137cm.; 54ins high, on painted wooden plinth 64cm.; 25ins high This statue model has been known as ‘Westmacott’s nymph’ since the 1820s. The original marble of ‘Venus attiring herself after the bath’ was executed by the Rome-trained sculptor Sir Richard Westmacott, R.A. (d. 1856) and acquired for Castle Howard, Yorkshire after exhibition at the 1824 Royal Academy. However it is the white plaster model ‘The Nymph of Westmacott’ displayed in the early 1820s by the architect Sir John Soane (d. 1837) ‘in a beautiful recess’ at his London mansion/museum that has become particularly celebrated as ‘A nymph unclasping her zone’. The belt or girdle known as a ‘Zone’ (Grecian) or ‘Cingulum’ (Latin) was worn in antiquity by unmarried girls until their marriage (see P. Thornton and H. Dorey, Sir John Soane’s Museum, London 1992; and M. Busco, Sir Richard Westmacott, Cambridge, 1994, p. 100).

Eleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769, and appointed the sculptor John Bacon as its manager two years later. She was employed by all the leading late 18th Century architects. From about 1777 she began her engraved designs, which were published in 1784 in a catalogue of over 700 items entitled A Descriptive Catalogue of Coade’s Artificial Stone Manufactory. Then in 1799, the year she entered into partnership with her cousin John Sealy, she issued a handbook of her Pedlar’s Lane exhibition Gallery. The firm became Coade and Sealy from this date and following Sealy’s death in 1813, it reverted to Coade and in 1821 with the death of the younger Eleanor Coade, control of the firm passed to William Croggan, who died in 1835, following bankruptcy. Coade’s manufactures resembling a fine-grained natural stone, have always been famed for their durability. Both this example and the following lot are rare examples of work produced in the last decade of Coade’s production. The stamp ‘as

the act directs’ is more usually seen on plaster figures of the same period, which may relate to the Westmacott nymph in the Soane collection, which predates this figure. £15,000-25,000 13 A rare Coadestone figure of a girl holding a nest of fledgling birds stamped Coade’s Terra-cotta Lambeth 135cm.; 53ins high, on wooden pedestal 64cm.; 25ins high See footnote to previous lot. This late Coade figure bears a very unusual stamp “terra-cotta” meaning baked clay, which was later adopted by John Marriott Blashfield, who is reputed to have bought some of the Coade moulds following the demise of the Coade manufactory, in the late 1830’s. £15,000-25,000

Detail of lot 13

14 An Edwardian carved Bath stone seat early 20th century 187cm.; 74ins wide ÂŁ6000-10,000

15 A carved Bath stone and Portland stone seat early 20th century 320cm.; 126ins long ÂŁ4000-6000

16 A carved marble bench 18th century and later one leg replaced 150cm.; 59ins wide Provenance: Removed from Highclere Castle, Berkshire, seat of the Earl and Countess of Carnarvon and the location of the well known TV historical drama Downton Abbey. ÂŁ3500-5000

17 A Manifattura di Signa terracotta and wood seat early 20th century with circular manufacturers stamp no. 1389 117cm.; 46ins high by 188cm.; 74ins long Manifattura di Signa produced copies of antiquities and renaissance models in terracotta from the late 19th century. The company had outlets in Florence, Rome and Turin and catered for wealthy patrons doing the Grand Tour of Italy. The manufactory was active at a time when remodelling English gardens, often in an Italian classical or renaissance style was particularly fashionable. This model is illustrated in the Manifattura di Signa catalogue plate CXII, model No: 1389. (See engraving) ÂŁ1500-2500

18 A pair of rare Coalbrookdale Foundry Nasturtium pattern cast iron seats late 19th century/early 20th century the ends incorporating the coat of arms for the Devonshire family 160cm.; 63ins long It would appear that Coalbrookdale produced a limited number of this pattern with the lower centre portion of the supports adapted to fit an armorial crest which could be ordered presumably in quantity by a town municipality or a private estate, as in this instance. ÂŁ2500-4000

19 A rare pair of Macauley and Wade four seasons pattern cast iron seats last quarter 19th century 183cm.; 72ins wide The original design 238947 by Morgan, Macauley and Wade the Bath Works, Rotherham South Yorkshire was registered on 17th February 1870 (See engraving) ÂŁ10,000-15,000

20 An extremely rare Val d’Osne Foundry Fern pattern cast iron suite of seat and two chairs the seat 216cm.; 85ins long This pattern normally associated with the Coalbrookdale Foundry was produced in very limited quantities by the Val d’Osne Foundry in France and appears in the Société Anonyme Des Hauts-Fourneaux & Fonderies Du Val d’Osne catalogue, plate 436. (See engraving). £3000-5000

A Val d’Osne Foundry cast iron Gothic pattern seat

A pair of Val d’Osne foundry Gothic pattern cast iron chairs

circa 1860 194cm.; 76½ins long Founded by J.P.Andre in 1835 and based at the Val d’Osne, in the Haute-Marne, the company took over rival firms such as Barbezat and Ducel becoming the largest and most prolific foundry of decorative and sculptural cast iron in France. The company exhibited at the Great Exhibitions of 1851 and 1862 as well as the Chicago Great Exhibition of 1893

mid 19th century £1000-1500

(See engraving) £1200-1800 23

23 A rare large Coalbrookdale Lily of the Valley pattern seat circa 1870 fully stamped C. B. Dale Co., and with diamond registration, number and model number 186cm.; 73ins wide This design, number 171578 was registered and patented at the Public Records Office on the 8th February 1864 by Coalbrookdale and was seat number 36 in their Castings Catalogue of 1875. (See engraving). ÂŁ4500-7000

24 A pair of rare Coalbrookdale Lily of the Valley pattern cast iron chairs circa 1870 fully stamped C.B. Dale Co and with diamond registration, no 160758 and pattern number This design is registered in the 1875 Coalbrookdale Castings Catalogue, Section III, number S36. (See engraving). ÂŁ2500-4000

25 A rare Dalkeith Foundry Louis XV style cast iron seat circa 1870 193cm.; 76ins wide The design is registered for the Dalkeith Ironworks, Dalkeith, Scotland. The company was certainly operating from circa 1810 until the end of the nineteenth century, and may well have been founded by David Mushet the famous metallurgist, born in Dalkeith in 1772 and brought up as an iron founder. An advertisement in a 1860 directory presents the company as ‘W R Mushet, Dalkeith Iron Works’. Apart from stoves and garden seats the company also offered fountains, metallic greenhouses and arbours. (See engraving). £2500-4000 26

26 A Coalbrookdale Nasturtium pattern cast iron seat circa 1870 the back fully stamped CB Dale & Co with registration stamp and number and pattern number 44 183cm.; 72ins wide This design number 1958629 was registered and patented at the Public Records Office by Coalbrookdale on the 1st March 1866 and is seat number 44 in their 1875 catalogue of castings. (See engraving). ÂŁ3000-5000

27 A rare Andrew Mclaren cast iron seat circa 1870 with diamond registration stamp, 10th January 1869 160cm.; 63ins wide This design number 13 and registration number 226333 appears in the catalogue of Andrew Mclaren and Co., who in common with the Carron and Falkirk foundries had their foundries around the Firth of Forth region of Scotland but had retail premises in Upper Thames Street, London where the seats and other cast iron artefacts were shipped by sea prior to display in their retail premises. (See engraving) ÂŁ1200-1800 28

28 A Coalbrookdale Horse Chestnut pattern cast iron seat fully stamped Coalbrookdale and with diamond registration stamp and number 190cm.; 75ins 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) ÂŁ3000-5000

29 An extremely rare original bronzed Coalbrookdale cast iron occasional table circa 1860 stamped with registration design number 83799 and with diamond patent registration stamp 52cm.; 20Â˝ins diameter This design is number 50 in the 1875 Coalbrookdale Castings Catalogue, Section II, page 199. It is extremely rare for cast iron tables of this date to still retain their original bronzed finish. This model was originally offered in white with a marble top presumably for outdoor use or in a gold bronzed finish with a perforated iron top as in this example for use indoors. (See engraving). ÂŁ3000-5000

30 A pair of Durenne foundry cast iron Egyptian figural torchères on pedestals French, circa 1860 Stamped A Durenne Maitre de Forges Sommevoire 200cm.; 79ins high Antoine Durenne set up in 1847 at Sommervoire Haute-Marne. He held a number of official posts most notably being on the installation committee for the Exposition Universelle in 1878. The Durenne foundry was incorporated into the Val d’Osne foundry in 1888. £10,000-15,000

31 A rare Edwardian lead wall sundial early 20th century by Wragge of Manchester with pierced bronze gnomon and maker’s stamp 92cm.; 36ins high by 61cm.; 24ins wide £1500-2500

32 A pair of lead urns 1st half 18th century 52cm.; 20½ins high Provenance: Removed Biddlesden Park, Buckinghamshire. The house, which lies on the site of an old Cistercian abbey, was built by John Sayer, in the Georgian style in 1727. The staircase dates from the same period. The house then passed to Ralph Verney, 2nd Earl Verney before it was acquired, on Verney’s death in 1791, by George Morgan, who was High Sheriff of Buckinghamshire. It passed through various owners

before being comprehensively renovated in the 1980â&#x20AC;&#x2122;s. Whilst large quantities of lead urns and finials in an 18th century style were manufactured from the beginning of the 20th century onwards, period 18th century examples are even scarcer than lead figures produced at the same period. The figural friezes were often taken from marble originals, as in a pair of lead finials

dating from circa 1740 at Wrest Park, where the friezes are taken from a pair of marble urns executed for Hampton Court Palace at the end of the 17th century by two prominent sculptors, Caius Gabriel Cibber and Edward Pearce. Other sources included chimneypiece friezes and tablets of the 18th century. Each of these examples is decorated on each side with a panel

depicting a drunken Silenus on a donkey supported by attendant satyrs and with a young satyr surprising nymphs of Diana on the other. Interestingly the foot of each urn is slightly different, with acanthus on one and an egg and foliate moulding on the

other. Unlike the later, Edwardian Georgian style urns, which are slush or sand cast, these period examples are cast using the lost wax or cire perdu process and as a result are extremely crisp and well detailed with excellent quality chasing. ÂŁ4000-6000 33

33 A pair of Walter Macfarlane & Co. cast iron planters circa 1870 fully stamped Walter Macfarlane & Co. Glasgow No. 1092 with zinc liners 59cm.; 23ins high by 105cm.; 41½ins long Walter Macfarlane and Co, also known as the Saracen Foundry, was the most important manufacturer of ornamental ironwork in Scotland. Founded in Glasgow by Walter Macfarlane I (1817-85), the firm opened its first premises in 1850, in Saracen Lane, behind the Saracen Head Inn, in the Gallowgate. They specialized in the production of drinking fountains, bandstands, lamp standards, prefabricated buildings and architectural cresting’s and ornament. £2000-3000 34 A similar smaller pair of cast iron planters by Walter MacFarlane 58cm.; 23ins high by 87cm.; 34ins long £2000-3000

35 A pair of monumental carved marble urns 1st half 20th century 100cm.; 39ins high ÂŁ8000-12,000

bronzed vase decorated with busts of Peel, Nelson, Watt, Wellington, Stephenson, Scott, Shakespeare and Milton, and a fountain that at the time was described as being â&#x20AC;&#x153;from the magnitude of its operations is second to none in Englandâ&#x20AC;?. They produced two catalogues the later one in 1874, showing a wide range of cast iron urns and fountains all of which are of high quality but most are unmarked and are identifiable from their catalogues only. This very rare model appears in the mid 19th century catalogue of Andrew Handyside and Co., no 26. (See engraving). ÂŁ1000-1500

2nd half 19th century

A pair of extremely rare Handyside Foundry cast iron urns on pedestals

104cm.; 41ins high overall

Andrew Handyside opened the Britannia Iron Works, Derby in 1851. At the Great Exhibition they exhibited Medici vases, bacchanalian vase and a

37 A pair of Handyside Foundry cast iron urns 2nd half 19th century 79cm.; 31ins high (See engraving). ÂŁ1500-2500 37

An impressive monumental bronze horse

A Portland stone figure of George Canning

late 20th century

19th century

325cm.; 128ins high by 300cm.; 118ins long

218cm.; 86ins high

Provenance: This lot was recently removed from the world famous Camden Lock Market in London. It was originally commissioned in the early 1990s as one of the fixtures in the Old Stables 3 storey indoor market designed by the architect John Dickinson. Camden Lock Market is situated by the Regentâ&#x20AC;&#x2122;s Canal on a site formerly occupied by warehouses and other premises associated with the canal. It is now the fourth-most popular visitor attraction in London, attracting approximately 100,000 people each weekend. In 1991 a 3 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 longterm redevelopment plan for the area and rebuilt as a year-round permanent market area.

on stone pedestal 259cm.; 102ins high overall Provenance: It is believed that this lot was originally on display at the Palace of Westminster and after the catastrophic fire in 1834 was selected by Sir Robert Peel and set up at his Drayton Manor House in Tamworth. The house was pulled down in 1926 and its fabric dispersed. This is one of four famous English figures including Sir Isaac Newton, Sir Francis Bacon and Sir Walter Raleigh sold in these rooms on 20th May 1998. George Canning (17701827) was a British statesman and Tory politician who served in various senior cabinet positions under numerous prime ministers before himself serving as prime minister for the final four months of his life. ÂŁ5000-8000

ÂŁ20,000-30,000 pedestal not shown 39

40 † ▲ David Backhouse A pair of Centaurs Bronze Signed Backhouse A B Male centaur 254cm.; 100ins high by 208cm.; 82ins long; female centaur 366cm.; 144ins high Provenance: Whiteley’s shopping centre, Bayswater, London. This iconic London landmark was designed by John Belcher and John James Joass, and was opened by the Lord Mayor of London in 1911. It was the height of luxury at the time, including both a theatre and a golf-course on the roof. It appears in a number of early 20thcentury novels, and in Shaw’s 1913 play Pygmalion, where Eliza Doolittle is sent “to Whiteleys to be attired”. The building was designated a Grade II Listed Building in 1970. These centaurs were commissioned as a centrepiece for a fountain in the central courtyard of the shopping complex and were removed during remodelling about 10 years ago. David Backhouse was born in Wiltshire and studied at the Royal West of England

College of Art. His early career was spent working and travelling in Europe where he undertook many commissions for portrait busts. He is a Fellow of the Royal Society of British Sculptors, a Royal West of England Academician, a Fellow of the Royal Society of Arts, a Founder Member of the Fountain Society and a Member of The Society of Equestrian Artists. The roots of Backhouse’s work are to be found in Rodin and his vibrant response to the human body, in Bugatti and his passion for the vitality of animal form, and in Epstein and his emotionally charged portrait heads. Other influences include the sensuous, economic modelling on Manzu, the symbolic power of Marini and the work of the English sculptors, Reg Butler and Elizabeth Frink. David has made many sculptures for public sites and private clients and has held numerous one-man exhibitions, both in the UK and abroad. He exhibits frequently at the Royal Academy Summer Exhibition and his work is in collections throughout the world. His Memorial to Animals in War was unveiled at Brook Gate, Park Lane, by HRH The Princess Royal in November 2004. This is one of the largest and most significant new monuments to be erected in London in recent years. £5000-8000

The Centaurs fountain in situ at Whiteley’s shopping centre 41

41 Enzo Plazzotta, (Italian 1921-1981) Conversation Bronze Signed and numbered 4 from an edition of 9 187cm.; 73½ins high by 106cm.; 41½ins wide by 78cm.; 30½ins deep Literature: See Enzo Plazzotta A catalogue Raisonne, Copyright Carol Plazotta and Richard O Conor, 1986. Pages 159 and 168. Originally modelled in 1980 in an edition of 9. See foonote to lot 42 £20,000-30,000

42 Enzo Plazzotta, (Italian 1921-1981) Nicki Howarth Signed 6 of 9 with foundry stamp 187cm.; 73Â˝ins high by 56cm.; 22ins wide by 53cm.; 21ins deep Enzo Plazotta was born in Maestre, near Venice in 1921 and died aged 60 after having worked in London for more than half his life. He always maintained his links with Italy and had a home in Pietrasanto in Tuscany from 1967. Initially a student of architecture and sculpture, he decided to specialise in sculpture and studied at the Accademia di Brere in Milan. He gradually established himself as a portrait sculptor and also, like Degas, developed an interest in the portrayal of ballet dancers. Nureyev, Fonteyn, Sibley and Dowell were among the many dancers who came to his studio. This fascination with the human form manifested itself in a number of interpretations of the naked female form. His works can be found in many public and private collections including the Vatican. It has also been widely exhibited by many galleries including Wildenstein and Co and most recently in 2007 at The Robert Bowman Gallery in London. Originally modelled in 1975, from an Edition of 9. Exhibited at Stowe School, 1976, Cranleigh School, 1977; Wildenstein, London, 1978; Wildenstein, New York, 1980; Bedford College, London 1980. Literature: See Enzo Plazzotta A Catalogue Raisonne, Copyright Carol Plazotta and Richard O Conor, 1986 page 122 ÂŁ15,000-20,000

43 Jenny Pickford Agapanthus Forged steel and hand blown glass 500cm.; 197ins high by 400cm.; 157½ins wide Pickford is a contemporary artist blacksmith, designing and making unique sculptures, water features and architectural ironwork. Her designs combine forged, galvanised steel, with spectacular blown glass. She is highly regarded as one of the country’s leading female artist blacksmiths. £20,000-30,000

44 David Goode, Born 1966 Ferryman Bronze Signed and numbered from 200 66cm.; 26ins high by 117cm.; 46ins long Born in Oxford, David Goode grew up in the small Midlands town of Leek, Staffordshire, just north of Stoke on Trent, also known as The Potteries, which was the heartland of the Victorian pottery industry, and to this day is still home to many world-famous pottery houses such as Royal Doulton and Wedgwood. Aged 18, David trained at The Sir Henry Doulton School of Sculpture, specialising in portrait and figurative sculpture. In 1988 David became a portrait sculptor at the London Studios of Madame Tussauds, the youngest sculptor ever offered such a position, and for six years traveled the world for sittings with many famous figures â&#x20AC;&#x201C; some of his most notable works for Tussauds include Freddie Mercury, Joan Collins, Madonna,

Michael Jackson, Ronald Reagan and Yasser Arafat. In 1994 David became a freelance sculptor, taking

on private commissions and exhibiting his own work. The inspiration for much of his work stems from a childhood

fascination with myths, legend and folklore and a love of the works of Tolkien. ÂŁ6000-8000

45 John Cox Flight of Ducks Fountain Bronze 127cm.; 50ins high by 100cm.; 39½ins wide by 82cm.; 32ins deep £2000-3000 See also front cover

46 John Cox Sailfish Bronze 242cm.; 95¼ins high £4000-6000

47 Clare Trenchard Hound Dog Bronze resin Signed and numbered 1 from an edition of 10 88cm.; 34Â˝ins high by 186cm.; 73ins long

Clare Trenchard studied sculpture at the Chelsea School of Art where she graduated with a BA in Fine Arts in 1978. She has exhibited in London at the I.C.A. and for the Society of Portrait Sculptors. She also exhibits regularly in the West Country. Her sculptures are modelled mainly from life in clay, plaster or wax and cast in bronze or bronze resin. The National Trust property Kingston Lacy, Dorset commissioned her to make 10 sculptures for the Lime Walk. Langmoor Gardens, in Lyme Regis, Dorset has commissioned Clare to sculpt a 7ft high statue in bronze of Sir George Somers, Mayor of Lyme Regis, who claimed Bermuda for England in 1609. ÂŁ4000-6000

48 s Glynn Williams Morning Ancaster weatherbed Unique 15cm.; 6ins high by 103cm.; 40½ins wide by 63cm.; 24¾ins deep

Glynn Williams (born in 1939 in Shrewsbury, England, UK) is a British sculptor. Once an abstract artist, he has worked in the figurative tradition since the late 1970s. After attending Wolverhampton College of Art in 1955, he worked at the British School in Rome until 1963 after winning the British Prix de Rome scholarship. In 1976, he became Head of the Wimbledon School of Art Sculpture Department, before moving to the Royal College of Art, London, where he became Head of Sculpture in 1990 and Head of the School of Fine Art from 1995-2010. He is a Fellow of Royal College of Art, the Royal Society of British Sculptors, and the RSA. During the 1970s he made abstract sculptures, including crate-like objects in wood, but later in the decade he began carving stone figures. £6000-8000

Chadwick began exhibiting regularly from 1977. In 1985 she began an active teaching career as a visiting lecturer across a number of London art schools. Her posts at Goldsmiths, (1985-90), Chelsea College of Arts , London (1985-95), Central Saint Martins, London (1987-95) and the Royal College of Art (1990-94) ensured an important influence on contemporary British Art in the late 1980s and '90s, specifically on the Young British Artists.

49 ▲ Helen Chadwick Et in Arcadia Etched white marble Titled, signed on back and numbered 5 out of 15 In cloth and leather bound titled box 21½cm.; 8½ins square Helen Chadwick (18 May 1953-15 March 1996) was a British sculptor, photographer and installation artist. In 1987, she became one of the first women artists to be nominated for The Turner Prize.

In the summer of 1994, Chadwick's exhibition, Effluvia opened at the Serpentine Gallery, London. This exhibition marked the high point of Chadwick's exposure, receiving widespread critical attention and national press coverage. The exhibition was seen by 54,000 visitors, breaking the record for the gallery. In 1995, Chadwick received her first solo exhibition in the United States at the Museum of Modern Art, New York, entitled Helen Chadwick: Bad Blooms Chadwick's work is included in the collections at the Victoria and Albert Museum, The Tate and the Museum of Modern Art.

Et in Arcadia executed in 1995, the year before her death, was included in an exhibition 'BookMare', at Camberwell Space in July 2012 where it was displayed next to Damien Hirst's extravagant pop-up book I Want To Spend The Rest Of My Life Everywhere With Everyone, One To One, Always, Forever, Now (1997). The exhibition, including performance, talks and discussions explored how artists have used books as concepts and components in their practice, often causing disquiet. £1200-1800

50 † Wilfred Pritchard Aviator Bronze & C-type leather flying helmet Mk8 Goggles tinted lens 7 rubber oxygen mask Unique 47cm.; 18½ins high by 26cm.; 10ins wide by 23cm.; 9ins deep £3000-5000

51 Alasdair Thomson Benedicte Carrara marble Signed 113cm.; 44½ins high by 44cm.; 17ins wide by 12cm.; 4¾ins deep Alasdair Thomson lives and works in Edinburgh. He holds a degree in Art History from the University of Edinburgh and a diploma in sculpture from the Scuola Edile in Siena, Italy. He teaches annually in Carrara, acting as assistant instructor on the Tuscany Study programme at Studio Corsanini. He won the People’s Choice Award at 2013’s Royal Scottish Academy Open Exhibition, was the recipient of 2014’s artist in residency at the Carving Studio & Sculpture Centre in West Rutland, Vermont, and received the 2015 Creative Edinburgh award for Creativity. He has exhibited widely, including shows in London, New York and Hong Kong, as well as in Edinburgh. £6000-8000

52 Jonathan Loxley, Born 1960 Band III Portuguese white marble Unique 200cm.; 78¾ins high by 60cm.; 23¾ins wide by 14cm.; 5½ins deep Jonathan Loxley was born in 1960. His father was a fighter pilot and this meant that Loxley travelled widely throughout his youth. Between 1979 and 1981, Loxley studied marble sculpture techniques in Florence, Italy. After leaving education, Loxley painted stage sets and created sculptures for film and theatre sets. He worked on set design for such cult films as Labyrinth and A Fish Called Wanda. In 1989, Loxley established a studio in Carrara, Italy, and began on his current path. He had several exhibitions in Italy, and across Europe, and then in 1993, was commissioned by David Bowie to create a sculpture to celebrate Bowie’s marriage to Iman. In 1999, Loxley took part in The Shape of the Century - 100 Years of Sculpture in Britain at Canary Wharf, London. His work has also featured at the Hampton Court Flower Show and Henley Art Show, both in 2001. £6000-8000

53 Tinei Mashaya Unite Springstone Unique Signed 190cm.; 74¾ins high by 80cm.; 31½ins wide by 45cm.; 17¾ins deep £4000-6000

Tinei Mashaya with his sculpture 54

54 Quentin Clemence The Gardener Bronze 126cm.; 49½ins high by 74cm.; 29ins wide by 22cm.; 8½ins deep Born in Glastonbury, England in 1956, Clemence was brought up in London, studied fine art at Goldsmiths’ College, with a special interest in performance art and installations. Since 1986 he has lived and worked in a steep valley at the base of the mountain of Montserrat near Barcelona. In 2002 he was awarded the Sabastia Guasch prize (FAD, Barcelona) for his contribution to the opera Lucrecia Borja by Carlos Santos for the inauguration of the Teatre Lluire in Barcelona. In the summer of 2002 he exhibited his automata in the Caixa Forum Museum as part of the 20th anniversary of the art gallery Sala Montcada .The same summer he was invited to exhibit for the inauguration of the surrealism exhibition in the Kunstsammlung Nordrhein-Westfalen Museum in Dusseldorf. £4000-6000

56 James Doran Webb Running Hare Driftwood on Granite base Signed 75cm.; 29½ins high by 70cm.; 27½ins wide by 52cm.; 20½ins deep Born in England, but educated in Switzerland, Italy and the US, James spends much of his time now in the Philippines which he first visited in 1989. James spent his early childhood in Devon. 55 Rupert Till Pig Mild steel 131cm.; 51½ins high by 110cm.; 43¼ins wide by 64cm.; 25ins deep Rupert Till has been creating wire sculptures for twenty years and has have worked on over 760 commissions worldwide. In 2012 he was awarded The British Sporting Art Trust Prize for Sculpture by the Society of Equestrian Artists. £3000-4000

In 1990 he set up a company designing and making a range of wooden objects to sell in Europe and the USA, boxes and picture frames encrusted in shells and marble, large papier mȃché animals and pieces of fine furniture made from wood salvaged from old demolished hardwood houses. He has subsequently built up a small network of driftwood gatherers which provides much needed cash to impoverished provincial villages. For every kilo of driftwood that James buys he plants a seedling on denuded hills in North and South Cebu. He has started a program called 80,000 trees (www.80000trees.com)

which aims to plant 80,000 trees over the course of the next 5 years and build relationships with the tenants and claimants of the land and DENR (Department of Environment and Natural Resources). James has amassed an extensive collection of driftwood, varying in size and form from small pieces to large natural sculptures, each piece hewn by natural forces into a myriad of individual shapes. The wood is found along the shorelines and riverbeds of the archipelago and is from a number of indigenous species, all dense enough to withstand years and years of exposure to both extreme tropical climate and intense frosts. James started to design driftwood furniture in the early 2000's and it was while playing with the various natural forms that he was drawn to experiment with his first driftwood animal sculpture. His large supply of wood has made it possible for him to find the pieces which most lend themselves to the natural form and shape needed to give his animals the movement and reality he strives to obtain in

every piece he creates. He works in his studio full time alongside a small team of assistants who help him sort and clean the wood, weld the steel frames and generally assist where and whenever they are needed.

James exhibits at the Chelsea Flower Show, London each May where, in 2013, he was awarded the Director General's Award for the best trade stand. He also holds a solo exhibition in the autumn, hosted by the Eton Contemporary Fine

Art Gallery. His largest public work to date is a series of 3 galloping life size thoroughbreds that are now racing through the Flower Dome of Gardens by the bay in Singapore. ÂŁ4000-6000

57 David Cooke Bat Bronze on steel 63cm.; 24½ins high by 94cm.; 37ins wide, including base 182cm.; 71½ins high

David Cooke has been a professional wildlife artist since graduating in 1992 from Leeds Metropolitan University with a degree in 3D Design. He grew up in East Anglia with ready access to clay thanks to his mother Rosemarie Cooke, who is also a ceramic sculptor. David is a selected member of Anglian Potters, and gives demonstrations for them and exhibits at their

shows. David has been based at Sculpture Lounge Studios in Holmfirth since 2005, and has been running ceramic workshops there with Brendan Hesmondhalgh since 2006. He regularly exhibits at some of the major UK ceramic and wildlife art shows, such as Art In Clay at Hatfield House, Potfest In The Park, Penrith and the annual Society of Wildlife Artists Exhibition at the Mall Galleries in London. £4000-6000

58 David Cooke Iguana Ceramic and bronze Unique 112cm.; 44ins high by 63cm.; 24½ins wide by 34cm.; 13½ins deep £4000-6000

59 Guy Buseyne All for one Bronze Edition of 75 Signed 78cm.; 30¾ins high by 36cm.; 14ins wide, base 100cm.; 39½ins After an initial career in publishing, Buseyne struck out as an independent graphic designer, working on furniture design, making and restoration as well as jewellery and sculpting. Having completed further studies at the Academy of Fine Arts in Bruges, he now works full time in furniture design and bronze sculpture. £2000-3000

60 Andy Langley L Bench heavy gauge steel Hot zinc coated with two part poly paint Signed 59cm.; 23ins high by 272cm.; 107ins wide by 30cm.; 12ins deep, base plate 140cm.; 55ins by 65cm.; 25Â˝ins ÂŁ3000-4000

61 Ann Vreilinck Deliberate Bronze Signed edition of 49 105cm.; 41½ins high by 100cm.; 39½ins wide Ann Vrielinck was born in Varsenare, Belgium in 1966. She was educated at the Academy of Fine Arts in Bruges, then obtained a higher degree in Painting from the Sint-Lucas Institute in Ghent after four years of studying with the Dan Van Severen Studio. Vrielinck subsequently completed further courses in restoration of paintings and ceramics, and a teaching degree which has led her back to lecturing at the Academy of Fine Arts. Much of her work is based around ballet, dance and movement. £4000-6000

62 ▲ Jonathan Clarke Ritual Dance Sand Cast Aluminium Signed Unique 1993 45cm.; 17¾ins high by 83cm.; 32½ins wide by 15cm.; 6ins deep

Jonathan Clarke was born in 1961 in Suffolk, and still works there today. At 16 he began an apprenticeship with his father, the sculptor Geoffrey Clarke (RA), and started exhibiting his own sculpture in the 1980s. Jonathan works in sandcast aluminium using a method that he has now mastered but was pioneered by his father. At first he carves his sculpture in polystyrene, then the original mould is

vaporised by molten aluminium which results in an entirely unique sculpture.

Between 1989 and 1999, he was selected for the Royal Academy Summer Show seven times.

Jonathan held his first solo show at Chappel Galleries in 1993 where Galleries Magazine noted his ‘line of inheritance from the masters of the century, from Gabo, through Moore, to Paolozzi.

Jonathan Clarke has created numerous prestigious commissions including ‘The Way of Life’ which is an 11-metre wall-mounted cross for Ely Cathedral, ‘Boudica’ for the town of Colchester and ‘Twelve’ for Trinity Hall’s permanent collection in Cambridge.

He has work exhibited in Italy, Denmark and the US, and the Metropolitan Art Museum in Tokyo.

£2000-3000

63 Hans Martin Schleeh Mother and child Bronze 51cm.; 20ins high by 40cm.; 15Âžins wide by 28cm.; 11ins deep Hans Martin Schleeh was born in Koenigsfeld, Germany. He studied sculpture at the Lahr School for Sculptors under Richard Class and at the Fine Arts Academy in Karlsruhe, Germany; graduating in 1948. He has held numerous shows in various cities including New York, and Paris, as well as showing with the RCA. His work is in the Montreal Museum of Fine Arts, the Tel Aviv Museum (Israel), the Vancouver Art Gallery, the Winnipeg Art Gallery, the Edmonton Art Gallery and the Storm King Art Center in Mountain Ville, New York. It is also in many corporate and private collections. ÂŁ3000-4000

64 Martin Norman The Birds Signed and numbered from an edition of 12 162cm.; 63¾ins high by 140cm.; 55ins wide by 71cm.; 28ins deep Martin Norman grew up in Henley-on-Thames, Oxfordshire and went on to achieve a BA honours Degree in design from Colchester Institute in 1995. On leaving university he got a job working for “The Sculpture Workshop” where he worked for 4 years learning all aspects of the moulding and casting process. He was involved in making moulds and casts for many prestigious artists including Anthony Gormley, Anish Kapoor and Sophie Ryder. In 2001 Marin moved to Holmfirth, West Yorkshire and in 2004 set up a moulding and casting company called “Sculptural Forms”. £3000-4000

65 A large Citrine crystal bed Brazil 84cm.; 33ins by 59cm.; 23ins ÂŁ2000-3000

66 A pair of Amethyst cathedrals Brazil 53cm.; 21ins high ÂŁ1400-2500

67 A pair of Amethyst cathedrals Brazil 51cm.; 20ins high ÂŁ1400-2500

A large Meteorite

A nickel Iron Meteorite

Campo de Cielo Fall, Argentina

Campo di Cielo Fall, Argentina

11.9kg

3.9kg

20cm.; 8ins

16cm.; 6½ins

£2000-3000

£750-1000

69 A partial Meteorite Imilchil Fall, Morocco 4.25kg 24cm.; 9½ins £800-1200

71 A Lapis Lazuli freeform specimen 50.8kg 39cm.; 15ins high ÂŁ5000-8000

A Lapis Lazuli freeform specimen

A large enhydro Quartz point

Afghanistan

China

9.9kg

25kg

79cm.; 31ins high

43cm.; 17ins high

£2000-3000

£300-500

73 A collection of minerals including a Calcite, an enhydro Quartz point, Malachite, Dioptase, Azurite, Pyrite, Quartz and Sphalerite £300-500 70

75 A Selenopeltis (spp.) Trilobite plaque Morocco, Devonian 79cm.; 31ins by 84cm.; 33ins ÂŁ4000-6000

76 A Paradoxides (spp.) Trilobite plaque Devonian, approx. 550 million years old 79cm.; 31ins by 69cm.; 27ins ÂŁ1500-2500 77 A rare multi-species fossil plaque Morocco, Ordovician, approx. 485 million years old including specimens of Omnia (spp.) and Phacops (spp.) Trilobites, Crinoids, Brittle Stars and a Cornulari 69cm.; 27ins by 66cm.; 26ins ÂŁ3000-5000

78 A Crinoid plaque Morocco, Devonian 51cm.; 20ins high by 73cm.; 29ins wide £600-1000 79 A fossil wood slice Araucaria (monkey puzzle) tree Arizona, U.S.A, Triassic 220 million years 55cm.; 22ins wide by 48cm.; 19ins deep £1000-1500 80 Two Selenopeltis (spp.) Trilobites Morocco, late Devonian each 10cm.; 4ins long £600-1000 81 A Trilobite, probably Dicranurus Monstrosus Morocco, Devonian 8cm.; 3ins £400-600 82 A Phacops (spp.) Trilobite Morocco, Devonian in curled-up pose 4cm.; 1½ins £300-500

83 A fossil palm frond with Priscacara fish Eocene, Green River, Wyoming, U.S.A. in wooden wall frame 91cm.; 36ins high by 152cm.; 60ins wide £8000-12,000 84 A partial skeleton of a juvenile Tethysaurus Atlas mountains, Morocco, Cretaceous, approx. 80 million years old comprising major skull components, vertebrae and ribs, two pieces the larger 54cm.; 21ins long £1500-2500 85 A pair of Antler, hide and oak chairs probably Continental, early 20th century 112cm.; 44ins high £2000-3000

86 A Lion skin rug early 20th century some claws missing and with indistinct Rowland Ward label 233cm.; 92ins long ÂŁ1200-1800

87 A Leopard skin rug by Van Ingen early 20th century 220cm.; 87ins long ÂŁ800-1200

89 88 A neck and shoulder Leopard mount by Tocher & Tocher together with book detailing its capture date Tocher and Tocher were rivals to the better known Van Ingen and Van Ingen, but the more naturalistic nature of their work meant that in their heyday their charges were 1/3 higher than Van Ingen. Such was their prestige that they produced many of the specimens for the Asian gallery of the American Museum of Natural History New York.

A shield mounted lion head early 20th century purportedly with indistinct pencil writing signed J.R. Ivy to back of mount 60cm.; 23½ins high £1500-2500

£1000-1500

A Mugger Crocodile wall sconce

A Moose trophy

early 20th century

99cm.; 39ins wide by 106cm.; 42ins deep

recent

64cm.; 25ins long overall

£2000-3000

£700-900

92 A Rowland Ward Gharial jaw on wood shield circa 1900 51cm.; 20ins high overall See footnote to lot 119 £700-900

93 A Polar Bear skin circa 1930 minor splits in skin 200cm.; 79ins long ÂŁ1000-1500

94 A Spicer Fox head trophy dated 1928 in original case 36cm.; 14ins high by 33cm.; 13ins wide by 29cm.; 11ins deep ÂŁ500-800

Two Barn Owls under glass dome

A Lesser Bird of Paradise (Paradisea minor)

Victorian

19th century

59cm.; 23ins high

naturalistically mounted under a glass dome

ÂŁ500-800

64cm.; 25ins high ÂŁ600-1000

The Barker Collection of Taxidermy

As auctioneers we are often invited to view material that offers surprises and this collection was no exception. On arriving at the owner's large and imposing country house, little did we know what would unfold. After a cup of tea and brief chat we were led downstairs to a room that he had only recently been able to access. The centre of this room had been filled with his mother's effects 40 years ago and these had only just cleared. With this material gone one could see the walls â&#x20AC;&#x201C; or to be more precise one couldn't. There was not a single inch of visible wall space, because the whole room (and it was a large one) was lined with cases of birds from floor to ceiling! Once we started to move the cases around we had a further surprise - one wall was actually stacked two deep with cases and those at the back hadn't seen the light of day for more than 40 years. As we continued to move the cases we found that many of them carried on their reverse the trade label of a little known but obviously very talented Victorian taxidermist, Samuel Hibbs of Ollerton in Nottinghamshire. We also discovered a large collection of loose birds, many of which had been prepared by the same hand. The owner, a lifelong falconry enthusiast and naturalist, had purchased this large collection in two parts, intending to use the cases throughout his house and re-case the loose birds. The unexpected arrival of his mother's effects had led to him abandoning his project and over the years he had forgotten that he had such an impressive taxidermy collection. The room had been shut to natural light and at a consistently cool temperature it was perfect for the maintenance of taxidermy. The Hibbs material had all originated from one sale, an auction that had aroused a great deal of publicity in 1973 when the entire contents of Annesley Park was auctioned off by Henry Spencer and Sons. The sale took place over two days in a huge tent that had been erected in the grounds of the house, formerly the home of the

Chowarth-Musters family. And among the vast number of effects was the important collection of natural history material that had been put together by the family around 100 years previously. The surname Musters appears regularly on the data labels that are still attached to the back of several cases, and it is clear that the present owner purchased a large percentage of the cases that were offered at the sale. Little is known of the taxidermist Samuel Hibbs and the ChoworthMusters collection provides the bulk of material known to be by him. What is clear is that his firm produced very good quality cases many of which have survived in excellent condition. Chris Frost in his book A History of British Taxidermy (1987) records that the firm was in operation probably between 1880-1900, something the data labels would certainly confirm. The quality of his work compares to the top exponents of the London trade at that time and he occupied an area where comparatively few other taxidermists have been recorded. Some of the cases that the Chowarth-Musters family had assembled were by a different taxidermist, John Leabeater an early exponent and pioneer of the craft who operated from Golden Square in London. The whole group provides a fascinating opportunity to revisit a time when opportunities like this were far more commonplace than they are now and it is unlikely that another collection formed over such a short period and unchanged over the intervening years will come to the market again. Perhaps with today's greater interest in the natural world and antique taxidermy the names of Samuel Hibbs and John Leadbeater will become better known and more widely admired. 83

97 A case of various species of Harriers by Hibbs of Ollerton late 19th century 93cm.; 36½ins high by 123cm.; 48ins wide £1000-1500

98 A case of three Buzzards by Hibbs of Ollerton late 19th century including Ruff Legged, Honey and Common 74cm.; 29ins high by 123cm.; 48ins wide £1000-1500

99 A case of various Kestrels and Merlins by Hibbs of Ollerton dated 1894 with full data on reverse 75cm.; 29½ins high by 90cm.; 35½ins wide £1000-1500

100 An impressive case of Whooper Swans by Hibbs of Ollerton circa 1890 with trade labels and details 109cm.; 43ins high by 148cm.; 58ins wide ÂŁ800-1200

101

102

A pair of Bean Geese by Hibbs of Ollerton

A case of an assortment of Warblers

dated to the reverse

including a Blue Throated and several small British birds including a Nightingale and a

86cm.; 34ins high by 96cm.; 37½ins wide £200-300

Robin with full data on reverse 1892-1894 by Hibbs of Ollerton 74cm.; 29ins high by 71cm.; 28ins wide £200-300 103 A case containing an assortment of Shrike species late 19th century 74cm.; 29ins high by 71cm.; 28ins wide £400-600 87

104 A very early pair of Egyptian Geese by Leadbeater & Son of London circa 1830 74cm.; 29ins high by 114cm.; 45ins wide £200-300

105 A very early pair of Geese by Leadbeater & Son of London circa 1830 74cm.; 29ins high by 114cm.; 45ins wide £200-300

106

107

A Golden Eagle

early 20th century

87cm.; 34ins high by 58cm.; 23ins wide

85cm.; 33½ins high by 57cm.; 22½ins wide

£400-600

£500-800

108

110

A pair of Sea Eagles

An Osprey with a fish in an all-glass case

dated 1891 96cm.; 38ins high by 106cm.; 41½ins wide £600-1000 109 A pair of Peregrine Falcons early 20th century 53cm.; 21ins high by 71cm.; 28ins wide £300-500

early 20th century 71cm.; 28ins high by 52cm.; 20½ins wide £500-800

111 A pair of Eagle Owls late 19th century 89cm.; 35ins high by 99cm.; 39ins wide £800-1200

112 A pair of exotic Shags late 19th century 60cm.; 24ins high by 83cm.; 32½ins wide £200-300

113 A case containing two Toucans and an assortment of Australian Parrots and Pittas circa 1900 86cm.; 34ins high by 99cm.; 39ins wide £600-1000 92

114

115 A case of three A case containing various male Pheasants and colourful Exotic birds a female Pheasant circa 1900 circa 1900 including Spangled Cotinga, a 86cm.; 34ins high Pompadore Continga, a Regent by 99cm.; 39ins Bower bird and a pair of Rollers wide 86cm.; 34ins high by 99cm.; 39ins wide £200-300 £700-900

116 A case containing assorted exotic Pheasants circa 1900 including a silver and golden Pheasant 86cm.; 34ins high by 99cm.; 39ins wide £200-300

119 A Kestrel in an all-glass case by Rowland Ward 117

circa 1920

A family of Sparrow Hawks with nest and chicks

54cm.; 21ins high by 53cm.; 21ins wide

early 20th century 76cm.; 30ins high by 65cm.; 25½ins wide £300-500 118 A pair of Ducks late 19th century 58cm.; 23ins high by 81cm.; 32ins wide £150-250

Rowland Ward (1848-1912) the most celebrated of all taxidermists, operated from premises in Piccadilly. Here, he catered to Dukes and Duchesses, the rich and famous, and sportsmen the world over. He was so successful, and his reputation so great, that following his own death in 1912, the company he founded stayed in business for another 60 years, despite the general decline in interest in taxidermy through the twentieth century. During this period, the firm employed hundreds of workers, and was always renowned for the high quality of the work produced and the top quality standards maintained by its employees. Ward himself made many innovations in terms of taxidermy, and always maintained that a good taxidermist was not simply a craftsman but an artist and that he or she should be regarded as nothing less. £300-500 93

120

122

124

A pair of Hoopoe’s

A pair of Quails

A pair of Wax Wings

late 19th century

34cm.; 13ins high by 31cm.; 16ins wide

28cm.; 11ins high by 32cm.; 12½ins wide

38cm.; 15ins high by 37cm.; 14½ins wide

£120-180

£80-120

£300-500

121

123

125

A pair of Corn Crakes

A pair of little Owls

A Stoat

circa 1900

late 19th century

27cm.; 10½ins by 47cm.; 18½ins

37cm.; 14½ins high by 44cm.; 17½ins wide

35cm.; 14ins high by 42cm.; 16½ins wide

£80-120

£100-150

£60-80

126

128

130

A pair of Snow Buntings, a pair of Larks and other small birds collected in 1891 by Hibbs of Ollerton

A pair of grey Partridges

An immature Cuckoo

circa 1860

late 19th century

39cm.; 15½ins by 69cm.; 27ins wide

30cm.; 12ins high by 37cm.; 14½ins wide

38cm.; 15ins high by 45cm.; 17½ins wide

£200-300

£80-120

£100-200

129

131

127

A pair of American Flickers

A pair of California Quails

A pair of Water Rails

late 19th century

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

34cm.; 13½ins high by 61cm.; 24ins wide

£80-120

£100-150

33cm.; 13ins high by 55cm.; 21½ins wide £100-150

132 A pair of Bee Eaters late 19th century 34cm.; 13½ins high by 41cm.; 16ins wide £100-150 133 A pair of Parrots late 19th century 38cm.; 15ins high by 51cm.; 20ins wide £80-120 134 A pair of Sparrow Hawks circa 1900 47cm.; 18½ins high by 58cm.; 23ins wide £120-180 96

135

137

A case of mixed British birds including a Cuckoo

A pair of Kestrels by A. C. Foot of Bath

late 19th century

46cm.; 18ins high by 61cm.; 24ins wide

53cm.; 21ins high by 89cm.; 35ins wide

circa 1900

£100-150

£80-120 138 136 A Heron

A collection of various water birds

late 19th century

59cm.; 23ins high by 68cm.; 26½ins wide

47cm.; 18½ins high by 60cm.; 23½ins wide

£100-200

139

141

143

A pair of Ruffs

A pair of Ptarmigan

circa 1890

late 19th century

A pair of Short Eared Owls

38cm.; 15ins high by 61cm.; 24ins wide

47cm.; 18½ins high by 67cm.; 26½ins wide

£100-150

£100-200

late 19th century 55cm.; 21½ins high by 73cm.; 28½ins wide £150-200

140

142

A pair of Ruffs

A pair of Wood Ducks

144

circa 1890

A pair of Cockatoos

45cm.; 17½ins high by 71cm.; 28ins wide

57cm.; 22½ins high by 72cm.; 28ins wide

late 19th century

£100-150

63cm.; 24½ins high by 75cm.; 29½ins wide £150-250

145

147

149

A Barn Owl

An assortment of British and Tropical birds

A Brown Phase Falcon

late 19th century 40cm.; 16ins high by 34cm.; 13½ins wide

late 19th century

60cm.; 24ins high by 47cm.; 18½ins wide

£100-150

63cm.; 25ins high by 46cm.; 18ins wide

£250-400

146

£80-120

A pair of Cockatoos late 19th century 46cm.; 18ins high by 53cm,; 21ins wide £100-150

148 A pair of Barn Owls late 19th century 45cm.; 17½ins high by 62cm.; 24½ins wide £100-150

20th century

150

152

154

A pair of Starlings

A Greenshank

A Snowy Owl

late 19th century

early 20th century

late 19th century

33cm.; 13ins high by 49cm.; 19ins wide

38cm.; 15ins high by 51cm.; 20ins wide

66cm.; 26ins high by 51cm.; 20ins wide

£100-150

£80-120

£200-300

151

153

A black Grouse

A pair of Tawny Owls

early 20th century

circa 1900

46cm.; 18ins high by 50cm.; 19½ins wide

61cm.; 24ins high by 61cm.; 24ins wide

£80-120

155

157

A pair of Peregrine Falcons

A pair of Goosanders

late 19th century

61cm.; 24ins high by 81cm.; 32ins wide

55cm.; 21½ins high by 91cm.; 36ins wide

£200-300

£120-180 156 A pair of Herring Gulls with data label to rear dated February 22, 1895 80cm.; 31ins high by 118cm.; 47ins wide £200-300

158 A Black Grouse late 19th century 74cm.; 29ins high by 83cm.; 32½ins wide £200-300

100

159

160

162

A case of two Guillemots and a Puffin by T. Guest Halifax

An Oyster Catcher and a female Teal

A common Buzzard by Salkeld of Over Kellet

late 19th century 55cm.; 21½ins high by 69cm.; 27ins wide

circa 1890 50cm.; 20ins high by 68cm.; 26½ins wide £100-150

£200-300

circa 1930 56cm.; 22ins high by 36cm.; 14ins wide £200-300

161

163

An immature Herring Gull with a Duck and Grebe

A Sparrowhawk, by Hutchinson of Derby

circa 1880

73cm.; 29ins high by 84cm.; 33ins wide

61cm.; 24ins high by 49cm.; 19ins wide

£100-200

£100-200 101

164 An unusual breakfront overmantle divided into 3 sections circa 1860 containing a collection of Butterflies and Parrots and Parakeets, Australian and South East Asian 115cm.; 45ins high by 173cm.; 68ins wide ÂŁ300-500

102

167 A Gyrfalcon 1st half 20th century 42cm.; 16½ins high £250-400

165

168

A Gyrfalcon

A dark phase Gyrfalcon

circa 1900

1st half 20th century

50cm.; 19½ins high

£250-400

166 A group of five birds of prey including an immature Goss Hawk £150-250

103

169 A pair of Red Kites mounted on branches early 20th century overall 71cm.; 28ins high ÂŁ600-1000

170 A collection of four Falcons and Hawks including a Sparrowhawk and Kestrel mid 20th century ÂŁ100-200

104

172 A mounted Snowy Owl 1st half 20th century 42cm.; 16½ins high £250-400

171 A Snowy Owl 1st half 20th century 56cm; 22ins high £100-200

105

176

175

175 173 174 174 173

175

An Ural Owl

A group of four Owls, three Long Eared Owls and another

early 20th century 52cm.; 20½ins high £100-200 174 A pair of Scops Owls mid 20th century 25cm.; 10ins high £100-200

early 20th century £150-250 176 An American Eagle Owl mid 20th century 52cm.; 20½ins high £50-100 177 A pair of large Owls early 20th century 55cm.; 21½ins long £200-300

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178 A collection of wading birds including an Oyster Catcher, a Bar Tailed Gobwit, a Knot etc 1st half 20th century £150-200

179 A collection of Scottish birds comprising Red Throated Diver, Red Grouse, Golden Plovers etc. early 20th century £150-250

180 A collection of mounted game birds comprising a brace of Pheasants, a grey Partridge and a Jay mid 20th century £120-180

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

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

2016 Sale Dates: 13th April 2016 Sotheby's New Bond Street 29th August 2016 Gleneagles Hotel, Per thshire Scotland 7th December 2016 Sotheby's New Bond Street London

Forthcoming Auction: 13th April 2016 Viewing at Sotheby's 34-35 New Bond Street London W1A 1AA 12th April 13th April

9am to 4.30pm 9am to 1pm

Auction at 2pm For fur ther information about this sale or to order a catalogue please call: Tel. 01798 875300 View online at www.gavingardiner.com

GLOSSARY OF TERMS

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

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

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

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

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

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(iii)

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

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

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

(ii)

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

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

GUIDE FOR PROSPECTIVE BUYERS 1. Buyer’s Premium Rates The buyer’s premium payable by the buyer of each lot is at a rate of 25% on the first £50,000, then 20% up to £250,000 and 12% on the amount by which the hammer price exceeds £250,000, plus an amount in respect of VAT thereon (see below). 2. VAT on Hammer Price and Buyer’s Premium and VAT Symbols in the Catalogue Property with no VAT symbol Where there is no VAT symbol, Summers Place Auctions Ltd are able to use the Auctioneer’s Margin Scheme and VAT will not normally be charged on the hammer price. Summers Place Auctions Ltd must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at 20% on this premium, which will not be shown separately on the invoice. Property with a † symbol These items will be sold under the normal UK VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premium. Property with a α symbol It is assumed that items sold to buyers whose address is in the European Union (EU) will be remaining in the EU. The property will be invoiced as if it had no VAT symbol. It is assumed that items sold to buyers whose address is outside the EU, will be exported from the EU. The property will be invoiced under the normal VAT rules (see ‘Property with a † symbol above). Property sold with a ‡ or Ω symbol These items have been imported from outside the EU to be sold at auction under temporary importation. When Summers Place Auctions Ltd release such property to buyers in the UK, the buyer will become the importer and must pay Summers Place Auctions Ltd import VAT at the following rates on the hammer price: ‡ @ 5% Ω @ 20% Summers Place Auctions Ltd must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at 20% on this premium, which will not be shown separately on the invoice. VAT Refunds VAT may be cancelled or refunded on export if strict conditions are met. For advice, please contact us on 01403 331 331. Sales and Uses Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of items following

purchase (for example, the Use Tax payable on import of purchased items to certain states of the USA). Buyers should obtain their own advice in this regard. Artist’s Resale Right Purchase of lots marked with the following symbol s will be subject to payment of the Artist’s Resale Right, at a percentage of the hammer price calculated as follows: Portion of the hammer price (in €) Royalty Rate From 0 to 50,000 4% From 50,000.01 to 200,000 3% From 200,000.01 to 350,000 1% From 350,000.01 to 500,000 0.5% Exceeding 500,000 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to a maximum royalty payable of €12,500 for any single work each time it is sold. The maximum royalty payable of €12,500 applies to works sold for €2 million and above. Calculation of the artist’s resale right will be based on the Pounds Sterling / Euro reference exchange rate quoted on the date of the sale by the European Central Bank. Property with a ´ symbol. Some of these items require specialist dismantling and may not be available for immediate collection after the sale. Intending purchasers should check the status of these lots before the sale. 3. Before the Auction Pre-sale Estimates Pre-sale estimates are intended as a guide for prospective buyers but all lots can realise prices above or below the pre-sale estimates. Seller’s confidential reserves are set no higher than the low pre-sale estimates, except in the rare circumstance in which the reserve has been set in a foreign currency and the exchange rate has fluctuated. It is advisable to consult us nearer the time of sale as estimates can be subject to revision. The estimates printed in the auction catalogue do not include the buyer’s premium or VAT. Provenance In certain circumstances, Summers Place Auctions Ltd may print in the catalogue the history of ownership of a work of art if such information contributes to scholarship or is otherwise well known and assists in distinguishing the work of art. However, the identity of the seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded to accommodate a seller's request for confidentiality or because the identity of prior owners is unknown given the age of the work of art. 111

C.I.T.E.S. All the relevant lots in this sale have been carefully vetted, mindful of current C.I.T.E.S. regulations, concerning the sale of endangered species. We are happy to provide advice on any lots, to overseas buyers concerning export restrictions. However, it is ultimately the buyers responsibility to satisfy themselves that the correct licenses can be obtained prior to bidding. Condition of Lots All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 3 of the Conditions of Business for Buyers. Electrical and Mechanical Goods All electrical and mechanical goods are sold on the basis of their artistic and decorative value only, and should not be assumed to be operative. It is essential that any electrical system is checked and approved by a suitably qualified electrician, prior to use. 4. The Auction Auction speeds vary, and generally average between 50 and 120 lots per hour. The auctioneer will commence and advance the bidding at levels and in increments he considers appropriate (generally in increments of approximately 10% of the previous bid) and is entitled to place a bid or series of bids on behalf of the seller up to the reserve on the lots, without indicating he is doing so and whether or not other bids are placed. Please note Conditions 5 and 6 of the Conditions of Business for Buyers contain additional information on bidding. Bidding in Person To bid at auction you must register with us to obtain a bidding number. Before the auction, fill in the form at the registration desk, provide proof of identity, and you may be given a paddle showing your bidding number. This paddle should be used for bidding. The auctioneer will note this number when you purchase a lot Live Auctions The auction takes place in the gallery with each lot displayed on a plasma screen as it is sold. Prospective purchasers are encouraged to attend the sale and must register their details with us beforehand. Bidding is by numbered paddle. Absentee Bids If you cannot attend the auction we will be happy to execute written bids on your behalf, so long as you have registered your

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details with us beforehand. A bidding form may be downloaded from www.summersplaceauctions.com website. A bidding form is also printed in the back of the catalogue. This service is confidential. Lots will always be bought as cheaply as is consistent with other bids, the reserves and other commission bids. To avoid confusion, the sale date, lot number and a brief description should be filled in and signed. Commission bids by email without a signature will not be accepted. In the event of identical bids, the earliest received will take precedence. Always indicate a top limit, i.e. the highest price you would bid if you were attending the auction. Don’t forget that buyers premium and any VAT applicable will also be added onto your bid if you are successful. “Buy” and unlimited bids will not be accepted. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues. To ensure a satisfactory service please ensure that we receive your bids at least 24 hours beforehand. The fax number for absentee bids is 00 44 (0)1403 331340. Telephone bids If you cannot attend the auction, it is usually possible to bid on the telephone on lots with a minimum low estimate of £1,000. You will need to have registered your details with us 5 days before the auction. As the number of telephones is limited, it is necessary to make arrangements on which lots you wish to bid on, at least 24 hours before the sale. We also suggest that you leave a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues. Sealed bids For further information see page 116. Sale by private treaty Summers Place Auctions shall, from time to time, be offering some lots for sale by Private Treaty in our architectural portfolio. These will usually comprise larger pieces of an architectural nature, which will require a longer period of planning and consultation than an auction can provide. Additionally if you are looking for a specific piece please let us know and we will use our worldwide network of trade and private clients to help source the most suitable item for you. Please contact us for further information. Payment Payment is due in sterling immediately after the sale and before purchases can be released. Payments in person can be made in the saleroom on the day of the auction and thereafter. Payments may also be made by post, card transactions by telephone or electronic transfer to our bank. Cash will not be accepted. Summers Place Auctions Ltd welcome the following methods of payment:

Credit/Debit Card We are pleased to accept major credit cards (regrettably we are unable to accept American Express or Diners Club card payments), for which a surcharge will be made of 3% + VAT of the transaction total. This is to cover the charge made to us by our bank. There is no charge for payments made by debit card. Sterling Banker’s Draft or Building Society Cheque and Electronic or Wire Transfer Drawn on a recognised UK bank or building society. Wire Transfers can be made directly to our Bank, NatWest, Billingshurst Branch, 57 High Street, Billingshurst, West Sussex RH14 9FJ. A/C 66025206, sort code 60 02 31. IBAN GB79 NWBK 6002 3166 0252 06. BIC NWBK GB 2L. Please contact us for further details. Sterling Cheque Cheques should be made payable to Summers Place Auctions Ltd. Please note that we require seven days to clear sterling cheques where the amount exceeds the cheque card guarantee limit, unless special arrangements have been made with the auctioneer in advance of the sale (normally the presentation of a letter of guarantee from your bank). We always reserve the right to hold goods until a cheque is cleared. Collection and Storage On receipt of cleared funds, lots can be collected from the Walled Garden, Stane Street, Billingshurst, West Sussex, RH14 9AB by appointment. If you are unable to collect your purchases yourself we would be delighted to obtain shipping quotes on your behalf. If Lots have not been collected within 35 days of the auction date then storage charges may be applied at a rate of £20 per Lot per week. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, Summers Place Auctions accept no responsibility for any damage which may occur, even in the event of Summers Place Auction staff assisting carriers during collection. Summers Place Auctions also reserves the right to charge storage fees of £10 per lot, per week, for any pieces left at Summers Place over a longer period than six months irrespective of whether they have been entered into sale or not. Shipping We are happy to arrange shipping quotations and have extensive experience in working in conjunction with leading domestic and international shippers. There is no charge for arranging quotations.

CONDITIONS OF BUSINESS FOR BUYERS 1. INTRODUCTION (a) The contractual relationship of Summers Place Auctions Ltd and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from Summers Place Auctions Ltd (iii) Summers Place Auctions Ltd ‘s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer's announcement. (b) As auctioneer, Summers Place Auctions Ltd acts as agent for the Seller. Occasionally, Summers Place Auctions Ltd may own or have a financial interest in a lot. 2. DEFINITIONS "Bidder" is any person making, attempting or considering making a bid, including Buyers; "Buyer" is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; "Seller" is the person offering a lot for sale, including their agent, or executors; “"Buyer’s Expenses" are any costs or expenses due to Summers Place Auctions Ltd from the Buyer; "Buyer’s Premium" is the commission payable by the Buyer on the Hammer Price or winning sealed bid price at the rates set out in the Guide for Prospective Buyers; "Hammer Price" is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; "Purchase Price" is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; "Reserve Price" (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable. 3. EXAMINATION OF LOTS (a) Summers Place Auctions Ltd knowledge of lots is partly dependent on information provided by the Seller and Summers Place Auctions Ltd is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of Summers Place Auctions Ltd opinion and not representations of fact. Estimates

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may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at Summers Place Auctions Ltd absolute discretion.

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

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

6. IMPORT, EXPORT AND COPYRIGHT RESTRICTIONS Summers Place Auctions Ltd and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer's sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licenses required by law under the International Trade in Endangered Species (CITES).

5. BIDDING AT AUCTION (a) Summers Place Auctions Ltd has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as Summers Place Auctions Ltd requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case Summers Place Auctions Ltd’s prior and express consent must be obtained). (b) Summers Place Auctions Ltd advises Bidders to attend the auction, but Summers Place Auctions Ltd will endeavour to execute absentee written bids provided that they are, in Summers Place Auctions Ltd’s opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to Summers Place

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7. CONDUCT OF THE AUCTION (a) The auctioneer has discretion to refuse bids, withdraw or reoffer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer's hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business. 8. PAYMENT AND COLLECTION (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date"). (b) Title in a lot will not pass to the Buyer until Summers Place Auctions Ltd has received the Purchase Price in cleared funds. Summers Place Auctions Ltd will not release a lot to a Buyer before payment. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 35 working days of the auction. Purchased lots are at the Buyer's risk from the fall of the hammer. (e) All packing and handling of lots is at the Buyer's risk. Summers Place Auctions Ltd will not be liable for any acts or omissions of third party removers or shippers.

9. REMEDIES FOR NON-PAYMENT Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, Summers Place Auctions Ltd may in its sole discretion exercise one or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by Summers Place Auctions Ltd against any amounts owed to Summers Place Auctions Ltd by the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above NatWest Bank Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at Summers Place Auction Ltd.’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in Summers Place Auctions Ltd’s possession, applying the sale proceeds to any amounts owed by the Buyer to Summers Place Auctions Ltd. Summers Place Auctions Ltd shall give the Buyer 14 days written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings.

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

10. FAILURE TO COLLECT PURCHASES (a) If the Buyer pays the Purchase Price but does not collect the lot within 35 days of the auction, the lot may be stored at the Buyer's expense and risk at Summers Place Auctions Ltd’s premises or in independent storage. (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, Summers Place Auctions Ltd will re-sell the lot by auction or privately, with estimates and reserves at Summers Place Auctions Ltd’s discretion. The sale proceeds, less all Summers Place Auctions Ltd’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction. 11. DATA PROTECTION (a) Summers Place Auctions Ltd will use information supplied by Bidders or otherwise obtained lawfully by Summers Place Auctions Ltd for the provision of auction related services, client administration, marketing and as otherwise required by law.

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SUBSCRIPTIONS

Sealed Bid – How it works

To subscribe to Garden, Design & Natural History catalogues and/or the Evolution catalogue please complete the box below with your debit/credit card and contact details. Upon lapse of the subscription we will be in contact to determine if you wish to renew your subscription. Catalogues are printed approximately 4-5 weeks prior to the sale date and are mailed to subscribers immediately. Live/Sealed Bid sale £10 if collected from Summers Place Auctions Gallery Please tick appropriate box and return to Summers Place Auctions Ltd Sales

Date

No of Sales

Price

GS16 April, June, October 2016

£40 n

EV16 November 2016

£15 n

2016

£50 n

2016

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

First you require a catalogue. Once you have the catalogue, you need to register your interest in bidding. This can be done quickly and simply by presenting one of our viewing staff with some photographic ID (a modern driver’s license or passport is ideal) or by scanning a copy and emailing it to us. We will take a copy of the ID and a registration form can be completed. Next give us your bid(s). This can be done by filling in the bidding slip found in your catalogue. If you are sending your bidding slip to Summers Place Auctions by post, please mark the envelope “Sealed Bid” so that we know it contains a sealed bid and do not open it accidentally. Bids may also be sent by e-mail. If you choose to send the bid electronically, please e-mail sealedbids@summersplaceauctions.com . This is a closed mailbox and will not be opened before the advertised time. However, we strongly recommend that if you have not viewed the sale in person, that you ask for condition reports on any lots you are thinking of leaving bids on. Sealed bid auctions differ from established auctions in that the bid left is the bid that will be exercised in full. Therefore, if you decide to leave a bid of, say, £900 on the lot estimated at £800-£1000 and there is no higher bid, (where two identical bids are received, the earliest received bid will take precedence), £900 will secure the lot subject to buyer’s premium and VAT on the premium. We will contact you if you have been the successful bidder to inform you of the lot or lots that you have purchased, so that you can make payment and make arrangements for delivery. We have had many years of experience dealing with both UK carriers and international shippers and are happy to obtain quotations and facilitate transport and shipping of single lots and multiple purchases to anywhere in the world. Bids will be opened on Thursday 7th April and sales results will appear on the Summers Place Auctions website. Please be mindful that we will have to process a large number of bids, which does take time. However, we will endeavour to get this accomplished as quickly as possible and will expect to have the results of the sale posted by the end of the day. If you have never bid in a sealed bid sale before, here are some things to be aware of as regards leaving bids for this auction: Every lot in the sale has a fixed reserve, (the minimum price for which the lot can be sold) and this is never above the low estimate, it can be slightly below, but in the vast majority of cases it is the low estimate. The highest bid (as long as it is on or above the reserve) will be the winning bid. This is the “hammer price” that the lot will be sold for.

............…………………………………………………… Email..........……………………………………………… Tel No……………...................................................... Credit/debit card type..............................................

You should consider leaving a bid of an odd amount in pounds, for example, rather than bidding £1,000, try say £1,004, as many lots have been bought for the sake of the odd £1! You can tailor your bid in ways that are impossible to do in a live auction. For example, if you really like three lots, but only need one, and the piece you like the most is later in the sale, simply mark your order of preference. As long as your instructions are clear, having looked at any other bids left on the lots, we will do our best to comply with your preferences.

Card no .................................................................... In the event of two identical highest bids, the earliest bid received with take precedence.

Expiry date ....................Issue Number …………….. 3 digit security number on reverse of card ............ Amount to be debited.............................................. Signature .................................................................

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An auction price is made up of different components: the winning bid is called the “hammer price”; A commission, which is in addition to the “hammer price”, is payable to the auctioneers. This is known as the buyers premium, on which VAT is also payable. Lots marked with s are subject to Artist Resale Right (ARR), which is 4% of the “hammer price”. All lots that have additional VAT are clearly marked in the catalogue with a †.

Sealed bid auction lots 200-554 All sealed bids must be with us, at the latest, by 5pm BST on the 6th April since the bids will be opened on the 7th April. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. For further information on sealed bids and how they work see page 116.

200 A pair of wrought iron gates

201

2nd half 19th century

late 19th century

each gate 188cm.; 74ins high by 343cm.; 135ins wide overall

148cm.; 58ins high by 109cm.; 43ins wide

A wrought iron gate

ÂŁ400-600

ÂŁ1500-2500

117

202

203

A pair of wrought iron gates

2nd half 19th century

mid 20th century

240cm.; 95ins high by 274cm.; 108ins wide overall

194cm.; 66ins high by 200cm.; 79ins wide

ÂŁ1000-1500

118

ÂŁ300-500

204

206

A pair of wrought iron gates

A set of ten cast iron bollards with chain

early 20th century

276cm.; 116ins wide overall

with maker’s stamp W A Baker & Co., Newport

£500-800

63cm.; 25ins high excluding base rebate

205

£600-800

A pair of wrought iron gates circa 1880 300cm.; 118ins high by 346cm.; 136ins wide £800-1200

119

207 A wrought iron estate gate 2nd half 19th century 137cm.; 54ins high by 274cm.; 108ins long £400-600 208 A similar wrought iron estate gate £400-600 209 A pair of wrought and cast iron estate gates early Victorian 122cm.; 48ins high by 304cm.; 120ins wide overall Removed from a small estate near Dorking which was finished in 1839. £400-600

120

210 A wrought iron haut vent arbour French, mid 20th century 5m.; 16ft 5in long by 3m.; 9ft 10in wide ÂŁ1000-2000 211 A wrought iron rose arch modern 269cm.; 106ins high by 158cm.; 62ins wide ÂŁ300-500

121

212 A pair of carved Portland stone armorial gatepier tops circa 1870 each carved with weapons of war surmounted by plumed helmets and monogrammed VR 135cm.; 53ins high The following two lots were removed from the

122

Knightsbridge Barracks, on the south side of Hyde Park, London, following it’s demolition in the 1960’s. The building was originally commissioned in 1855 by the War Office and the design awarded to the architect T.H.Wyatt and his brother M.D.Wyatt. Construction began in 1878 and was completed in May 1880.

The buildings, of ‘palatial appearance and magnitude’, were in a mixed classical style, chiefly Renaissance Italian but with a strong French influence evident, particularly in the roofs of the main barrack blocks – most appropriate to the boulevard-like location. They were faced in red brick with Portland-stone dressings and sculptured

decoration. The barracks façades were among T. H. Wyatt’s most accomplished publicbuilding designs, and the new barracks itself was acknowledged by the army to be ‘the finest in the kingdom’ in its standards of accommodation and sanitation. These impressive carved Portland stone armorial

devices were located on the gate piers on the South Barrack front. (See engraving). They are carved with regimental standards, weapons and the VR royal monogram for Victoria Regina, beneath the distinctive cavalry helmets. The present Knightsbridge barracks, designed by the British Architect Basil Spence and completed in 1970 has received mixed press and was voted number eight in a Country Life poll of Britain’s “top ten eyesores”. It does, however, incorporate some of the fixtures from the earlier T.H.Wyatt barracks, including the carved stone pediment. Knightsbridge Barracks is the base for the Household Cavalry Mounted Regiment, which is horsed and carries out mounted (and some dismounted) ceremonial duties on State and Royal occasions in London. These duties include the provision of a Sovereign’s Escort, most commonly seen at the present Queen’s Birthday Parade (Trooping the Colour) in June each year. Other occasions include those during State visits by visiting Heads of State, or whenever required by the British monarch. The

regiment also mounts the Queen’s Life Guard at Horse Guards, which consists of one squadron from each regiment. £4000-6000 213 A similar but not identical pair of carved Portland stone gatepier tops circa 1870 £4000-6000 123

214

215

A wrought iron gazebo

A pair of Bath stone gatepiers surmounted by composition stone eagles

1st half 20th century with later lower section 386cm.; 152ins high by 305cm.; 120ins diameter ÂŁ1500-2000

124

19th century and later 297cm.; 117ins high ÂŁ2000-3000

216

217

A set of five travertine marble columns

A wrought iron entranceway

Italian, possibly 16th or 17th century

early 20th century

each with square base and capital

230cm.; 91ins high by 249cm.; 98ins long by 56cm.; 22ins deep

165cm.; 65ins high

ÂŁ500-800

ÂŁ800-1200

125

219 A pair of oak pedestal column lamps Northern European, 20th century 198cm.; 78ins high 218 A pair of Languedoc marble columns French, 17th/18th century each with moulded top and base 336.5cm.; 132½ins high £600-1000 126

£200-400

220 A pair of carved marble lanterns on pedestals Indian, 2nd half 20th century 135cm.; 55ins high £1500-2500

221 A carved black marble torchère late 20th century 183cm.; 72ins high

222

£1000-2000

A set of four polychrome wood Solomonic columns Italian, 18th/19th century decorated to simulate marble, on giltwood bases one base missing 224cm.; 88½ins high £800-1200

223 A pair of Languedoc marble columns French, 17th/18th century each with moulded base 356cm.; 140½ins high £600-1000

127

224 & 225 lantern tops

224 A pair of Victorian cast iron lamp posts with later cast iron lanterns 357cm.; 140ins overall, height out of ground 292cm.; 115ins ÂŁ2500-4000 225 A similar pair of Victorian cast iron lamp posts with later cast iron lanterns ÂŁ2500-4000

128

226 A pair of wrought iron pier lamps with copper lanterns early 20th century mounted on associated Portland stone bases 167cm.; 66ins high ÂŁ2500-4000 227 A similar pair of wrought iron lamps with copper lanterns ÂŁ2500-4000

129

228 An Edwardian octagonal bronze pier lantern early 20th century 96cm.; 38ins high ÂŁ1000-1500 229 An Anglo-Chinese style brass hanging lantern early 20th century set with oriental pierced jade panels 79cm.; 31ins high ÂŁ2000-3000 230 A sheet copper weathervane in the form of a Cockerel mid 19th century 122cm.; 48ins high, together with another sheet iron flag weathervane 160cm.; 63ins high ÂŁ400-600

130

231

232

A wrought iron and copper weathervane

A copper and carved limestone armillary sundial

circa 1880 on later wooden dovecote base

modern

287cm.; 113ins high

ÂŁ1200-1800

153cm.; 60ins high

ÂŁ700-1000 131

233

234 †

235 †

A granite wrought iron and aluminium armillary sundial

A carved limestone sundial pedestal modern

A Louis XV style carved limestone pedestal

made up using early 20th century components

113cm.; 44½ins high

modern

£500-800

115cm.; 45ins high

190cm.; 75ins high £300-500

132

£500-800

236

237

238

239

A Georgian style carved white marble pedestal

A cast iron and copper mounted armillary sundial

modern

A carved serpentine marble column pedestal

144cm.; 57ins high

on 19th century cast iron pedestal and stone base

An unusual blue and pink scagliola column pedestal

£300-500

19th century

2nd half 19th century

170cm.; 67ins high; base 76cm.; 30ins diameter

106cm.; 42ins high

112cm.; 44ins high

£800-1200

£600-800

£350-550 133

240

242

An unusual carved limestone bird table

A pair of large composition stone balls

early 20th century

2nd half 20th century

193cm.; 76ins high

52cm.; 20½ins diameter

£1200-1800

£300-500

241 A set of three carved Bath stone staddlestones 58cm.; 23ins high by 63cm.; 25ins diameter £1500-2500

134

243 A set of four composition stone balls modern 38cm.; 15ins diameter ÂŁ800-1200 244 A similar set of four composition stone balls ÂŁ800-1200 245 A bronze figure of St. George mounted on limestone column 2nd half 20th century figure 66cm.; 26ins high, overall height 360cm.; 142ins ÂŁ1800-2500

135

246

248

A collection of carved stone and marble architectural fragments

A pair of Siena Brocatelle corbels

including a wall plaque dated 1834, a mill stone and wheel, a carved stone niche top, two 18th century carved stone urn tops, two paw carved gate pier bases and the frieze from an 18th century Rococo stone fireplace the millstone 115cm.; 45ins diameter ÂŁ400-600 247 A carved white marble architectural frieze in sections 2nd half 18th century 40cm.; 16ins high by approximately 670cm.; 22ft ÂŁ100-200 136

Italian, 19th century 46cm.; 18ins high ÂŁ300-500

249 A set of five Ketton stone architectural keystones circa 1860 each one 51cm.; 20ins high £300-500 250 A pair of carved black marble paw feet 2nd half 19th century

251

originally from a chimneypiece

A collection of six cast iron hoppers

16cm.; 6¼ins wide

including a pair dated 1939

£300-500

67cm.; 26ins high by 76cm.; 30ins wide £500-800

137

252

254

An Edwardian carved white marble chimneypiece frieze with frolicking putti

A bronzed fibreglass wall panel with a pair of horses’ heads

early 20th century 16cm.; 6½ins high by 125cm.; 49ins long

last quarter 20th century 153cm.; 60ins high by 276cm.; 109ins wide by 100cm.; 39ins wide

£2000-3000

Removed from Camden Lock Market

253

See footnote to lot 38

A pair of carved gilded oak architectural corbels

£500-800

French, 19th century

255

114cm.; 45ins high

A similar bronzed fibreglass panel with horses’ heads

£1000-1500

£500-800

138

256 A rare Roman lead anchor 1st-3rd century AD 160cm.; 63ins long ÂŁ1000-1500

139

257

259

A bronze eagle plaque 2nd half 20th century

A large Georgian cast iron pestle and mortar

91cm.; 36ins high

18th century

Originally from a branch of Barclay’s Bank

the pestle 48cm.; 19ins long, the mortar 28cm.; 11ins high

£400-600 258 A cast iron fireback French, late 18th/early 19th century 90cm.; 35½ins high by 81cm.; 32ins wide £500-800

140

£250-400 260 Royal Liver cast iron sign 95cm.; 37½ins high by 64cm.; 25ins wide by 10cm.; 4ins deep £400-600

261

264

A Victorian bell

A Stuart cast iron fireback

dated 1888 and with makers name Taylor & Co., Loughborough with iron ringing fixture the bell 26cm.; 10ins high

dated 1634 and cast with the arms of the City of Bristol and supporters flanked by initials T. H.

£400-600

86cm.; 34ins high by 112cm.; 44ins wide

262

This example which appears to be indistinctly cast with Armies Bristoli has extension side panels stamped T. H which would almost certainly be the initials of the original owner who commissioned it.

A late Georgian bell early 19th century 30cm.; 12ins high Reputedly from a school in Shrewsbury £250-400 263

£1000-1500

A collection of three bells including a Muster bell from R.A.F. Credenhill on wooden bracket the bell 28cm.; 11ins high, together with an Ecclesiastical altar bell and another bell £200-300 141

265 A pair of wrought iron lyre bootscrapers mid 19th century on slate bases 34cm.; 13ins high £250-400

267 A substantial Gothic style cast iron bootscraper mid 19th century on later composition stone base 48cm.; 19ins high by 48cm.; 19ins long £600-1000

266 A cast iron Terrier bootscraper early 20th century 64cm.; 25ins high by 43cm.; 17ins wide by 4cm.; 1½ins deep £600-800

142

268

270

An Archibald Kenrick & Sons cast iron boot scraper

A late Regency cast iron boot scraper

circa 1850

English, circa 1840

fully stamped to base A Kenrick & Sons 643’, the scraper flanked by mythological winged figures on raised platform with floral motifs

supported on lion paw scroll feet, palmettes and star motifs

40cm.; 16ins wide (see engraving) £250-450

A similar example, number 433 appears in the Kenrick 1840 catalogue at a cost of 4 shillings and three pence £300-500

269 A pair of Victorian cast iron lion and unicorn bootscrapers 2nd half 19th century unicorn 61cm.; 24ins long £700-1000

143

273

271 272

271

272

A Kenrick foundry cast iron bootscraper

A cast iron bootscraper

mid 19th century

with lobed oval tray

in the form of a Lyre

38cm.; 15ins long

28cm.; 11ins high

£100-200

274

A similar bootscraper without tray no.561 is illustrated in the 19th century Archibald Kenrick & Sons.

273

A rare Victorian Coalbrookdale cast iron Eagle door knocker

A cast iron bootscraper

English, circa 1850

mid 19th century on square stone base

fully stamped The Coalbrookdale Co., and Registd. October 28th 1841, 895 and 21

39cm.; 15½ins high

32cm.; 12½ins high

£100-200

This door knocker is illustrated in the 1875 Coalbrookdale catalogue, Section II, No 21.

£100-200

mid 19th century

(See engraving) £500-800 144

277

279 278

276

278 275

A pair of cast iron doorstops

275

276

277

mid 19th century

A pair of Kenrick foundry cast iron doorstops

A pair of cast iron doorstops

cast in the form of cherubs amongst foliage

mid 19th century

37cm.; 14½ins high

cast with foliage and dogs’ heads

in the form of seated lions with armorial shields

£250-400

27cm.; 10½ins high

38cm.; 15ins high

279

£250-400

A pair of cast iron doorstops

mid 19th century each cast with a lion and serpent 36cm.; 14¼ins high A similar doorstop no. 460 is illustrated in the 19th century catalogue of Archibald Kenrick & Sons Ltd. £250-400

mid 19th century cast with scroll decoration 43cm.; 17ins high £250-400

145

281 A Coalbrookdale cast iron octagonal stick stand

280 A Coalbrookdale cast iron hall stand circa 1870 stamped Coalbrookdale and with diamond registration stamp and registration number together with lift out drip tray 205cm.; 81ins high by 76cm.; 30ins wide £800-1200

146

circa 1870

282

with lift out drip trays

A Coalbrookdale foundry cast iron hall stand

84cm.; 33ins high

circa 1870

A slight variation on this stand appears in the 1875 Coalbrookdale Catalogue, Section II, page 232, number 204. (See engraving) £600-1000

with diamond registration stamp and design number, with lift out drip tray 200cm.; 79ins high by 82cm.; 32ins wide This design is registered in the 1875 Coalbrookdale Catalogue, design number 90827, originally registered on 20th April 1853. £800-1200

285 A Carron Foundry cast iron stick stand Scottish, circa 1880 with lift out tray bearing registration stamp 77cm.; 30ins high Similar but not identical stick stands are illustrated in the late 19th century Carron Foundry catalogue £200-400

283

284

A cast iron stick stand attributed to Yates and Haywood foundry

A small Victorian Coalbrookdale cast iron four division stick stand

circa 1860

the supports joined by scrolled floral motifs, egg and dart decoration and lift out drip tray, fully stamped CBDale, no. 249, two registration stamps and numbers 33092

with diamond registration stamp, with lift out drip tray 82cm.; 32ins high by 64cm.; 25ins wide £300-500

English, circa 1885

64cm.; 25ins high by 42cm.; 16½ins wide £250-400

147

286 A wrought iron seat early 20th century

288

246cm.; 97ins wide

A wrought iron seat

£400-600

circa 1900 218cm.; 85ins wide £300-500

287 A reeded wrought iron seat

289

2nd half 19th century legs replaced

A wrought iron games seat A similar wrought iron games seat modern

140cm.; 55ins wide

152cm.; 60ins wide

£600-1000

£500-800

148

290

£500-800

291

293

An unusual wrought iron bench

A wrought iron Arras seat

early 20th century

French, early 20th century

172cm.; 68ins long

with brass maker’s plaque

£600-1000

160cm.; 63ins wide

292

£800-1200

A Regency reeded wrought iron seat early 19th century restored with later additions 183cm.; 72ins wide £2000-3000

149

294

295

A wrought iron strapwork circular seat with treillage canopy

A similar wrought iron strapwork circular seat with treillage canopy

English, modern

£2000-3000

266cm.; 105ins high by 182cm.; 72ins diameter This and the following lot were recently used in the currently running programme Mr Selfridge in the background of his daughter’s wedding at Syon House, Middlesex. Seat of the Duke’s of Northumberland £2000-3000

150

296

297

A pair of strapwork demi-lune seats modern

An unusual Arras wrought iron three tier plant stand

175cm.; 69ins wide

early 20th century

ÂŁ1500-2500

170cm.; 67ins wide ÂŁ500-800

151

298 † An unusual pair of Georgian style wrought iron seats modern with makers stamp DLV 214cm.; 84ins wide £5000-8000

152

299 A Coalbrookdale style Passion Flower pattern aluminium seat 2nd half 20th century 188cm.; 74ins wide This design number 149230 was registered and patented by the Coalbrookdale Iron Foundry at the Public Record Office on 8th February 1862 and is seat no. 32 in their 1875 Castings Catalogue, Section III page 263. (See engraving) ÂŁ600-1000

300 A Coalbrookdale style Nasturtium pattern aluminium seat 2nd half 20th century 180cm.; 71ins wide ÂŁ400-600

153

301 A Coalbrookdale Fern and Blackberry pattern cast iron seat the back indistinctly stamped 152cm.; 60ins wide, together with a rare Fern and Blackberry pattern cast iron chair ensuite See footnote to lot 302 ÂŁ1000-1500

302 A rare small Coalbrookdale Fern and Blackberry pattern cast iron seat last quarter 19th century fully stamped 115cm.; 45ins wide The original design, number 113617, was registered and patented at the Public Records Office on the 30th of April 1858 by Coalbrookdale and is seat number 29A in the castings catalogue of 1875, Section III page 254. ÂŁ600-1000

154

303

305

An unusually long Coalbrookdale Fern and Blackberry pattern cast iron seat

A pair of Coalbrookdale Fern and Blackberry pattern cast iron seats

last quarter 19th century

early 20th century

190cm.; 74½ins wide

112cm.; 44ins wide

See footnote to lot 302

£800-1200

£600-1000 304 A suite of Coalbrookdale style Fern and Blackberry pattern aluminium furniture 2nd half 20th century comprising a seat, two chairs and a table the seat 155cm.; 61ins wide See footnote to lot 302 £500-800

155

307 A cast iron table last quarter 19th century 62cm.; 24½ins diameter £300-500

308 A Victorian cast iron table circa 1880 the under tier stamped Chufton, Birmingham and with inset marble top 55cm.; 22ins diameter £200-300

309 306

A Coalbrookdale style aluminium and granite centre table

A Victorian cast iron table with marble top

last quarter 20th century

circa 1880

105cm.; 41½ins diameter

96cm.; 38ins long

The supports on these are similar to those on the Coalbrookdale bronzed iron occasional table, see lot 29

£250-400

with glazed undertier

£600-1000 156

310 A pair of Victorian style cast iron pub tables English, late 19th/early 20th century decorated with classical female heads, with mahogany top 61cm.; 24ins, together with a further ‘Britannia’ cast iron pub table by Gaskell and Chambers, Blackfriars Rd, S.E., with mahogany top, 59cm.; 23ins diameter £250-450

312 311

A Coalbrookdale cast iron and marble table

A pair of rare Victorian cast iron and marble tables

stamped CBDale and with registration diamond stamp number and model no 72a

2nd half 19th century

72cm.; 28½ins diameter

with replaced marble tops 61cm.; 24ins diameter £800-1200

This appears to be an interesting variation on the Victoria cast iron pub table, number 72 in the 1898 Coalbrookdale catalogue in which the relief oval bust of Victoria has been replaced with a panel cast with the English rose, Scottish thistle and Irish shamrock. (See engraving) £350-550 157

314 A Coalbrookdale Horse Chestnut pattern cast iron seat late 19th century stamped Coalbrookdale and with registration number 190cm.; 75ins wide See footnote and engraving to lot 28 £1500-2500

313

315

A Coalbrookdale Serpent and Grape pattern cast iron seat

A Coalbrookdale cast iron seat

2nd half 19th century 160cm.; 63ins long £250-400

2nd half 19th century 198cm.; 78ins wide This seat appears in the 1875 Coalbrookdale Catalogue, Section III, page 250, number 47. £500-800

158

316 A large carved hardwood seat modern 340cm.; 134ins wide £800-1200

317 A teak Lutyens style seat by Lister 2nd half 20th century with makers plaque 260cm.; 102ins long £800-1200 318 A carved teak seat 1st half 20th century with footrest 187cm.; 73ins wide Reputedly removed from The Royal Hospital, Chelsea where similar examples may be seen. Half the sale proceeds including vendor’s commission will be donated to The Royal Hospital, Chelsea. £400-600

159

319 †

322

A pair of carved limestone benches

A rustic composition stone curved seat

modern

French, mid 20th century

152cm.; 60ins long

178cm.; 70ins wide

£600-1000

£1200-1800

320 † A pair of carved limestone stools modern 51cm.; 20ins wide £300-500 321 † A carved limestone circular table modern 120cm.; 47¼ins diameter £300-500

160

323 A Gallo Antico type marble bench Italian, 1st half 20th century 175cm.; 69ins wide £800-1200

324 A pair of slightly curved white and brêche marble benches made-up using 19th century components 200cm.; 79ins wide £500-800

325 A carved marble table 1950s 200cm.; 75ins long £1500-2500

161

326 Bob Oakes Sculptural Seat Reclaimed & reworked iron Unique 100cm.; 39½ins high by 142cm.; 56ins wide by 51cm.; 20ins deep Born and raised in Ilkeston, Derbyshire Bob studied in Cheltenham before embarking upon a teaching career in Nottingham, at the Elle Guilford School, before developing an interest in architectural blacksmithing, first as an apprentice to Frank Bottomley in 1982 before moving to Hackthorn three years later so he could work from a forge of his own. Bob moved to his current forge in 2001, a substantially larger premises, that allows him to run educational blacksmithing courses to pass the craft on into new hands. £1200-1800 327 Richard Cresswell Butterfly Bench Brushed stainless steel 120cm.; 47ins high by 140cm; 55ins wide by 60cm.; 23½ins deep 162

Cresswell has a background in design and engineering, prior to his decision to take a career break and study art at Warwick College of Art and Birmingham City University. Exhibition History Warwickshire Open Studio Delamore Arts, Ivybridge, Devon Rococo Gardens, Painswick, Gloucestershire Art In The Garden, Broomhill Art Hotel, Devon NHS Institute for Innovation and Improvement, work on loan Showborough House outdoor sculpture event, (2010, 1st prize) The London Group Open Exhibition, Mennier Gallery (2009 awarded John Jones overall winner) BCU Degree Show Alumni 1 Warwickshire College, Leamington. Out to Lunch Warwickshire College, Leamington Newnham Paddox Sculpture Park, Leicestershire. Work on display £1500-2500

328 Morris Cowley Car bench working headlamps 96cm.; 37¾ins high by 160cm.; 63ins wide by 104cm.; 41ins deep £2000-3000

329

330

King & Queen Canoe Chairs

Root Throne

Modern Hardwood 200cm.; 78¾ins high by 82cm.; 32ins wide by 72cm.; 28¼ins deep

Modern Hardwood 210cm.; 82½ins high by 102cm.; 40ins wide by 80cm.; 31½ins deep £800-1200

£1500-2500 163

The following five lots made in cold cast resin incorporating iron filings were made by Philip Thomason of Thomason of Cudworth. Phil is perhaps better known for his numerous commissions in recreating Coadestone using the 18th century Coadestone recipe. The use of resin which incorporates iron filings which will continue patinating over the years is a new project for him at considerably lower cost than the fired clay (Coadestone) examples.

332 † A cold cast iron resin fountain mask of a Sabre Tooth Tiger

331 † A cold cast iron resin lions head fountain mask

41cm.; 16ins high

mouthed plumbed for water

£300-500

40cm.; 16ins high £300-500

333 † A cold cast iron resin lamp with foliate pierced top 71cm.; 28ins high £250-400

334 † A cold cast iron resin wall bird nesting box in the form of a skep beehive on foliate cast bracket 56cm.; 22ins high overall £400-600

164

335 † A small cold cast iron resin wall fountain with bronzed patination dolphin mouth drilled for water 33cm.; 13ins high by 33cm.; 13ins wide £200-400

336 An unusual Arts and Crafts lead wall fountain late 19th/early 20th century both dolphins plumbed for water 100cm.; 39½ins high by 91cm.; 36ins wide £1200-1800

337 Peacock Copper 127cm.; 50ins high by 103cm.; 40½ins wide by 63cm.; 25ins deep Provenance: Originally in the Savill Gardens in Windsor Great Park. Created by Sir Eric Savill, the Deputy Ranger in the 1930s, named after him by George VI, the 35 acres of interconnected gardens include the Hidden Gardens, Spring Wood, the Summer Gardens, the New Zealand Garden, Summer Wood, The Glades, Autumn Wood and the Winter Beds. £2000-3000

165

338

339

A composition stone two tier fountain modern

A composition stone fountain, possibly Austin and Seeley

210cm.; 83ins high by 135cm.; 53ins diameter

mid 19th century and later

ÂŁ2000-3000

with later bowl and plinth 160cm.; 63ins high ÂŁ2500-4000

166

340

341

An octagonal carved white marble bowl on pedestal

A Breccia marble wall fountain

Italian, 2nd half 19th century

Italian, 2nd half 20th century sun mask drilled for water

130cm.; 51ins high

175cm.; 69ins high

ÂŁ1500-2500

ÂŁ2500-3500

167

342

343

A cast iron two-tier figural fountain

A bronze fountain group of dolphins

French, 20th century

mouths plumbed for water, variegated green patination

210cm.; 83ins high by 135cm.; 53ins diameter

183cm.; 72ins high

ÂŁ5000-8000

168

mid 20th century

ÂŁ3000-5000

346 A Handyside foundry cast iron fountain 344

345 †

A terracotta dolphin fountain

A composition stone birdbath

Italian, 2nd half 20th century

modern

on plinth, dolphin mouth drilled for water 150cm.; 59ins high overall £1200-1800

in the form of a staddlelite with ammonite top and staddlestone base 51cm.; 20ins high by 61cm.; 24ins wide

2nd half 19th century 115cm.; 45ins high by 100cm.; 39ins See also footnote to lot 36 £600-1000

£400-600

169

347 A carved lava stone rectangular trough 46cm.; 18ins high by 76cm.; 30ins wide by 180cm.; 71ins long ÂŁ1500-2500 348 A near pair of square granite troughs with circular interior 41cm.; 16ins high by 76cm.; 30ins square ÂŁ800-1200

170

349 An unusual Istrian stone circular fountain base/trough Northern Italian, 18th/19th century 40cm.; 16ins high by 119cm.; 47ins diameter £600-1000

350 A granite trough modern 66cm.; 26ins high by 202cm.; 79½ins wide by 90cm.; 35½ins deep £1200-1800

171

351

353

A pair of lead planters modern

A substantial copper cheese vat

37cm.; 14½ins high

French, 19th century

£600-1000

79cm.; 31ins high by 174cm.; 68½ins diameter

352 A Victorian cast iron circular trough late 19th century now containing an olive tree specimen trough 104cm.; 41ins diameter £600-1000

172

£1200-1800

354 An unusual Arts and Crafts lead planter late 19th/early 20th century 90cm.; 35½ins high

355

£600-1000

A substantial cheese making copper French, 19th century with six rivetted iron support brackets 180cm.; 71ins diameter £1500-2500

356 A large washing copper of rivetted construction 18th/19th century 65cm.; 25½ins high by 86cm.; 34ins £1000-1500 173

357 A Handyside Foundry cast iron urn with old paint finish mid 19th century 79cm.; 31ins high This urn has the rarer dolphin handles rather than the standard classical mask examples which are found on the majority of this pattern of urn. A similar urn is illustrated in their 1850 catalogue. (See engraving) See also footnote lot 36 ÂŁ800-1200

174

358 A rare Swedish cast iron urn 2nd half 19th century the base stamped J & G.G Bolinder, Stockholm 84cm.; 33ins high ÂŁ800-1200

359 After the Antique: A ‘pair’ of Medici and Borghese cast iron urns circa 1860 probably by the Handyside foundry 76cm.; 30ins high From the mid 17th to the late 19th Century the Medici and Borghese urns or “vases” were the most admired of all the antique models and were often paired together. The Medici urn is first recorded in 1598 in the inventory of the Villa Medici, Rome although there is evidence that it was there at least thirty years earlier. In 1780 it was removed to Florence and soon entered the Uffizi where it remains today. The vase was one of the most popularly reproduced antiquities being copied in marble, bronze, terracotta, alabaster and biscuit. It is believed that the original was executed in the second half of the first century A.D. The Borghese urn was first recorded in the garden of Carlo Muti in 1594 by Flaminio Vacca who added that it had been discovered along with the Silenus and Infant Bacchus on Muti’s estate near present day Casino Massimo. In 1645 the urn had found its way into the Villa Borghese where it stayed until purchased by Napoleon in 1807. By 1811 it was on display in the Louvre where it remains today.

360 A pair of cast iron urns French, early 20th century 71cm.; 28ins high £500-800

These urns are illustrated in the 1874 Handyside catalogue No 3 & 3A. £1500-2500

175

362 A pair of cast iron urns on pedestals 2nd half 19th century 80cm.; 31Â˝ins high, together with a pair of stoneware urns on pedestals 104cm.; 41ins high ÂŁ400-600 361 A pair of cast iron rectangular planters French, early 20th century 71cm.; 28ins wide ÂŁ300-500

176

363 A pair of carved white marble urns Italian, 2nd half 19th century 107cm.; 42ins high £3500-5000 364 A carved white marble campana urn 2nd half 19th century 70cm.; 27½ins high £1000-1500

177

365 A rare large Garnkirk fireclay urn

buildings were advertised for sale in 1901. £400-600

circa 1870 stamped Garnkirk

366

81cm.; 32in high

A near pair of Blashfield stoneware urns on pedestals

The Garnkirk factory is recorded as exhibiting “glazed wares” at the 1851 Great Exhibition at Crystal Palace. It seems likely that the Garnkirk Works was originally intended just as a manufactory for firebricks and other utilitarian items but in 1833 the company was already advertising “Ornamental vases after the antique”. It was recognized that the light stone colour of the fireclay admirably suited it to the manufacture of “sculpture, modelling, pottery ware etc.”. The Garnkirk fireclay pits were exhausted in 1895 and the

profusely stamped on urns and pedestals J M Blashfield, Stamford, 1870 84cm.; 33ins high by 56cm.; 22ins diameter See footnote to lot 368 £800-1200 367 A Thomason of Cudworth stoneware urn on pedestal late 20th century stamped Thomason Cudworth 153cm.; 60ins high overall See also page 164 £600-1000

178

367 368 A Blashfield stoneware urn on pedestal circa 1870 stamped Blashfields Patent Pottery 122cm.; 48ins high by 91cm.; 36ins diameter John Marriott Blashfield, remarked in his essay Account of the History and Manufacture of Ancient and Modern Terracotta

(1855) that he had been inspired to make a kind of artificial stoneware by seeing the kind of pieces for which Mark Blanchard had been awarded prizes at the Great Exhibition of 1851. He had a manufactory in Millwall, Poplar with a sales outlet at No. 1 Praed Street, Edgware Road, London, but moved to Stamford, Lincolnshire in 1859, to be nearer the clay-beds. He

won medals for Terra Cotta, in the glass and pottery and architectural objects classes at the International Exhibition in 1862 and a silver medal at the Paris International Exhibition of 1867. One of the most important commissions with which he was involved was supplying architectural terracotta for the decoration of the new Museum of Fine Arts in

Boston, but this undertaking stretched his resources too far and by 1874 the Stamford Terracotta Company works, machinery as well as models and moulds were for sale; it finally closed in 1875. This urn is illustrated in the 1857 Blashfield catalogue, no 175. ÂŁ1200-1800

179

369 & 370 369

170cm.; 67ins high

A rare pair of substantial Austin and Seeley composition stone finials

Felix Austin went into business in 1828 having bought moulds from a firm that had gone out of business. He established works in New Road, London, describing himself

mid 19th century with later galvanised metal tops

180

variously as an architect, statuary mason and sculptor as well as artificial stone maker. His material was not the same as the ceramic body used by Mrs Coade but made from Portland cement, broken

stone, pounded marble and coarse sand (The Builder 1868). However, like Mrs Coade, he encouraged leading architects and designers to work for him. Around 1840 he entered into partnership with John

Seeley. Seeley had trained at the Royal Academy Schools and also made an artificial stone which he called artificial limestone, before entering into partnership with Austin. In 1841 they published their first catalogue, Pleasure Grounds etc. from their address in New Road. The preface begins “Austin’s Artificial Stone is of a light tint, requires no painting or colouring, will not sustain injury from the

severest winter, and, being impervious to wet, is particularly applicable to all kinds of water works. Its superiority is now so thoroughly established, that the most eminent architects and scientific gentlemen have expressed, in their highest terms, their approbation of its durability, and close resemblance to the real stone”. These and the following pair of finials are being

offered as individual lots, however the winning bidder of the first pair will be given the option of purchasing the second pair at the same price.

371

£2000-3000

370

372

A similar pair of substantial Austin and Seeley composition stone finials

A similar set of four composition stone finials

A set of four composition stone finials modern 84cm.; 33ins high

£2000-3000

£2000-3000 181

374 A near pair of carved Portland stone urns circa 1900 90cm.; 35½ins high Removed from Colesgrave Manor, Hertfordshire 373 †

Photocopy of Country Life article available

A pair of carved limestone obelisks

£600-1000

modern 112cm.; 44ins high £500-800

182

375

377

A pair of composition stone basketweave planters on plinths

A pair of composition urns on pedestals

last quarter 20th century 100cm.; 39ins high by 86cm.; 34ins diameter

mid 19th century 96cm.; 38ins high ÂŁ600-800

ÂŁ1200-1800

376 A pair of composition stone basketweave planters 2nd half 20th century 49cm.; 19ins high, together with a pair of late Victorian stoneware charcoal water filters 84cm.; 33ins high ÂŁ400-600

183

379 A pair of substantial Edwardian carved sandstone rectangular planters circa 1900 37cm.; 14½ins high by 107cm.; 42ins long by 65cm.; 25½ins deep £1500-2500

378 A rare and unusual carved sandstone planter/cistern

380

North Country, mid 19th century

A harlequin set of four carved stone campana shaped urns

44cm.; 17ins high by 72cm.; 28ins long This very unusual piece is carved with Celtic style heads together with rustic arches suggesting an early to mid Victorian date when railways were being built in the north of England. £600-1000

20th century including one lobed example average height 81cm.; 32ins high, together with a pair of carved stone urns, 20th century 50cm.; 19½ins high £400-600

184

381 A composition stone urn 2nd half 20th century on associated octagonal pedestal 86cm.; 34ins high ÂŁ200-300

383 382 A pair of 18th century style rustic composition stone planters modern 64cm.; 25ins high ÂŁ600-1000

A collection of four terracotta pots including two hand thrown examples the earliest possibly 18th century and a later pair of smaller examples with laurel branch decoration the tallest 46cm.; 18ins; the pair 30cm.; 12ins high ÂŁ250-400

185

384 A terracotta beehive pithos storage jar

386

388

early 20th century

A similar terracotta beehive pithos storage jar

86cm.; 34ins high

86cm.; 35ins high

A similar terracotta beehive pithos storage jar

£800-1200

£1000-1500

£800-1200

84cm.; 33ins high

Southern Mediterranean

389

£800-1200

385 A similar terracotta beehive pithos storage jar

387

90cm.; 35ins high

A similar terracotta beehive pithos storage jar

£800-1200

91cm.; 36ins high £800-1200

186

390 A pair of fibre cement planters after a design by Willy Guhl 1960s stamped Eternit 157cm.; 62ins diameter Willy Guhl was a pioneer of industrial design in Switzerland, both as a result of teaching for many years at the Technical College in Zurich and through his multi-faceted practical work. He created a number of designs for Eternit: including these elegant shallow planters which are stamped Eternit. After participating in the 1948 MoMA competition entitled “Low-Cost Furniture Design,” he began working with fibrated concrete – not a material typically associated with furniture-making – which afforded new possibilities that Willy Guhl turned to his best advantage. Because the composite material offered great resistance to breakage and exceptional tensile strength, the design could be minimalist, rendering the elegantly curved chairs and planters absolutely weatherproof and like abstract sculpture.

391 A suite of three fibre cement planters after a design by Willy Guhl 1960s the largest 81cm.; 32ins high See footnote to lot 390 £300-500

£2000-3000

187

392 A gypsy bow top caravan 1st half 20th century the interior fitted with bed, stove, cupboards and bench seats, recently restored 268cm.; 106ins high by 174cm.; 68ins wide by 427cm.; 168ins long ÂŁ4000-6000

188

393 â&#x20AC; An extremely rare stove-enamelled aluminium and steel prototype sign for Legible London circa 2007 now mounted on black steel base 250cm.; 98ins high; base 102cm.; 40ins square This lot is one of the original prototypes for the Legible London signs initiative. As prototypes they were made using stove enamelling. When they eventually went into production, for reasons of cost, the stove enamelling was replaced with printed images backed onto glass, making these two examples very rare. Legible London is a pedestrian information system for the Capital, designed to encourage walking by giving pedestrians clear and consistent information, including current location, nearest underground stations, street finder and locations within a 5 minute walk radius. The system tackles a key barrier to walking, namely, the current lack of clear and consistent on-street information. By facilitating more walking, the system contributes to broader Mayoral and Transport for London (TfL) objectives such as reducing congestion on the public transport network, creating safer environments and encouraging people to move to healthier and more sustainable modes of transport. ÂŁ300-500 394 A Clinker built hardwood dinghy built 1930s by Weary Page Walberswick, Suffolk, with pine mast and oars 314cm.; 124ins long ÂŁ300-500

189

190

395 A rare Lavochkin V-751 experimental flying laboratory 1960 titanium, stainless steel and aluminium 10.9 metres long This is a two stage rocket with an initial solid fuel rocket booster which burned for four seconds and a second stage liquid fuel engine that burnt for a further 22 seconds. This enabled the craft to reach altitudes of 66,000 feet and speeds of Mach 3, the range could be up to 22 miles. This rocket is part of the S75 family of rockets which were developed in the late 1950â&#x20AC;&#x2122;s in response to combat Americaâ&#x20AC;&#x2122;s long range bombers. The S-75 and its many variants provided much of the air defence of the Soviet Union and numerous other countries which adopted it. Perhaps its most famous moment was the shooting down of Gary Powers U-2 spy plane in 1960. ÂŁ5000-8000

191

396

398

A pair of rounded rectangular wrought iron topiary frames

A Victorian cast iron framed handlight

modern

English, circa 1880

130cm.; 51ins wide

fully glazed fitted panels

£300-500

A pair of circular wrought iron topiary frames

46cm.; 18ins square, together with a late 19th century cast iron pyramid handlight top, fully glazed, 45cm.; 17½ins square

modern

£300-400

397

106cm.; 42ins high £200-300

399 An Edwardian Pluviette cast iron and brass mounted lawn sprinkler early 20th century with maker’s stamp and registration number 76cm.; 30ins high £400-600

192

400

402

A substantial mahogany and chromed metal and painted roulette wheel

A matched set of 12 Beech pub alley skittles

1st half 20th century

eight skittles 32cm.; 12ins high, four skittles 26cm.; 10ins high, together with a made up croquet set, comprising six mallets, six balls and six hoops with storage box

100cm.; 39½ins high £1200-1800 401 A Slazenger match croquet set

English, circa 1900

£150-250

early 20th century with four mallets and balls, hoops, lawn sleeves and mahogany stand, stamped Slazenger Limited, London together with pine case £300-500

193

403

404

A copper watering can

French, circa 1820

French, circa 1860

405

fitted with original rose

with associated rose

39cm.; 15ins high

48cm.; 19ins high

£200-300

A pair of scarce Toogood and Sons bronze presentation plaques designed by Hamo Thornycroft

£200-300

English, circa 1920 the two shaped bronze plaques each depicting a female figure in attitudes of gardening with raised facsimile signature circa 30cm.; 12ins high £450-650

406 A set of beechwood lawn skittles with three balls early 20th century together with a set of eight Edwardian rosewood lawn bowls in pine case £150-200

194

407

408

A carved white marble bust of Diana

A carved white marble bust of a man

Northern European, 18th century

Northern Italian, 18th century

79cm.; 31ins high

74cm.; 29ins high, on associated composition stone pedestal

ÂŁ2000-3000

26cm.; 10ins high, overall height 100cm.; 39ins ÂŁ1000-1500

195

409

410

A carved Vicenza stone figure of a boy holding a lamb

A pair of carved Vicenza stone figures of putti

2nd half 20th century 92cm.; 36ins high ÂŁ400-600

196

2nd half 20th century 92cm.; 36ins high ÂŁ1000-1500

411

412

After Falconet: A composition stone figure of a Cupid

A carved limestone Putti

French, early 20th century inscribed Falconet Fecit 92cm.; 36ins high

2nd half 20th century on rockwork pedestal 107cm.; 42ins high ÂŁ600-1000

ÂŁ800-1200

197

413

414

A carved white marble group of mother and child

A white marble figure representing Summer

Italian, late 19th century

Italian, 2nd half 19th century

90cm.; 35½ins high

100cm.; 39ins high

£600-1000

£800-1200

198

415

416

A composition stone figure of a girl seated on a tree trunk

P. Jalade: A carved white marble figure of a girl

2nd half 20th century on associated pedestal 198cm.; 78ins high

Italian, late 19th century signed P. Jalade 100cm.; 39ins high ÂŁ600-1000

ÂŁ800-1200 199

417

418

A ciment fondu figure of a naked girl

A ciment fondu figure of a seated child

1960s 102cm.; 40ins high £1000-1500

mid 20th century 56cm.; 22ins high £1000-1200

419 In the manner of Mary Spencer Watson: An unusual carved Purbeck stone figure of Bacchus mid 20th century 130cm.; 51ins high, together with an abstract Portland stone sculpture 117cm.; 46ins high by 93cm.; 36½ins diameter £500-800

200

420

421

A pair of fireclay lions

A naively carved Bath stone lion

Scottish, last quarter 19th century with indistinct makers stamps ***ONN and son Paisley 77cm.; 30ins high by 106cm.; 42ins long ÂŁ1200-1800

17th/18th century mouth now drilled for water 53cm.; 21ins high by 51cm.; 20ins long ÂŁ1000-1500

201

422

423

424

A lead figure of a putto representing Summer

A polychrome painted fruitwood figure

After the Antique: A bronze figure of Victory

mid 20th century

17th/18th century

circa 1900

71cm.; 28ins high

102cm.; 40ins high

£1500-2500

£800-1200

on serpentine marble base, weathered green patination 66cm.; 26in high overall The original Hellenistic bronze is in the Naples museum. £300-500

202

425 A plaster figure of mother and child early 20th century 130cm.; 51ins high £200-400

427 A near pair of carved white marble classical style busts 2nd half 19th century 90cm.; 35½ins high £1200-1800

428

426 A pair of unusual carved hardwood Dogs of Fo architectural bases South East Asian 19th/early 20th century

A patinated plaster eagle 19th century on later composition stone plinth

70cm.; 28ins long

157cm.; 63ins high overall

£400-600

£500-800

203

429 ▲ Stephan Buxin Lucile Combing Her Hair Bronze Signed Buxin and dated 1983 Edition 2 of 8 152cm.; 60ins high Stephan Buxin (19091996), was born in Liege, Belgium and was a pupil of Georges Petit in the Academy of Liège before studying at the National School of Fine Arts in Paris. His favourite subject were his own wife and children, however he also executed medals, busts and monuments. Another cast of this sculpture stands in Carrier Belleuse Square, Sevres. £2000-4000

430 An Ivor Novello Award for Lionel Bart Outstanding Personal Services to British popular music 1959 Bronze 29cm.; 11½ins high by 8cm.; 3ins wide by 7cm.; 2¾ins deep £2000-3000 204

431 ▲ Laurence Broderick Wading Heron Bronze Signed Laurence Broderick 1/7 Heron V 109cm.; 43ins high Laurence Broderick was born in Bristol, 1935, and began his artistic career as an historical and educational illustrator and painter. He taught Art at the Haberdashers’ Aske’s School in Elstree from 1959 and was Director of Art from 1965-1981. He continued working as a freelance artist and sculptor throughout this period and became a full-time sculptor in 1981. He divides his time between studios on the Isle of Skye, in the Scottish Highlands and Cambridge, England. He is an Associate of the Royal British Society of Sculptors and a Fellow of the Royal Society of the Arts. As well as exhibitions in Scotland, England, Jersey, France, Monaco, Germany, USA and Canada, Broderick has exhibited his work in group shows with the Royal Academy, Royal Scottish Academy, Royal Society of British Artists, Contemporary Portrait Society, Society of Wildlife Artists and the Royal West of England Academy. £1500-2500

432 David Norris FRBS Circus Seal Bronze Signed 1 of 8 34cm.; 13½ins high by 28cm.; 11ins wide by 17cm.; 6¾ins deep David Norris studied sculpture at The Royal Academy Schools, winning the silver medal for portraiture, two bronze medals and the coveted Landseer prize. Many works have gone out to the Middle East, the tallest a 3 meters high “Mallard Landing” fountain for the Royal Palace Ruwi, the smallest the coinage for the Oman. David Norris is a Fellow of the Royal Society of British Sculptors. £3000-4000

205

433 After Pompon A bronze owl modern 49cm.; 19ins high This model is after a wooden owl carved by the well-known French animalier sculptor François Pompon executed around 1910. Literature: See Animals in Bronze by Christopher Payne, 1986 published by The Antiques Collector’s Club, p. 110 £500-800

435 434 Art Deco Birds Bronze 15cm.; 6ins high by 6cm.; 2½ins wide by 4.5cm.; 1¾ind deep £400-600

Andy Decomyn Barn Owl Bronze edition 2 of 2 A.P 20cm.; 8ins high by 27cm.; 10½ins wide by 15cm.; 6ins deep Andy was born in Worcestershire and studied at the Bourneville College of Art and South Staffordshire College before achieving a BA with honours degree at the Birmingham Institute of Art and Design in 2000. An artist inspired by the realities of war, Andy created a sculpture entitled “Shot at Dawn” in memory of the 306 soldiers who were executed in World War I for military offences. He donated the sculpture to the families of the soldiers and this potent image played an important role in achieving an eventual pardon for these soldiers. £800-1200

206

436 Linda Heaton-Harris Wrens Ceramic in wood and glass case Signed Unique 34cm.; 13¼ins high by 48cm.; 19ins wide by 38cm.; 15ins deep £2000-3000

Linda Heaton-Harris is a sculptor of ceramic animals and birds. Her range includes all animals and birds from dormice to elephants and wrens to eagles. Linda has exhibited and sold her work at many exhibitions and venues including the Wildfowl and Wetlands Trust Slimbridge, Society of Wildlife Artists Mall Galleries London, Christie’s Wildlife Art Auctions London, Art in Action Waterperry House Oxford, Holland and Holland Wildlife Gallery London and New York, Fine Art Exhibition Abu Dhabi. Her sculptures have sold worldwide including in Europe, America, Canada, Japan, South Africa, Australia, Scandinavia and the Middle East. A great deal of her work is by private commission.

207

438 Lyle Sopel, Canadian Born 1952 Two Salmon Green Nephrite Signed 35cm.; 13¾ins high by 36cm.; 14ins wide by 19cm.; 7½ins deep £600-800

437 Cockerel West African Bronze 73cm.; 28¾ins high by 40cm.; 16ins wide by 43cm.; 17ins deep £400-600

208

On completing his visual art studies at Vancouver’s Langara Art College, he received the Vic Scott Award for Visual Arts. In 1986, Sopels work was exhibited in Vancouver’s World Fair, Expo 86 and soon after he was acknowledged as a master jade sculptor in a cover story in National Geographic Magazine. In 1992 the Lord Abbot of a Thai Buddhist monastery was interested in creating the largest sitting Buddha the world has ever seen and commissioned Sopel to advise on the sculpting of this monument. Nine years later Sopel was commissioned to create a life sized Jade Buddha which is installed in a private residence in Palm Springs, California. Sopel’s jade, precious gem and newly evolved bronze sculptures are housed in the collections of royalty, fine art connoisseurs and heads of state from around the world.

439 David Cooke Tortoise Ceramic Signed Unique 33cm.; 13ins high by 42cm.; 16½ins wide by 66cm.; 26ins deep See footnote to lot 57 £2000-3000

440 Camel Bronze Foundry stamp, Bords De Seine foundries 35cm.; 13¾ins high 45cm.; 17½ins wide by 25cm.; 9¾ins deep £800-1200

209

442 Munyaradzi Jeche Balance of Life Springstone 94cm.; 37ins high by 24cm.; 9½ins wide by 21cm.; 8¼ins deep £1200-1800

441 Zimbabwe Landing Bird Signed 31cm.; 12¼ins high by 20cm.; 8ins wide by 16cm.; 6½ins deep £400-600

210

443 West African Bronze Cockerel 20th century 58cm.; 23ins high by 50cm.; 19½ins wide by 19cm.; 7½ins deep £600-800

444 Passmore Mupindiko We Belong Together Springstone Signed 57cm.; 22½ins high by 35cm.; 13¾ins wide by 15cm.; 6ins deep £1200-1800

211

445

446

African Heads

A wooden tribal mask

Steel

probably Papua New Guinea, 20th century

Unique largest 60cm.; 23½ins high by 30cm.; 12ins wide by 22cm.; 8½ins deep £800-1200

212

152cm.; 60ins high overall £1200-1800

448 447

A pair of pierced sheet metal tree of life roundels

George Parsonage

modern

Spear Fishermen

one initialled J-Rony, on later steel stand

Cast iron

84cm.; 33ins diameter

Signed

£400-600

54cm.; 21ins high by 128cm.; 50½ins wide by 44cm.; 17¼ins deep George Parsonage is a Glasgow born sculptor working exclusively with junk retrieved from the Clyde, such as supermarket trolleys, motor cycle parts, machinery and other discarded items. He graduated from Glasgow University in 1967, becoming an art teacher at Whitehill School for twentyone years. He never exhibits his work and declines commissions, but the proceeds from the sale of his work benefits the Macmillan charity. His Crazyfixion has toured churches in Scotland and is a feature of Ecumenical services on Glasgow Green every Easter.

449

£400-600

Magnetic Ellipse

Anon Stainless steel, wire and magnets 193cm.; 76ins high by 274cm.; 108ins long £600-1000 213

450 Over the Rainbow 20th century glass sculpture 29cm.; 11½ins high by 52cm.; 20½ins wide by 28cm.; 11ins deep £800-1200

451 Mihai Topesc Plate Ceramic Signed 59cm.; 23ins high Mihai Topescu was educated at the University of Art and Design, in Cluj-Napoka, Romania and started his career in the beginning of the 1980s, working with cast glass. Mihai Topescu’s glass art has won awards and international prizes around the world, and his work is on exhibition in many museums and galleries. In addition Mihai is prominent in the Who’s Who of Contemporary Glass Art. £600-800

214

452 † Wilfred Pritchard Avoidable 100cm.; 39½ins high by 88cm.; 34½ins wide by 54cm.; 21ins deep £600-800

453 After Picasso Figure 1936 Ceramic 33cm.; 13ins high by 19cm.; 7½ins wide by 8cm.; 3ins deep Artis Orbis - Homage Collection to Pablo Picasso The ‘Homage Collection to Pablo Picasso’ range was discontinued very soon after release due to legal wranglings with the Estate of Pablo Picasso. The series produced by Goebel was licenced from Marina Picasso. £400-600

215

454 Barbara Hodgkins Abstract Slate and polished steel on black perspex plinth, mounted on clear perspex pedestal 208cm.; 82ins high Provenance: MCL Group, 1987 Art & Work Award Barbara was born in America and has lived in Australia, the Philippines and Thailand. She studied at Wellesley College (Massachusetts), Columbia University, the Accademia di Belle Arti (Perugia) and at Chelsea School of Art (London). She has exhibited in England, America, Asia and Europe, and won the Art and Work award for three sculptures commissioned by Mazda Cars, England. Her work is held in prestigious corporate collections as well as private commissions all over the world. ÂŁ1500-2500

455 Vera Borghgraef Inside Outside Bronze Edition of 49 102cm.; 40ins diameter ÂŁ4000-6000

216

456 Hilary Simms Cream Grey Nautilus Ceramic with crackle glaze finish 60cm.; 23½ins high by 60cm.; 23½ins wide by 52cm.; 20½ins deep In 2009 Hilary Simms took an 18 month residency at the Sculpture Lounge in Holmfirth, working alongside other professional artists. It was here that Hilary perfected her craft, producing bronze sculptures and hand built Naked Raku fired ceramic sculpture. The work was named “The Nautilus Collection” and was inspired by a trip to The Gambia. Raku means “enjoyment, comfort or ease”, a technique which was created in Japan in the 16th century and used for decorating crockery. It is the irregular nature of Raku that gives Hilary’s pieces their unique serenity, she can create definite lines to improve movement in the form but the rest is created organically £800-1200

457 ▲ Angela Munslow Candy Tuft Fairy Bronze 41cm.; 16ins high The Candy Tuft Fairy is from one of the Flower Fairy books by Cicely Mary Barker first published in 1923. £800-1200

217

458 †

459 †

Leigh Dyer

Catch of the Day

Feather in the Wind

316 Grade Stainless steel

Galvanised mild steel

280cm.; 110ins high

305cm.; 120ins high

£2500-3500

£2000-3000

218

460 Jenny Pickford Lilies Forged steel and hand blown glass Approx 150cm.; 59ins each Pickford is a contemporary artist blacksmith, designing and making

unique sculptures, water features and architectural ironwork. Her designs combine forged, galvanised steel, with spectacular blown glass.

461

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

Unique

John Smith Kinetics II Stainless steel and corten steel

250cm.; 98½ins high by 130cm.; 51ins wide by 30cm.; 12ins deep £2000-3000

£800-1200 219

462 Kenny Roach Secret Door Reclaimed wood and forged steel 213cm.; 84ins high by 81cm.; 32ins wide by 22cm.; 8½ins deep £2500-3500

220

463 ▲ Danu, born France 1952 Kouros Powder coated heavy gauge steel

Brussels, Monaco and Venice quickly followed. In 1979 Danu was accepted as a member of “Artiste Independent” and “Artistes Francais”

Signed and numbered 9 of an edition of 80

£600-1000

195cm.; 77ins high

464 ▲

Danu was born in 1955. He lives and works in Venice, on the French Riviera. He held his first exhibition at the Centre Culturele in Cagnes sur Mer when he was 18 years old. Exhibitions in Cannes, Paris, Deauville,

465 Danu, born France 1952 Lascive Powder coated heavy gauge steel Signed and numbered 9 of an edition of 80 180cm.; 71ins high £600-1000

Craig Dyson A Cry of Joy Painted steel Unique 220cm.; 86½ins high by 120cm.; 47ins wide by 120cm.; 47ins deep £4000-6000

221

105cm.; 41½ins high by 46cm.; 18ins wide by 17cm.; 6¾ins deep

467

David White went to school at Gunguwo Primary at his rural home in Chiweshe in the north eastern part of Zimbabwe, which is abundant with the serpentine stone used in Shona carving. There he was introduced to stone sculpture by local artists at the tender age of ten years in 1998 and he instantly decided to make this his life career.

Black Head Lined

Springstone

He has developed his own style concentrating on the human heads and focusing on the beauty of extravagant hairstyles. The curls of hair express the extraordinary femininity that is his trade mark.

Signed

£1200-1800

466 David White Beauty Queen

222

Patricia Volk Stoneware Signed Unique 67cm.; 26½ins high by 30cm.; 12ins wide by 46cm.; 18ins deep £1200-1800

468

469

Yuelong Shi

Patricia Peeters, Born 1964

Flow II - Back to Back

Divine

Veined white marble

Bronze with Green patina

Unique

Signed and numbered from an edition of 150

each 95cm.; 37½ins high by 98cm.; 38½ins wide £6000-8000

107cm.; 42ins high Peeters studied at the Academy of Modern Art in Turnhout, Belgium. She has also studied fashion design and model drawing at the Academy of Fine Arts in Kortrijk and the Academy Saint-Lucas in Ghent. She is a former ballet dancer, and her works are evocative of the style, grace and poise of this discipline. £1500-2500

223

471 A metal T-Rex skull with articulated jaws 100cm.; 39½ins by 130cm.; 51ins

470

After studying at Farnham and Plymouth Art Schools Alex set up a blacksmithing business, specializing in designing and making furniture, fixings and sculpture for a number of high profile restaurants, retailers and businesses.

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

He also became involved

£2000-3000

Alex Davies Mother and Child Bronze edition of 25 60cm.; 23½ins high by 35cm.; 13¾ins wide by 27cm.; 10½ins deep

224

This life-size model of the skull of Tyrannosaurus rex was made for the TV series Walking with Dinosaurs in order to demonstrate the awesome crushing power of this iconic dinosaur’s jaws. £500-800

474 Martin Williams Fish Head Portland stone Signed Unique 59cm.; 23ins high by 49cm.; 19¼ins wide by 28cm.; 11ins deep

472

473

A bronze Crocodile

An Amethyst specimen cut as a table base

last quarter 20th century Mid green-brown variegated patination

Brazil

178cm.; 70ins long

£100-200

43cm.; 17ins wide

After completing graduate and post-graduate training in Stoke-on-Trent and London, Williams established his first studio in Swansea, South Wales, in 1978.

His most recently completed public work is a four figure bronze composition on a carved Bath stone base for the World Health Organisation in Geneva, Switzerland, and this is his first international sculptural commission. This work resulted from winning an international design commission, and a copy of the work has been produced for a site in America £2000-3000

£2000-3000

225

475

476

A Crinoid (Sea Lily) plaque

Two Lytoceras (spp.) Ammonites

Holzmaden, Germany, Jurassic

Holzmaden, Germany, early Jurassic

29cm.; 11½ins high by 26cm.; 10ins wide

one 65cm.; 25½ins by 70cm.; 27½ins.; the other

The fossil locality at Holzmaden in Germany is celebrated for specimens that show beautiful preservation. The rocks they come from are lower Jurassic in age (approximately 180 million years old). Fossils of many kinds of creatures are found at Holzmaden but Crinoids (sea lilies) and Ichthyosaurs are among the most soughtafter and are perhaps the most desired by collectors.

67cm.; 26½ins high by 69cm.; 27ins wide

£1000-1500 226

£800-1200 477 A Crinoid (Sea Lily) plaque Holzmaden, Germany, Jurassic 52cm.; 20½ins high by 38cm.; 15ins wide £600-1000

478 A Perisphinctes Ammonite Madagascar, Jurassic, 150 million years 33cm.; 13ins wide £600-1000 479 A massive Ammonite with a smaller Ammonite (Pseudolioceras lithense) Holzmaden, Germany, early Jurassic 80cm.; 31½ins high by 86cm.; 34ins wide £800-1200 480 An Ichthyosaur head and foreparts Holzmaden, Germany, early Jurassic 48cm.; 19ins high by 90cm.; 35½ins wide. £2500-4000

227

481 A Cleoniceros (spp.) Ammonite Madagascar, Jurassic

482

483

35cm.; 14ins

An Ammonite Metalegoceras (spp.)

An Arietites Ammonite

£600-1000

Timor, Indonesia, Permian period 16cm.; 6ins high overall £450-750

228

German, Lower Jurassic, 190 million years 30cm.; 12ins high £900-1200

484

485

486

A large Sauropod Atlantosarus (spp.) dinosaur vertebra on steel stand

An Audoliceras heteromorph Ammonite

A Carcharodon shark tooth

Volga River, Russia, Jurassic, 140 million years

Atlas mountains, Morocco

34cm.; 13ins wide

Florida, U.S.A., Miocene, 20 million years

38cm.; 15ins high

£700-1000

13cm.; 5ins

£750-1000

£350-500

229

487

488

A large Diplomystus, framed

Two Ammonite collages

Green River, Wyoming, Eocene

230

Madagascar, made from Cleoniceras Ammonites, 110 million years

44cm.; 17½ins high by 79cm.; 31ins wide; specimen 44cm.; 17½ins long

29cm.; 11½ins diameter

The Green River Formation spans the eras from when Dinosaurs ruled the world to the emergence of mammals roughly 64-50 million years ago. Three enormous lakes exited during this time and gradually dried up as the land rose with the formation of the Rocky Mountains. The unusually fine sediments of these lakes led to exceptional preservation of the plants and animals that lived in and around the lake shores.

489

£500-800

£600-1000

A Carl Ulrich prepared Priscacara fish plaque Green River, Wyoming, Eocene, framed 46cm.; 18ins high by 72cm.; 28½ins wide; specimen 14cm.; 5½ins £200-300 490 A Priscacara and Knightia fish plaque Green River, Wyoming, Eocene 41cm.; 16ins high by 30cm.; 12ins wide

491

493

A Carl Ulrich prepared Dyplomystus and Knightia fish plaque, framed

A large polished polychrome Jasper freeform

Green River, Wyoming, Eocene

with wooden stand

49cm.; 19ins high by 58cm.; 23ins wide

£600-1000

Madagascar 47cm.; 18½ins high

£600-1000 492 A Dendrater Sea Urchin plate California, U.S.A, Pliocene 7 million years 61cm.; 24ins £500-800

231

494

496

A large open Amethyst sphere

A Labradorite sphere

Brazil

18cm.; 7ins diameter

17cm.; 7ins diameter

£400-600

Madagascar

£750-1000 497 495 A pair of open Amethyst spheres Brazil

232

A collection of specimen mineral and semi precious eggs

13cm.; 5ins diameter

together with some spheres

£550-750

£500-800

498

499

A Quartz sphere Madagascar

A large Ruby in Fuchsite sphere

13cm.; 5ins diameter

India

£300-500

20cm.; 8ins diameter £600-1000 500 Twelve semi-precious stone spheres including green Fluorite, Chrysocolla, Marble, Sunstone the largest 10cm.; 4ins diameter £500-800

233

501 A set of six polished Chalcedony spheres Brazil the largest 13cm.; 5ins diameter £600-1000 502 Five semi-precious stone bowls Fluorite, Quartz, Carnelian the largest 17cm.; 7ins wide £500-800 503 A Septarian stone egg Utah, U.S.A. 14cm.; 5½ins high £150-250

234

504 Two fossil wood spheres Madagascar, Triassic

507

11cm.; 4ins diameter

A rose Quartz bowl and Rose Quartz sphere

£350-550

Madagascar 18cm.; 7ins wide

505 A Labradorite sphere 18cm.; 7ins diameter £450-750 506 A Quartz Bowl with two Quartz spheres

£600-1000 508 A Quartz and Agate bowl Madagascar 37cm.; 15ins wide £1000-1500

Madagascar 30cm.; 12ins wide £950-1300 235

509 An exceptionally large Malachite box 41cm.; 16ins wide by 25cm.; 10ins deep £1350-1600 510 A Kyanite with Calcite on steel stand Brazil 32cm.; 12½ins £450-750 511 Vanadinite crystals on steel stand Morocco 44cm.; 17¼ins £850-1200 512 A set of six Agate slices Brazil these come from the same nodule 16cm.; 6½ins wide £200-400 236

513 A Calcite with Pyrite crystals on steel stand Morocco 30cm.; 12ins £700-1000 514 Vanadinite on Barite crystals on steel stand Morocco

516

28cm.; 11ins

A Lapis Lazuli specimen

£750-1000

Afghanistan 51cm.; 20ins high

515

£800-1200

A pair of Rhyolite bookends Australia 19cm.; 8ins high £180-250 237

238

517

519

A Prismatic Smokey Quartz on steel stand

A Rutilated Quartz on steel stand

Brazil

Morocco

29cm.; 11½ins

33cm.; 13ins high overall

£800-1200

£700-1000

518

520

A Scolescite mineral spray

Dioptase crystals on steel stand

Poona, India

Namibia

37cm.; 14½ins maximum

22cm.; 8¾ins

£200-400

£800-1200

521

523

A Long Eared and Short Eared Owl

Two Pheasants in unusual plumage in a glass case by James Gardner

late 19th century 61cm.; 24ins square £300-500 522 A case of South American birds circa 1880 107cm.; 42ins high by 81cm.; 32ins wide £1200-1800

19th century with Gardner label on reverse 62cm.; 24½ins by 92cm.; 36ins wide James Gardner was one of Victorian London’s most successful taxidermists and operated from premises in Oxford Street. £400-500

239

524 A case of red squirrels by Hutchings of Aberystwyth circa 1900 57cm.; 22½ins high by 41cm.; 16ins wide by 14cm.; 5½ins maximum depth £400-600 525 A case of Indian birds and a Jungle Fowl 19th century label of J Cole on reverse 73cm.; 29ins high by 58cm.; 23ins wide £300-500 526 A very early Black-winged Stilt circa 1830 46cm.; 18ins high by 38cm.; 15ins wide £150-250 527 A trio of Black Shouldered Troupials early 20th century in glass case 36cm.; 14ins high by 28cm.; 11ins wide by 16cm.; 6ins deep £150-250 528 A Herring Gull chick and replica egg in glass case modern 40cm.; 16ins wide £150-250 240

529 A Fish Eagle 2nd half 20th century naturalistically mounted in an oak case 83cm.; 33ins high by 81cm.; 32ins wide by 54cm.; 21ins deep £300-500 530 A Honey Buzzard 2nd half 20th century naturalistically mounted in an oak case 76cm.; 30ins high by 58cm.; 23ins wide by 50cm.; 20ins deep

529

531

£300-500 531 A Crane Hawk (Geranospiza caerulescens) 2nd half 20th century naturalistically mounted in an oak case 57cm.; 22ins high by 56cm.; 22ins wide by 50cm.; 20ins deep £400-600 532 A Pallas Sea Eagle

530

532

2nd half 20th century naturalistically mounted in an oak case 76cm.; 30ins high by 66cm.; 26ins wide by 49cm.; 19ins deep £300-500 241

533

536

A Cockerel skeleton in glass case, modern

Two Tortoise shells and one Tortoise skeleton

58cm.; 23ins high

the largest 21cm.; 8½ins

£200-300

121cm.; 48ins wide £200-300

534 A wall display case containing a decorative arrangement of shells early 20th century 46cm.; 18ins by 62cm.; 24ins wide £150-250 535 A nineteenth century brooch and two matching earrings 19th century skilfully made from the iridescent head and breast feathers of Hummingbirds 242

£250-300

537 Atlas Colorie de Spedalskhed, a book of medical deformities a Norwegian publication of 1847 on elephantitus, with 24 colour plates showing deformities in wrappers, disbound £200-400

538

539

A green winged Macaw

A group of blue ‘Morpho’ butterflies under glass dome

modern mounted on naturalistic stand

modern

93cm.; 37ins high

£350-500

48cm.; 19ins high

£300-500 540 A male Red-Sided Eclectus Parrot modern full on mount on naturalistic base 38cm.; 15ins high £100-200 243

541

543

A large mounted Ibex head by Rowland Ward

A shield mount Kob trophy by Gerrard

late 19th century

circa 1910

height from bottom of shield to top of horns 80cm.; 31½ins

74cm.; 29ins high overall £250-400

£250-400 544 542 A Gemsbok trophy 20th century 142cm.; 56ins high by 74cm.; 29ins deep £300-500

244

A Cyprian Mouflon trophy late 20th century 71cm.; 28ins high £300-500

545 A Cape Buffalo trophy modern 122cm.; 48ins deep £500-800 546 A Wildebeest trophy early 20th century 70cm.; 28ins deep £250-400 547 A shield mounted Cape buffalo trophy probably by Gerrard

548

circa 1900

Ice Age

82cm.; 32ins high

on stand

£400-600

51cm.; 20ins high

The lower leg and foot of an Irish Elk

£400-600

245

549

551

An unusual Moose trophy

A Colobus Monkey

Scandinavia, circa 1880

mounted on wooden branch

carved softwood with real antlers 79cm.; 31ins wide by 71cm.; 28ins deep £1500-2500 550 A full mount Black Buck early 20th century 123cm.; 48ins high £250-400

246

modern

91cm.; 36ins high £800-1200

552 A striped Marlin trophy 1950’s 149cm.; 59ins deep £400-600

553 A Turtle head circa 1900 30cm.; 12ins deep £250-400

247

554 A head mount Hippopotamus late 19th/early 20th century 119cm.; 47ins deep ÂŁ2500-4000

248

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode

SALE NUMBER GS056

Tel

Mobile

SALE DATE 5TH APRIL 2016

Fax

GARDEN & NATURAL HISTORY

Please write clearly and place your bids as early as possible, as in the event of identical bids, the earliest bid received will take precedence. Bids should be submitted in (£) sterling at least 24 hours before the auction closes.

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

Lot No.

Lot Description

Commision Bid (excluding premium & VAT)

New Clients: Please note that we may contact you to Request a bank reference. In addition we Will require sight of a government issued ID and proof of address prior to collection of purchases. FOR WRITTEN/FIXED BIDS Bids will be executed for the lowest price as is permitted by other bids or reserve. “Buy” or unlimited bids will not be accepted and we do not accept “plus one” bids. Please place bids in the same order as in the catalogue. Alternative bids can be placed by using the word “or” between lot numbers Where appropriate your written bids will be rounded down to the nearest amount consistent with the auctioneers bidding increments FOR TELEPHONE BIDS Please clearly specify the telephone number or back up mobile phone number on which you may be reached at the time of the sale, including the country code. We will call you from the saleroom shortly before your lot is offered. Telephone bids are operated on a first come first served basis as lines are limited.

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

NAME ON CARD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TYPE OF CARD AND NUMBER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EXPIRY DATE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ISSUE NUMBER..............(SWITCH

ONLY)

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

GUIDE FOR ABSENTEE BIDDERS If you are unable to attend an auction in person, you may give Summers Place Auctions Bid Department instructions to bid on your behalf by completing the form overleaf. This service is free and confidential. Please record accurately the lot numbers, descriptions and the top hammer price you are willing to pay for each lot. We will try to purchase the lot(s) of your choice for the lowest price possible and never for more than the top amount you indicate. “Buy” or unlimited bids will not be accepted. Alternative bids can be placed by using the word “OR” between lot numbers. Bids must be placed in the same order as in the catalogue. This form should be used for one sale only – please indicate the sale number, title and date on the form. Please place your bids as early as possible, as in the event of identical bids the earliest received will take precedence. Wherever possible bids should be submitted at least twenty-four hours before the auction. Where appropriate, your bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments. Absentee bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or fax to the Bid Department on +44 (0)1403 331 340.

250

Please note that the execution of written bids is offered as an additional service for no extra charge at the bidder’s risk and is undertaken subject to Summers Place Auctions other commitments at the time of the auction; Summers Place Auctions therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise. Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods. All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue. We reserve the right to seek identification of the source of funds received. In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as "sensitive", they agree that Summers Place Auctions may use it for the above purposes. Summers Place Auctions will not use or process sensitive information for any other purpose without the client's express consent.

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

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

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode

SALE NUMBER GE057

BIDS TO BE RECEIVED BY 5PM 6TH APRIL 2016

GARDEN & NATURAL HISTORY

Tel

Mobile

Fax

SEALED BID AUCTION BIDDING FORM

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

Lot No.

Lot Description

Sealed bid Sterling price (excluding premium & VAT)

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

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

ONLY)

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

GUIDE FOR ABSENTEE BIDDERS SEALED BID AUCTION LOTS 200-554 All sealed bids must be with us, at the latest, by 6th April 5.00pm BST since the bids will be opened on the 7th April. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. Sealed bids, when placed by telephone, are accepted only at the callerâ&#x20AC;&#x2122;s risk and must be confirmed by letter or fax to the Bid Department on +44 (0)1403 331 340. Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods. All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue. We reserve the right to seek identification of the source of funds received. In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain

252

information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as "sensitive", they agree that Summers Place Auctions may use it for the above purposes. Summers Place Auctions will not use or process sensitive information for any other purpose without the client's express consent. In order to fulfil the services clients have requested, Summers Place Auctions may disclose information to third parties (e.g. shippers). Some countries do not offer equivalent legal protection of personal information to that offered within the EU. It is Summers Place Auctions policy to require that any such third parties respect the privacy and confidentiality of our clients' information and provide the same level of protection for clients' information as provided within the EU, whether or not they are located in a country that offers equivalent legal protection of personal information. By signing this Sealed Bid Form you agree to such disclosure. Clients will please note that for security purposes, Summers Place Auctions premises are subject to video recording. Telephone calls e.g. telephone bidding/voicemail messages may also be recorded.

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

Garden & Natural History Auction 7th & 8th June 2016 For consignments please contact us on 01403 331331 or email info@summersplaceauctions.com

A Georgian lead cistern ÂŁ5000-8000

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