Eddies Eye2 A Collector's Vision 23rd/24th June by Summers Place Auctions

Eddieâ&#x20AC;&#x2122;s Eye

23 & 24 June 2015

Summers Place Auctions Ltd

Eddie’s Eye 2

SPECIALISTS AND AUCTION ENQUIRIES

Live Auction Sale No GS049 Tuesday 23rd June 2015 At approximately 2.30pm immediately following lots 1-66 in the Garden and Natural History sale. Sealed Bid Auction Sale No GE050 James Rylands MRICS

Rupert van der Werff MRICS

Specialist

Bids should be with us by 5pm BST 24th June 2015

Tel +44 (0)1403 331334

Tel +44 (0)1403 331333

Viewing

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

Bids opened on Thursday 25th June 2015

Sunday 21st to Tuesday 23rd June 2015 10am to 4pm or by prior appointment at Summers Place and selected lots at the Sculpture Park, Churt, Surrey, GU10 2LH. Please contact us to enquire which lots are at each location

Entry to the Sculpture Park during viewing is by catalogue only – cost £10 at the park £15 by mail £20 overseas

Back cover lot 638 Bidding online available at The saleroom.com with additional fee of 3%. Facebook.com/SummersPlaceAuctions Shipping enquires

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

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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.

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.

undeveloped land bordering Frensham Common Country Park, which he transformed into The Pride of the Valley Sculpture Park, which he dedicated to his childhood hero David Lloyd George, who lived nearby prior to his death in 1945. Taking advantage of the natural contours of the undulating Surrey Hills, Eddie has created the perfect haven for the display of sculpture, with paths meandering through mixed heathland and woodland in a natural valley enhanced by 3 lakes fed by two natural streams.

Eddie Powell by Peter Newell

Eddie has long been a passionate advocate of promoting upcoming sculptors and is a regular visitor to art college graduation shows. Amongst the exciting new talent included in the sale is lot 518 Elemental Mass a monumental corton steel sculpture by an emerging sculptor Philip Rae-Scott. Undoubtedly, one of the highlights of the sale is the bronze bust of Sir Winston Churchill taken from the plaster of the iconic full length figure of Churchill by Ivor Roberts-Jones RA which stands in Parliament Square, Westminster. The casting process was supervised by the sculptor Nigel Boonham FRBS, Past President of the Society of Portrait Sculptors, on behalf of the Trustees of the Ivor Roberts-Jones Estate and is number 1 of an edition of only 6 which will ever be made. Shortly after his death in 2002, Eddie started collecting the works of Robert Lenkiewicz, the maverick and popular artist, whose work has continued to grow in popularity. The sale will include an important group of over 20 pictures by him including lot 624 the iconic picture of Lenkiewicz with Samantha.

Eddie’s Eye A Collector’s Vision Eddie Powell, the owner and Curator of The Sculpture Park, in Churt, Surrey, was born and brought up in South Wales. After a luckily abortive attempt at studying Mechanical Engineering at Cardiff University, he graduated from Guildford College of Art with a 1st class Honours degree in Photography and Sculpture in 1978, culminating in being given the rare opportunity of a one man exhibition at the Photographers Gallery in London’s West End, entitled “Captivity”. Since then he has combined commercial careers as varied as a hotelier, interior designer, metal and ceramics manufacturer, with his love and passion of photography and most particularly, sculpture. This came to fruition in 1997 with his purchase of 10 acres of

Eddie has also been persuaded to sell some of his own photography, which, if proof were needed, are a testament to his powers of observation. Some date back to his first solo exhibition “Captivity” at the Photographers Gallery in London’s West End. Also included are some of Eddie’s sculptures sold under his pseudonym Wilfred Pritchard, the name of his grandfather who first interested him in sculpture and how to properly observe things. His witty and often humorous observations on life are exemplified in lots 623-626. Eddie has sold his pieces under his pseudonym for as much as £40,000 over the last 5 years, some of which are now in public collections, both in this country and abroad. Eddie’s recent decision to downsize to a smaller house has necessitated this sale, together with his quest to make the Sculpture Park a constantly evolving environment showcasing new sculptors, gives buyers the opportunity to acquire and enjoy pieces formerly in his collection.

500 Isaac Kahn Prima Ballerina Bronze Signed, edition of 50 15cm.; 6ins high by 25cm.; 9Âžins wide

Isaac Kahn was born in 1950 in Kaunas, Lithuania. When he was 14 he moved to Israel where he enrolled in Art College before moving to Uruguay in 1973 where he continued his studies at the University of Plastic Arts in Montevideo. In

1975 at the age of 25 he presented his first one man exhibition in the exhibition hall of Montevideo where one of his works was purchased by the widow of the President of Uruguay. In 1984 he began working in Italy before settling there

in 1991. He opened a gallery in Verona showing his work. He has exhibited widely and his work can now be found in public and private collections in the USA, South America, Israel, Europe, Japan and Korea. ÂŁ1200-1800

501 Isaac Kahn Passion Bronze Signed, edition of 99 67cm.; 26½ins high by 25cm.; 10ins wide by 22cm.; 8¾ins deep £2000-3000 502 Isaac Kahn Pirouette Bronze sculpture on marble base Signed, edition of 36 36cm.; 14ins high by 11cm.; 4½ins wide by 6cm.; 2½ins deep £1200-1800

503 Isaac Kahn Double Jointed Bronze on a marble base Signed and numbered from an edition of 9 70cm.; 27Â˝ins high, excluding base ÂŁ15,000-20,000 5

504 Isaac Kahn Maternity Bronze Signed, edition of 9 53cm.; 21ins high by 53cm.; 21ins wide ÂŁ6000-8000

505 Isaac Kahn Pregnancy Bronze Signed, edition of 50 20cm.; 8ins high by 11cm.; 4½ins wide £1200-1800 7

506

graduating in Fine Art.

Alun Heslop

Alun rapidly developed an interest in the art & craft of chair making, primarily with the use of green wood working practice, and established himself as an artist/craftsman in 1997. During time abroad in Switzerland, Alun developed a further ongoing interest in seating ergonomics & refinement in chair design & performance. Returning from Switzerland in early 2006, Alun set up a

Kre Bronze 1 of 9 145cm.; 57ins high by 92cm.; 36ins wide by 85cm.; 33½ins deep Heslop studied at Rochester (KIAD 19881990), gaining a B-TEC National Diploma in Spatial (Interior) Design, and then went on to Brighton (1991-1994),

workshop in the grounds of The Belmont Park Estate, Faversham, Kent, creating ever more unique & time invested sculptural chair works. Alun has produced work for both public spaces and private clients, including seating installations for The Royal Horticultural Society, Royal Botanic Gardens & the North Downs Way national trail (KCC). Recent public works include the exterior & interior gallery seating

for the Marks Barfield designed Lightbox Gallery, winner of the 2008 Art Fund Prize and Hedgehog Here & the Cricketer’s Bench for the Belmont Estate. Notable recent private commissions include the 8.5m sinuous curving Sleeping Dragon bench (Bedfordshire), Lobo Loi chair (London) and the 2.5m idrop! sculptures (St. Albans & Maidstone). £20,000-30,000

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

Dick was born in Jersey in 1940, attending Kings School, Bruton followed by Bournemouth College of Art. It was while freelancing at the BBC as a prop-maker that he carved his own wood sculptures during quiet periods. He subsequently rented a studio, where he

continued to make oversize fruit sculptures in polystyrene and plaster, and pieces in wood, some of which have then been cast as a bronze. He has also worked with Kenneth Armitage to enlarge three of his latest public works. £6000-8000

508 Red Black Corset Chair Canvas ribbon 83cm.; 32¾ins high by 51cm.; 20ins wide by 67cm.; 26½ins deep £400-500

509 Japanese Sofa and Chair Leather sofa 86cm.; 33¾ins high by 200cm.; 78¾ins wide by 80cm.; 31½ins deep; chair 80cm.; 31½ins high by 120cm.; 47ins wide by 90cm.; 35½ins deep £1200-1800

510 Mel Fraser, Born 1966 Grace Carrara marble Unique 78cm.; 30¾ins high by 38cm.; 15ins wide £8000-10,000

511 Ivan Black Yellow Circles Aluminium Kinetic with powder coated spray finish 300cm.; 118ins high by 120cm.; 47ins wide ÂŁ10,000-15,000

512

513

Ann Vrielinck

Guy Buseyne, Born 1961

Think Talk Tell

The Wall

Bronze

Edition of 49

Signed and numbered from an edition of 49

208cm.; 82ins high by 50cm.; 19½ins wide by 50cm.; 19½ins deep Ann Vrielinck was born in Varsenare, Belgium in 1966. She was educated at the Academy of Fine Arts in Bruges, then obtained a higher degree in Painting from the Sint-Lucas Institute in Ghent after four years of studying with the Dan Van Severen Studio. Vrielinck subsequently completed further courses in restoration of paintings and ceramics, then obtained a teaching degree which has led her back to lecturing at the Academy of Fine Arts. Much of her work is based around ballet, dance and movement.

169cm.; 66½ins high by 141cm.; 55½ins wide 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. £6000-8000

£15,000-20,000

The Sculpture Park in spring 16

514 Eleanor Swan Isabel, Michel & Louis Bronze Signed and numbered edition of 9 47cm.; 18½ins high by 31cm.; 12ins wide by 35cm.; 13¾ins deep Her work is mainly sculptural and based on the human form although she also makes her own distinct fine porcelain vessels. She completed her

BA in Ceramics at NCAD in 2006 and an MA in Ceramic Design in 2010. She has exhibited widely in Ireland and the USA and her work is in many public and private collections including the OPW (Office of Public Works, Dublin), The National Museum of Ireland, Collins Barracks, the Porcelain Museum, Riga, Latvia and the International Ceramic Museum, Jingdzehn, China. £20,000-30,000

515 Peter Walker Gazelle Bronze Edition 1 of 12 Signed 94cm.; 37ins high by 50cm.; 19¾ins wide by 85cm.; 33½ins deep Peter Walker ARBS, is an international sculptor and artist currently working from his studio in Shrewsbury. His work is widely collected both nationally and internationally, and leading commentators have tipped his sculptures as having potential international significance. He combines a talent for creating unique and powerful artworks with a knowledge and dedication to re-establish the traditions of his art form, an undertaking that is bringing him much acclaim. He has produced a number of significant public artworks, as well as being engaged in the production of individual sculptural works, which have been labelled as ‘absorbing’ and ‘powerful’ by leading commentators. He produces works primarily in bronze and also fabricated materials such as Corten. £8000-12,000

516 Chang Feng Future Maker II Bronze Signed, edition of 12 104cm.; 41ins high by 73cm.; 28¾ins wide by 27cm.; 10½ins deep £8000-12,000

517 Peter Hide, Born 1944 Sprag 99 Welded steel Unique 290cm.; 114¼ins high by 115cm.; 45ins wide by 95cm.; 37½ins deep Peter Hide was born in Surrey in 1944. He studied at Croydon College of Art (1961-64) and at St Martin's School of Art (1964-67) where he was a student of Anthony Caro. After art school Hide supported his work as a sculptor through teaching and successively held posts at Norwich School of Art (1968-74) and at St Martin's School of Art (1971-78), where he taught on the postgraduate course from 1974. He moved to Canada, and since 1977 has been Professor of Sculpture at the University of Alberta in Edmonton. The move to Canada gave Hide the time and space to develop in his own terms. It was liberating for him to be away from influences prevalent in Britain, and his work has consequently developed a strong individual character. He has always worked in steel, and his large abstract pieces are confident expressions of mass and weight. £12,000-18,000

518 Philip Rae-Scott Elemental Mass Corten Steel Unique Signed 477½cm.; 15ft 8ins high Philip Rae-Scott was born in rural Devon in November 1991. After becoming interested in sculpture at school it was a revelation that an object without a "function" could be as worthwhile as one with a function. Growing up passionately concerned with well built, functional objects, the transformation towards favouring “functionless” sculpture came as a shock. Art took precedence when he realised that he could achieve closer to "perfection" with sculpture than with functional objects. Furthermore, it is possible to "finish" a sculpture whereas mechanical, functional projects are never finished; there is always something to wear out, or improve on. His work tends to be hard-edged, geometric, and solid, with a concern for quality materials, surface finish and longevity. He prefers producing taller than human height sculpture, since his belief is that as humans, we instinctively view any object in relation to our own size. It is part of our survival instincts to treat an object larger than ourselves with some respect and even trepidation. His studio is in Lewes, East Sussex and he has exhibited in many shows in the south of England, in Cork Street, London. His work can be found in several private collections. £30,000-50,000

519 Design Chair for the Utility CC Logo 1947 Ideal Home Exhibition Original Wood Unique 120cm.; 47ins high by 160cm.; 63ins wide by 40cm.; 15¾ins deep £800-1200

520 Double Zig Zag Hardwood Tables and Ten Zig Zag Chairs 90cm.; 35½ins high comprising two tables each 160cms; 76ins long by 76cm 30ins wide, overall length 320cm.; 126ins £1200-1800

521

522

Mark Bowman

Bench

King Throne

Spalted beech

Signed

84cm.; 33ins high by 250cm.; 98½ins wide by 100cm.; 39½ins deep

130cm.; 51ins high by 110cm.; 43½ins wide by 95cm.; 37½ins deep

£4000-6000

£3000-5000

523

524

Tinei Mashaya

Star

Proud of Myself

Springstone

Signed

Unique

300cm.; 118ins high by 78cm.; 30¾ins wide by 70cm.; 27½ins deep

Signed

£10,000-12,000

170cm.; 67ins high by 60cm.; 23½ins wide by 50cm.; 19½ins deep £4000-6000

Tinei with his sculpture 26

525 Michael Marriot F.R.B.S., Born 1940 The Skaters Glass fibre re-inforced plastic 135cm.;53ins high by 140cm.; 55ins wide Marriott studied at St.Martins School of Art in London under Anthony Caro, Elizabeth Frink and Eduardo Paolozzi. He is a fellow of the Royal Society of Bitish Sculptors and a member of the Society of Portrait Sculptors. He has combined a career as a sculptor with teaching part time including at the Sir John Cass School of Art, City of London Polytechnic and Swansea University in Wales. He has exhibited in the UK, USA, Netherlands and France with many commissions, both public and private, which include the Flame and Spiral sculptures for the Womenâ&#x20AC;&#x2122;s Peace Camp Memorial Garden, Greenham Common, Berkshire, UK and a Stainless Steel/Glass sculpture for Crown House, City Road, London UK. ÂŁ4000-6000

526 Gerrit Thomas Rietveld, (1888-1964) Red and Blue Chair Laminated wood 1980’s 88cm.; 34½ins high by 80cm.; 31½ins wide by 66cm.; 26ins deep Sold with original label from the Cassini furniture firm, who produced an edition of 2000, of which this is numbered 1917, which coincidentally is the year of its original design.

Gerrit Thomas Rietveld (1888–1964) was a Dutch furniture designer and architect. One of the principal members of the Dutch artistic movement called De Stijl, Rietveld is famous for his Red and Blue Chair which was designed in 1917 and represents one of the first explorations by the De Stijl art movement in three dimensions. The original chair was constructed of unstained beech wood and was not painted until the early 1920s. Fellow member of De Stijl and architect, Bart van der Leck, saw his original model and suggested that he add bright colours. He built the new model of thinner wood and painted it entirely black with areas of primary colours attributed to De Stijl movement. The effect of this colour scheme made the chair seem to almost disappear against the black walls and floor of the Schröder house where it was later placed. The areas of colour appeared to float, giving it an almost transparent structure. The Museum of Modern Art, which houses the chair in its permanent collection, a gift from Philip Johnson, states that the red, blue and yellow colours were added around 1923. £1200-1800

527 Roger Clarke Red Knob (phosphoryl chloride) Polyester resin, fibreglass 205cm.; 80Âžins high by 165cm.; 65ins wide by 165cm.; 65ins deep ÂŁ6000-8000

528 Dagmar Stransky The Dress Bronze 145cm.; 57ins high by 285cm.; 112¼ins wide by 20cm.; 8ins deep £6000-8000

529 Bob Persey, Born 1951 Canto ‘79 Bronze Signed and numbered 3 of 3 152cm.; 60ins high Educated at St Martin’s School of Art (Advanced Course), Persey taught at Norwich School of Art and was a visiting lecturer at St Martin’s, Bath Academy and Coventry University. He was a founder member of the Greenwich Artists Studio Association and went on to serve on the committee, and as chairman. His work was first exhibited at the Royal Academy in 1977, and subsequent group and solo exhibitions followed, including a solo show at the Lanchester Gallery in Coventry. His work has been shown in The Tate Gallery, London, and he has also served on the selection panel for exhibitions at this prestigious venue. £10,000-15,000

530 Alban (b. France 1967) Leningrad Star, 2008 Painted wood and mixed media 100cm.; 39½ins high by 99½cm.; 39ins wide £3000-5000

531 Alban (b. France 1967) Road to North Pole, 2008 Painted wood and mixed media 130cms.; 51ins square ÂŁ3000-5000

532 Michel Haillard Nawel Alligator Alligator, Buffalo and Sable Antelope horns 114cm.; 45ins high by 80cm.; 31½ins wide by 90cm.; 35½ins deep £10,000-15,000 Please refer to the CITES statement on page 1 Michel Haillard’s furniture is an astonishing mastery of inspiration. Are his armchairs, chests of drawers and couches functional? Certainly so: the armchairs are thrones for tribal chiefs, dignitaries full of their own selfimportance or people who are fully aware of the value of due decorum; the chests of drawers are caskets for documents or valuables and secrets; the sofas can only accommodate couples with as tousled, yet externally controlled passions, as the symmetrical and balanced tangle of their forms and constituent elements. Michel Haillard has been collecting these elements for years as they surfaced during his explorations and investigations. Exploration is the right word because of what his calls his “tribale pursuite” (an eccentric term that 34

reflects perfectly the character of his works): both wild (because pleasantly perverted) and playful (because it does not exclude humour to the second degree). Haillard combines the indisputable natural dimension of his materials – corns or tusks of different origin, skins of leopard, crocodiles and zebras which have already delighted several generations of hunts – with a whimsical spirit, unbridled imagination, a manifest nostalgia for pomp and irony. His ‘pursuit’ is concurrently a coherent, deliberately extended creation of the unexpected, the unusual, while being tribal by its haughty, aristocratic character, retaining all the while an underlying, non-confessed awareness of excess. Wim Toebosch Association Internationale des Critiques d’Art 533 Michel Haillard Ophir Burchell’s zebra, Brazilian cow horns, rams horn, buffalo and zebra horns 205cm.; 80¾ins high by 80cm.; 31½ins wide by 90cm.; 35½ins deep £15,000-20,000 Please refer to the CITES statement on page 1

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

140cm.; 55ins high by 180cm.; 71ins wide by 18cm.; 7ins deep Helen Sinclair was born in South Wales in 1954, and studied sculpture at Wimbledon School of Art (1972-76), after teaching

for twelve years, she has been a full-time sculptor since 1988. The main body of her work is figuratively based, and her primary inspiration is the human body, in movement, at rest,

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

535 Simon Wyard Acrobats Bronze Signed and numbered 4 of 9 92cm.; 36ins high by 28cm.; 11ins wide by 12cm.; 30ins deep As a child whose parents were both artists, Simon loved to paint and draw, and as a teenager took to sculpting in clay, then spent four years at Maidstone College of Art studying painting and printmaking for a degree in Fine Art. Further studies at Goldsmiths College included training as an art teacher, and studying ceramics â&#x20AC;&#x201C; working on large figurative bowls and figurative sculptures. He now works loosely in pencil, charcoal ink and paint to help produce ideas as small maquettes before working in clay on the larger finished piece. From 1988 to 1995 Wyard lived in the South of France working, exhibiting, and further developing his ideas by visiting many continental museums, galleries and cave paintings. His work has largely been concerned with using the human figure as a point of departure to produce dynamic forms that also suggest an intimate connection to the landscape. Now living and working in the Exmoor National Park, ideas are sparked from patterns in the surrounding rocks, trees and banks of undulating moss, which often echo forms seen on his travels throughout Europe. ÂŁ3000-5000

536 Ross Haylett and Morveth Ward Growan (Thinker) Mild steel and Cornish granite Unique 115cm.; 45¼ins high by 170cm.; 67ins wide by 60cm.; 23½ins deep £4000-6000 537 Ross Haylett and Morveth Ward Just Desserts Cornish granite and mild steel Unique 360cm.; 141¾ins high by 300cm.; 118¼ins wide by 115cm.; 45¼ins deep £12,000-18,000

538 Zhang Feng Indifference Bronze Signed and numbered 3 from an edition of 5 188cm.; 74ins high by 89cm.; 35ins wide by 80cm.; 31Â˝ins deep Born in Shenyang, China in 1965, Zhang Feng studied Bachelor and Masters degrees in sculpture at the Lu Xun Academy of Fine Arts, before moving on to teach at the same institution. His creations were heavy and solid, block mass structures, which Feng now attacks and breaks down mercilessly. The new incomplete and broken style is not to present a fragmented sight, but puts forward a shattered and scarred image as if denuded. The figures portrayed are more powerful and expressive than earlier works with a complete and clean appearance. He is now studying for a further degree at the New York Academy of Art. His work has featured in numerous solo exhibitions in China, USA and Europe, he has won various awards for his sculpture which is held in a number of collections worldwide. ÂŁ20,000-30,000

539 Zhang Feng Walking the World Bronze, 1 of 8 186cm.; 73ins high by 75cm.; 29½ins wide by 78cm.; 30½ins deep £20,000-30,000

Zhang Feng with his sculpture 41

540 Alex Davies, Born 1970 Dni Sianna (Six Months) Bronze Signed and numbered 1 from an edition of 5 188cm.; 74ins high by 78cm.; 31ins wide by 76cm.; 30ins deep After studying at Farnham and Plymouth Art Schools, Alex set up a blacksmithing business, specializing in designing and making furniture, fixings and sculpture for a number of high profile restaurants, retailers and businesses. He also became involved with an art foundry that shared the studios where he worked, before spending some time at the Frink School and a few months working at

Bronze Age in South Africa. A spell as foundry manager with Morris Singer with responsibility for many of the UK’s monumental bronzes helped prepare him to set up his own foundry, from where he has worked on a number of high profile castings (The Bulls at Blagdon Hall) and restorations (The Green Horse, Windsor Great Park). £20,000-30,000

541 Alex Davies, Born 1970 Bi-Polar Express II Bronze Signed, from an edition of 3 177cm.; 69½ins high by 236cm.; 93ins wide by 62cm.; 24½ins deep £20,000-30,000

542 Marjan Wouda, Born 1960 Running Dogs Bronze, mid-brown patination Signed and numbered edition of 6 170cm.; 67ins wide

Marjan Wouda grew up in Holland before moving to England where she studied fine art at both Manchester Polytechnic and North East London Polytechnic where she obtained a First Class Honours degree. Her piece Germinations IV was selected for an

International travelling exhibition. In 1987 she returned to Manchester to complete her MA in sculpture. Marjan has completed several large scale Public commissions for the towns of Leigh, Preston, Lancaster, Newcastle upon Tyne and Ashton-under-Lyne as well

as for the London Docklands Development Corporation. Internationally her work can be seen at the new British Consulate in Hong Kong as well as Ireland and Holland. ÂŁ8000-12,000

543

102cm.; 40ins high by 180cm.; 71ins long

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.

Born in Oxford, David Goode grew up in the small Midlands town of Leek, Staffordshire, just

Aged 18, David trained at The Sir Henry Doulton School of Sculpture, specialising in portrait and

David Goode, Born 1966 Ferryman Bronze Signed and numbered limited edition

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 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. ÂŁ10,000-12,000 45

544 Martyn Barratt Tower Blue Kiln formed glass Unique Signed 186cm.; 73ins high by 35cm.; 13¾ins wide by 35cm.; 13¾ins deep Barratt studied wood and stone carving and gilding at London Art School, and an MA in architecture at East London University. Much of his work is contemporary in concept and content, and his practice owes much to the skills he learnt in his early trades as a carver and restorer. He works in a number of mediums, including studio glass, wood and marble. His work has been exhibited

internationally, and has completed commissions for many prestigious clients including the BBC and the Palace of Westminster. He was elected to the Royal Society of British Sculptors in 1993, and director for the Burghley Sculpture Garden in 1997. £3000-5000 545 Martyn Barratt Kiln formed glass Signed Unique 38cm.; 15ins high by 88cm.; 34½ins wide by 8cm.; 3ins deep £3000-5000

546

547

Martyn Barratt

Moon Light

Rainbowed

Kiln formed glass

Unique

Signed

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

188cm.; 74ins high by 50cm.; 19¾ins wide by 30cm,; 12ins deep

£3000-5000

548

Concrete and mosaic

Francony Kowalski, Born 1959

33cm.; 13ins high by 162cm.; 36¾ins wide by 55cm.; 21½ins deep

Dreaming

Exhibited at Camden Street Market from 20032014 £6000-8000

549 Francony Kowalski, Born 1959 Feline Recline Concrete, Steel, Ceramic and glass Unique 164cm.; 64½ins high £6000-8000

550 Nicola Godden ARBS, Born 1960 Icarus Rising VII Bronze Signed, edition of 9 85cm.; 33Â˝ins high by 50cm.; 19Âžins wide by 20cm.; 8ins deep Born in 1960 in Germany to a British Army family, Godden studied sculpture at West Surrey College of Art and Design. She has travelled to and lived in many countries including Kenya, Cyprus and Singapore. She was given her first commission through the landscape garden designer Roddy Lewellyn. The bronze was featured in his book Beautiful Backyards. Other large commissioned works include: The twice life sized Hammersmith Man figure which was unveiled by George Melly in 1987. The Peter Scott memorial sculpture for The Wildfowl and Wetlands site at Barnes which was unveiled by David Attenborough in 2000. She has also been commissioned to produce works for numerous private persons and public sector bodies, together with many significant pieces for large corporate clients. Work in collections: The Vincent Fergusson Collection. The Eric and Jean Cass Collection. Nene University collection.

Portraits include: Leonard Rossiter, Acker Bilk Exhibitions Solo Exhibition, The Bronze Gallery, Hartley Wintney; Hannah Peschar Sculpture Garden; Wykeham Gallery, Stockbridge; The Pride of the Valley (2007); Art Parks International, Guernsey; Tom Caldwell Gallery, Belfast (2006); Contemporary Art Fair, Edinburgh; Phoenix Art Gallery, Hartley Wintney; Sarah Wiseman Gallery, Oxford (2005); The McHardy Sculpture Company (2004); Royal Society of British Sculptors (2001); Art 2000 Islington (2000) Her sculpture of ‘Icarus’ was recently featured at Chelsea Flower Show and on display in the Athlete’s Village of the London 2012 Olympic Games. £8000-12,000

551 Nicola Godden ARBS, Born 1960

173cm.; 68ins high by 165cm.; 65ins wide by 140cm.; 55ins deep

Icarus II

£25,000-30,000

Bronze Edition of 12

552 Jonathan Loxley, Born 1960 Portal Copper and aluminium Unique 345cm.; 136ins high by 345cm.; 136ins wide 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. £12,000-18,000

553 Jonathan Loxley, Born 1960 Aida Gilded limestone on composition stone base Unique 135cm.; 53ins high; overall height 383cm.; 150Âžins including base ÂŁ15,000-20,000

554 Jenny Pickford Allium Galvanised steel and hand blown glass Unique 295cm.; 116¼ins high by 150cm.; 59ins Jenny Pickford is a contemporary artist blacksmith, designing and making unique sculptures, water features and architectural ironwork. Her designs combine forged, galvanised steel, with spectacular blown glass. She is highly regarded as one of the country’s leading female artist blacksmiths. £8000-12,000 555 Mel Howse Double Eye Enamelled stainless steel and oak 250cm.; 98½ins high by 130cm.; 51ins wide by 180cm.; 71oms deep Mel Howse, ‘Poverty Over’ sculpture, 2010, enamel on steel, 220 high, bowl 120cm diameter. This sculpture was made for and is being sold by Christian Aid.

“Poverty: lack of money, food, shelter- but ultimately about inequality and lack of power. This piece explores the gap between those who are living in poverty and those who are not. Here are two circular vessels. The most conspicuous of these, are vertically oriented shallow lens, represents the human eye. It stares challengingly at us. The eye is society’s conscience. Beneath sits a deep bowl, it’s interior hidden from us. If we come closer we see another eye looking up from its base. This is the eye of the poor- unseen from a distance and lost as we walk away. This eye requires more from us to get our attention. The juxtaposition of the two vessels implies that one vessel brings attention to the other. In essence they are the same. Poverty is staring at us and can be uncomfortable to witness. But once we have seen, the challenge is to act. The piece was commissioned in 2010 by Christian Aid who exhibited it throughout the cathedrals of Britain over a three year period. It was launched at Southwark Catherdral by Loretta Minghella. The surreal sculpture animated their campaign about poverty, drawing in visitors to see a unique and unusual piece of work formed of two huge enamelled vessels which are in the form of eyes internally. It is made from spun steel and fired industrial enamels. The sculpture is by contemporary glass artist and enameller Mel Howse. It features we believe the largest hand worked enamelled bowl ever made at a diameter of approximately 1.2m and 600mm deep. Mel is an experimental glass artist who pushes the boundaries within her commissions. Her largest work is a 500m2 glass façade for a Sainsbury flagship store- hand made in fired enamels. Her most unusual piece is the Artbath in cast iron and vitreous enamel. She has long worked in the industrial environment to create asrt despite scale. Summers Place Auctions are waiving their vendor’s commission on this lot to benefit Christian Aid. £5000-8000

Image at Miscellanea, Churt 56

556 Enzo Plazotta, 1921-1981 Baigneuse (Life-size) 1969 Bronze Signed and numbered from an edition of 9 107cm.; 42ins high by 92cm.; 36ins wide ÂŁ20,000-30,000

557 Enzo Plazotta, 1921-1981 Peter Ustinov Composition (1968) Bronze on marble plinth Signed and numbered from an edition of 9 113cm.; 44½ins high by 54cm.; 21¼ins wide by 50cm.; 19¾ins deep Enzo Plazotta was born in Maestre, near Venice in 1921and 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. £12,000-15,000 558 Enzo Plazzotta, Italian 1921-1981 Carmargue Horses Bronze Signed and numbered 5 from an edition of 6 with foundry stamp 111cm.; 43¾ins high by 115cm.; 42¼ins wide £20,000-30,000

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

559 Ivor Roberts-Jones RA (1913-1996) Monumental bronze bust of Sir Winston Churchill 86½cms; 34ins high by 130cms; 51ins wide

Bronze edition 1/6 cast directly from the plaster taken from the statue of Sir Winston Churchill in Parliament Square. The casting process supervised by the sculptor Nigel Boonham FRBS, Past President of the Society of Portrait Sculptors, on behalf of the Trustees of

the Ivor Roberts-Jones Estate. Bronze marked ‘1/6 Estate IR-J 2015’ Ivor Roberts-Jones, RA was born in Oswestry, where one of his works, "The Borderland Farmer", stands in the town centre. He studied at Oswestry

School and Worksop College before attending Goldsmiths College, London and the Royal Academy of Arts. During the Second World War he served in the Burma Campaign Roberts-Jones was a founder member of the

Society of Portrait Sculptors in 1953 and was head of the sculpture department at Goldsmith’s College of Art from 1964-1978. He established his reputation for portrait sculpture including commissions for Yehudi Menuhin and George Thomas, Viscount Tonypandy, as well as over life size figures including Field Marshall Viscount slim of Burma and Field Marshall Viscount Alanbrooke both of which stand in Whitehall. “With his statue of Sir Winston Churchill in Parliament Square, unveiled in November 1973, Ivor Roberts-Jones created one of the grandest works of public sculpture in Britain.“ The Times, December 1996 Statue in Parliament Square of Sir Winston Churchill

Ivor Roberts-Jones with the full size model of Sir Winston Churchill inside his studio-barn at Cratfield, Suffolk c1972. Image courtesy of HMI, Leeds

In 1971 he was commissioned to produce the full-length statue of Winston Churchill which now stands in Parliament Square, London, which is, without doubt, his most famous work. He later

Sir Winston Churchill unveiled by his widow, Lady Clementine SpencerChurchill, in the presence of Her Majesty the Queen, Parliament Square, London, 1st November 1973. Image courtesy of the HMI, Leeds

indicated that the pose of the statue had been largely inspired by the famous photograph of a grim-faced and sorrowful Churchill inspecting the smouldering bomb wreckage of the chamber of his beloved House of Commons on the morning of 11th May 1941. Ivor Roberts-Jones ‘portrays him as the wartime leader at the time of the Normandy Landings and the return of the Allies to Europe. Consequently the figure exudes total confidence: facing the Houses of Parliament, their greatest servant in modern times is portrayed as a giant at the height of his powers’.

Winston Churchill viewing the ruins of the Chamber of the House of Commons, 11th May 1941. Image courtesy of the Churchill Archive Centre, Churchill College, Cambridge

After the statue was unveiled in 1973 it ‘provided a much needed breakthrough in post-War portraiture’, subsequently the statue has rightly achieved iconic status. In 1987 the statue appeared in party political broadcasts for the Conservative party, thanks to Mrs Thatcher’s intense admiration for and identification with Churchill. It subsequently featured in Simon Schama’s award winning History of Britain broadcast on BBC1 in 20002 and again five years later in Andrew Marr’s History of Modern Britain. Perhaps the apogee of the statue’s status within the British imagination came on 27th July 2012, when it was prominently featured in the ‘Happy and Glorious’ section of Danny Boyle’s Isles of Wonder film, broadcast during the opening ceremony of the London Olympics. In 1995 Ivor Roberts-Jones was commissioned by the Czech government to make another cast of the Churchill figure to stand in the recently renamed Winston Churchill Square in Prague. Ivor replied that his original mould for his figure in Parliament Square had disintegrated and he doubted very much whether Parliament would allow him to make a cast from the statue himself. He did produce a clay maquette for a new Churchill head, but died a couple of months after sending it to the Meridian foundry. After further negotiation, his widow, Monica Roberts-Jones gave her permission for a copy to be made of the statue in Parliament Square, somewhat swayed by the fact that this proposal had the support of Lady Thatcher and the Czech President Vaclav Havel. With the British Foreign Office and the Royal Parks Agency also giving their project their blessing, permission was given and an upcoming portrait sculptor, Nigel Boonham was given the task of supervising the making of a cast from the Churchill statue in Parliament Square. It is from the plaster cast of the head and shoulders made at this time, that this bronze was cast. The Trustees of the Ivor Roberts-Jones Estate have kindly given permission for a limited edition of only 6 bronze casts to be made from the plaster of the head and shoulders of the Churchill figure of which this is number 1. No other casts will be authorised and as such this represents a unique opportunity to acquire an enduring sculpture of Churchill, voted as the greatest ever Briton.

“It is a remarkable statue that manages to capture Winston Churchill’s love for the parliament he spent so many decades in, with the defiant gaze that represents the determination with which he led our country in its darkest and greatest hour.” Rt Hon. George Osborne MP, June 2013 The successful bidder will receive a hard back copy of “ Abstraction and Reality” The sculpture of Ivor RobertsJones, by Jonathan Black and Sara Ayres in which the statue is extensively discussed and illustrated. Literature: Ivor Roberts-Jones – The Journey to Harlech, 1 Dr Peter Cannon-Brookes, (National Museum of Wales, 1983), p.57 Abstraction and Reality; The sculpture of Ivor RobertsJones, by Jonathan Black and Sara Ayres, Philip Wilson 2013 £50,000-80,000

The Sculpture Park in winter 63

560 Lucy Kinsella, Born 1960 Drinking Horse Signed and numbered 7 from an edition of 9 93cm.; 36½ins high by 53cm.; 21ins wide by 36cm.; 14ins deep; overall height 155cm.; 61ins including plinth Lucy Kinsella graduated from Loughborough University B.A. (hons) Fine Art Sculpture in 1989. Exhibitions include; Chelsea Flower Show, Burghleigh Sculpture Park, Olympia Art Fair, ‘The Sculpture Show’ Osbourne Studio Gallery London. Her work is represented in collections in Ireland, Belgium, Japan, China, Channel Island, United States, France, South Africa, Dubai, Sweden, New Zealand and throughout the UK £10,000-15,000 561 Lucy Kinsella, Born 1960 Moondance Bronze Signed and numbered Edition 4 of 4 180cm.; 71ins wide £15,000-25,000

562 Nigel Boonham Jane Austen in Heaven Bronze 66cm.; 26ins high by 42cm.; 16½ins wide by 36cm.; 14ins deep Nigel Boonham is a British portrait sculptor whose work dates back to 1975. He was assistant to the celebrated sculptor Oscar Nemon from 1977-79. Over the past two decades he has made a series of portrait bronzes including Sir Geoffrey Keynes, Lord Runcie (Archbishop of Canterbury), Archbishop Daniel Mannix (Archbishop of Melbourne), Peter Jonas and Joseph Needham. Recently he completed an over life-size bronze of Dame Cicely Saunders OM, pioneer of the hospice movement: the first portrait of a woman in the collection of the Royal College of Physicians. His best known portrait, of Diana, Princess of Wales was unveiled by the Princess herself at the National Hospital of Neurology, London. Boonham’s three-metre statue of Cardinal Basil Hume set in a memorial garden designed by the sculptor was unveiled in May 2002 in Newcastle by Her Majesty The Queen. Boonham’s work is held in many private and public collections including The Royal College of Surgeons; the Royal College of Physicians; Manchester Free Trade Hall, The International Courts of Justice and two portrait bronzes in The National Portrait Gallery. £6000-8000

563 Phillip King Ubo’s Camel Bronze From an edition of 3 58cm.; 23ins high by 85cm.; 33½ins wide Born in Tunisia in 1934, King studied modern languages at Christ’s College, Cambridge (195457), and sculpture at St Martin’s School of Art (1957-58) with Anthony Caro. He worked for a year as an assistant to Henry Moore and taught at St Martin’s, a calling he would continue throughout his career. He was a professor of sculpture at The Royal College of Art, and the Royal Academy, a Trustee of the Tate Gallery and was awarded a CBE in 1974. In 1990 he was made a member of the RA and Professor Emeritus at the Royal College of Art, and King was elected president

of the Royal Academy from 1999 to 2004. His early works of the 1950s were generally small and made in clay and plaster, and were described as being of a robust, brutalist and surrealist nature. He started to use fibreglass and colour, and seminal works such as Rosebud (1963), Genghis

Khan (1963) and Twilight (1963) brought his work to the attention of the wider art world. A period of abstract sculpture often combining various materials then turned in the 1980’s to a more figurative way of working before moving on again to make large-scale ceramic vessels using a

rough mix of clay and newspaper. Phillip King is an artist of international standing, he represented the UK at the 34th Venice Biennial in 1968, and in 1998 was the first British artist since Henry Moore be honoured with an exhibition at the Forte di Belvedere in Florence. £10,000-15,000 67

564 Piers Mason A Pair of Turtles Swimming Through Kelp Stainless steel each 180cm.; 71ins high by 190cm.; 75ins wide by 170cm.; 67ins deep

Piers Mason graduated in Fine Art, and went on to complete a PGCE in Fine Art, and a Masters Degree (Winchester/Barcelona) in European Fine Art. He is a visiting lecturer at the University of Hertfordshire. He has spent significant periods overseas, especially in Africa, and as a result he acts as an Art Consultant for income generating community projects in developing countries, serves as Project Director and facilitator on VSO Vocational Arts and

Crafts project in Kenya and is a Founder, Director and Trainer for a fair trade community Art and Craft project empowering Masai women in Kenya. He was inspired to make the Crested Cranes following an encounter in Kenya a few years ago. Mason says “I was cycling through the savannah on my own, when two Crested Cranes flew up behind me and continued to fly either side of me just a few metres away. We stayed in this formation for what seemed like ages

as time appeared to slow with their majestic movements, flying so close to the ground and at a slow pace for them. I was pedaling at quite a speed to keep up, yet felt clumsy and slow by comparison” He has exhibited in the UK, Europe and Africa, and has completed commissions for, amongst others, the Welsh Secretary of State, the Wangari Mathi Memorial (Nobel Peace prize winner) and the World Bank. £25,000-35,000

565 Piers Mason, Born 1974 Crested Cranes Mixed metals Unique Approximately 180cm.; 71ins wingspan ÂŁ25,000-35,000

566 Nicolas Moreton Blossoming Relationship Pink ancaster weatherbed limestone Signed 60cm.; 23½ins high by 80cm.; 31½ins wide by 35cm.; 14ins deep Nicholas Moreton was born in 1955 and after gaining a degree in Fine Art, was elected as a member of the Royal Society of British Sculptors in 1995. In 2006 he was awarded the Brian Mercer Residency at the Fondazione Sem, Pietrasanta, Italy. Exhibitions include International Sculpture, Pietrasanta, Italy 2011, Anthony Hepworth Gallery, London 2010, London Art Fair 2009, The Royal Academy Summer Exhibition in 2007, The City Sculpture Walk, London in 2006. Moreton’s work can be found in many private collections in the UK and worldwide: Australia, Belgium, Great Britain, Hong Kong, Switzerland, New Zealand, United States of America £15,000-20,000

567 Martin Williams Hidden Wings Portland and riverbed limestone Signed Unique 80cm.; 31½ins high by 100cm.; 39½ins 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. Working initially in ceramics, he ran a successful studio pottery specialising in domestic stoneware and relief decorated commemorative ware. In 1988, he won his first commission for public artwork with a series of eight ceramic relief panels for a seaside monument

entitled “Copper Flame”. This was a collaborative work with the Swansea based Architect, Robin Campbell. Williams won several major commissions including a series of relief panels for a waterside site in Cardiff, and a large continuous relief work in Woolwich Arsenal Station in London. This was one of the largest ceramic relief works produced in the UK in the 20th Century.

His most recently completed public work is a four figure bronze composition on a carved Bath stone base for the World Health Organisation in Geneva, Switzerland. This work resulted from winning an international design commission, and a copy of the work has been produced for a site in America. £6000-8000

568 Tessa Campbell-Fraser Flying Dream Arc zinc Edition 1 of 5 160cm.; 63ins high by 215cm.; 84½ins wide by 95cm.; 37½ins deep; overall height on stand 280cm.; 110¼ins Tessa Campbell Fraser was born in Edinburgh in 1967, and spent her childhood in the Scottish Borders. Having studied at Chelsea School of Art, she established herself through the late 80s and 90s as one of the country’s leading equestrian and landscape artists, winning many awards and exhibiting work at the Royal Academy Summer Show, Sculpture at Goodwood,the Royal Institutes of Oil, Watercolour and Pastel Painters respectively, and solo shows atthe Natural History Museum, London and the Tryon & Swann Gallery, Cork Street. Amongst her awards are the Diana Brooks Award (1992), the Chelsea Arts Society Oil Painting Award (1993) and the Winsor and Newton Watercolours Award (1995). From 1996 her interest in

animals and anatomy led her to focus on sculpting. She has since completed several major bronze commissions, including a group of life-size guinea fowl, three half life-size elephants, a life-size Highland Stag, and, in 2003, three life-size hippos. In 2001 she was elected an Associate Member of the Royal Society of British Sculptors. She was made a Fellow of the Society in 2004. Tessa’s paintings and bronzes are held in private collections including those of Her Majesty the Queen, HRH Prince Fahd Salman, the Household Cavalry and Knuthenborg Safari Park, Denmark, as well as in Australia, South Africa, Monaco and the USA. She has travelled widely, last visiting Greenland where she completed a series of abstract and representational paintings to compliment her allegorical polar bear and figure sculptures. She has also co-presented a BBC TV pilot on public sculpture with Neil Oliver. Tessa is married and lives in Wiltshire where she designed and built her own studio. In addition to her own work, she teaches sculpture and life drawing. She has two daughters, Ava (b 2001), and Lila (b 2003). £30,000-40,000 569 Tessa Campbell-Fraser Polar Dance Bronze Edition 1 of 3 220cm.; 86½ins high by 250cm.; 98½ins wide by 105cm.; 41½ins deep; overall height including base 283cm.; 111½ins £50,000-80,000

William attended Camberwell School of Art where he studied painting and drawing, lithography, sculpture, lettering and general design. He worked part time at the Royal College of Art following his studies at Camberwell, before turning to teaching, where his experience is wide-ranging and varied having taught painting, sculpture design and technology and the Welsh language. He was involved in pioneering work in association with Goldsmiths College and the Royal College of Art in developing the philosophy and practice of Design and Technology in schools.

570 William Lazard, Born 1936

Number 1 of an edition of 9

Monk in Contemplation

164cm.; 34½ins high by 136cm.; 53½ins wide

Bronze on steel plinth

£20,000-30,000

After retiring from full time education in 1993, he now focuses his attention on his creative work of painting and sculpture. Bills work is in private collections in the UK, America, Canada, France and Germany, and has commissioned work on permanent display in Ysgol y Pedol, Cwmamman, South Wales, Malmesbury Abbey Gardens, Wiltshire, Noddy Park Cemetery, East Grinstead, Saint Bernards Church, Lingfield and the Church of Our Lady of Lourdes, near Hampton Court.

571 Jens-Flemming Sørensen, Danish, born 1933 Womans Emerging Torso Bronze Signed 176cm.; 69¼ins high by 51cm.; 20ins wide by 38cm.; 15ins deep Jens-Flemming Sørensen's sculptures are often composed of organic and geometric shapes, working in granite, bronze and marble. He is represented in the following collections; Gothenburg Museum of Art, Sweden Esbjerg Art Museum Kastrupgårdsamlingen, Kastrup North Jutland Art Museum Vejle Art Museum Skive Art Museum Aarhus Kunstmuseum Randers Museum of Art Kolding Art Museum Museo dei Bozzetti, Pietrasanta, Italy Museum Bealden Aan Zee, Scheveningen, Netherlands £8000-12,000

572 Ramon Conde, Born Spain 1951 Guardian Bronze resin 110cm.; 43Âźins high by 120cm.; 47ins wide Born in Ourense, Spain in 1951, Conde showed an early appreciation of art, drawing with pencil, charcoal etc before 76

moving onto canvas paintings and following the influence of his father (who sculpted in stone) he progressed to stone sculpting. In 1971 he joined the Faculty of Arts in Santiago, where his work was heavily influenced by studies of psycho-analysis, the theories of Freud and the importance of dreams.

international fairs and solo exhibitions throughout Europe, he has received many commissions for largescale public works in Spain, Portugal and Mexico, including in the Senate of The Palace of Fonseca, Santiago, and he has taught as visiting professor at the University of Houston, USA.

Shown at various

ÂŁ10,000-15,000

573 Ramonde Conde, Born 1951 Alma en Pena Bronze resin Signed 155cm.; 61ins high by 73cm.; 29ins wide by 110cm.; 43¼ins deep £10,000-15,000

574 s Geraldine Knight, 1933-2008 The Picnic Party Bronze Signed and numbered 2 from an edition of 8 87cm.; 34ins by 72cm.; 28Âźins 78

Born in 1932, Geraldine Knight studied at the Brighton College of Art; 1949-1952 and then at the Royal Academy Schools; 1952-1956. After training to be a sculptor, Geraldine Knight was awarded the Prix de Rome scholarship, enabling her to spend two years in Italy. She has

produced a variety of sculptures and architectural decoration, as well as portrait busts and public sculpture, and Knight also worked on stage sets and contributed to building restoration projects. Her life size bronze animals include a flock of sheep, exhibited

at the Royal Academy summer exhibition of 1986. From 1960 she taught life drawing and sculpture at the Sir John Cass School of Art, Twickenham College of Technology and Kingston College of Art. ÂŁ8000-12,000

575 Sean Crampton Dame Kind Fabricated bronze Unique 166cm.; 65½ins high by 149cm.; 58½ins wide Sean Crampton was born in Manchester, the eldest son of an architect, and studied at the School of Art in Birmingham, then the Central School of Art before working on his own and at Fernand Leger’s studio in Paris. During the War he saw action in the Western Desert and Sicily, and was awarded the Military Cross and the George Medal. The years (1946-50) that he spent as Professeur de Sculpture at the AngloFrench Art Centre in St John’s Wood, London, he would subsequently look back upon as being influential in his development as a sculptor; they witnessed his increasing technical mastery and creative adventurousness, which went hand in hand with his own inspirations – his love of mythology, history (both human and natural) and the deeper world of the spirit. Besides exhibiting at the Royal Academy and other institutional galleries, Crampton held 17 one-man shows in the West End over a period of nearly four decades. Works on a more heroic scale were commissioned by civic organisations, colleges (two at Cambridge), churches and convents. He was particularly gratified when he was asked to create the war memorial for his own regiment. Several of his most notable works earned him awards from the Civic Trust and from the Royal Society of British Sculptors. He had been a member of that body since 1953 and served as its president for five years (1966-71). £30,000-40,000 79

576 Marie Boyle East End Boy Bronze Signed and numbered 105cm.; 41½ins high by 62cm.; 24½ins wide by 55cm.; 21½ins deep £12,000-18,000

577 Marie Boyle West End Girl Bronze Signed and numbered 122cm.; 48ins high by 55cm.; 21¾ins wide by 45cm.; 17¾ins deep Marie has work in private collections in USA, Argentina, South Africa, Nigeria, Ireland and UK. Along with exhibiting at exhibitions and art fairs, her work can be seen at the Brian Sinfield Gallery in Burford, Oxfordshire and The T5 Fine Art Gallery, Terminal 5, London Heathrow. Marie Boyle is a member of the Surrey Sculpture Society, The Oxford Sculpture Group and the Bicester Sculpture Group. Her commissions come from both corporate clients and private individuals. £12,000-18,000

578 Halliday Avray-Wilson, Born 1967 Blast Figure Steel Unique 230cm.; 90½ins high by 120cm.; 47¼ins wide by 180cm.; 71ins deep Born in London, but now residing in France, Halliday was trained in fine art at Oxford and Florence. Awarded a Medal of Honour for his contribution to the arts in France, in part due to his monument ‘Victoire’, a controversial 30 foot high work commemorating the French Resistance. Other pieces include a large scale abstraction of a racehorse in steel for the Wetherby Racing Group UK, and works in bronze for the French National Collection of Equestrian Art. Sculpting for over twenty years Wilson’s work enjoys an international clientele of discerning collectors and works of all scales have been shipped throughout Europe and the US. £20,000-30,000

579

580

Chelsea Renton

David Norris

Born To Run

Mother and Chick

From an edition of 9

Bronze

38cm.; 15ins high by 28cm.; 11ins wide

Signed, edition of 9

£1200-1800

40cm.; 15¾ins high by 21cm.; 8¼ins wide by 16cm.; 6¼ins deep David Norris studied

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

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. £4000-6000 83

581 Nigel Williams Sapien Percuriosus Wood, copper & brass Unique 79cm.; 31ins high by 63cm.; 25ins wide by 36cm.; 14ins deep ÂŁ4000-6000

582 Charles Bran Man Made Bronze Corten Steel, Stainless Steel, Galvanised Steel, Zinc, Copper, Brass, Lead, Aluminium, Signed Unique 240cm.; 94½ins high Bran has been surrounded with art from his earliest years, his father is a well renowned and successful sculptor and art dealer. Growing up in this environment, he worked his weekends and summers at a nearby sculpture park, and the early seeds had been sown. After completing his education, he spent some time travelling and working abroad, in Australia, India, Thailand, Cambodia and West Africa, before returning to work at the sculpture park, during which he was able to study the sculptural traditions of other countries, as well as analysing the work of other contemporary sculptors. Man Made is not a religious piece but a work focussing more on the complexity of man’s creations and intellect with an underlying analysis that the world as a whole is in our hands and the the crucifix is an indication that all religon which has heavily influenced most of the population and history to date is also man-made. This piece has been ingeniously designed and constructed using a large variety of metals and alloys further emphasising the dichotomy between the traditional crucifix and this modern made made piece of art design. The maquette for this peice was exhibited at Chelsea Flower Show 2013. £15,000-20,000

583

584

Martin Scorey

Contemporary Welsh primitive

Seagull

Reclaimed ash, steel, lead cobblers lasts

Unique

128cm.; 50½ins high by 66cm.; 26ins wide by 60cm.; 23½ins deep £600-800

Lead, steel & wood 125cm.; 49ins high by 52cm.; 20½ins wide by 40cm.; 16ins deep £1200-1800

585 Paul Smith Strange Little Girl Marble and slate resin Signed and numbered 1 of 12 181cm.; 71¼ins high by 97cm.; 38¼ins wide by 43cm.; 17ins deep £4000-6000

exhibition of European Artists in Germany.

586 Jim Unsworth, Born 1958 Another Surprise for Fabricius Luscinus Forged and welded steel 312cm.; 123ins high

Jim Unsworth was born in Wigan, Lancashire in 1958. After reading Fine Art at Reading University he worked for 14 years in a studio in Greenwich amongst sculptors who gained a reputation for making welded steel sculptures. In 1991 he exhibited in Kunst Europa at the Kuntsverein in Kirchzarten, Freiburg, part of a nationwide

In 1994 he moved to a studio in Bow, London which precipitated a change in his work. Large abstract sculptures gave way to figurative works on the theme of the circus. A strong narrative element became important, and the form of the elephant in particular took precedence, not only in large welded steel sculptures but in smaller modelled versions cast in bronze. As Jim Unsworth observes; “Essentially it is man’s relationship with animals, in particular to elephants,

that inspires me to want to express my ideas through them. I use the elephants as a motif or vehicle to express complex ideas about the world we live in. I see them as a metaphor both for man’s relationship to animals and for man’s relationship to himself: the nature of wild, captive or tame; the nature of freedom and control; the nature of partnership and individuality. My personal relationship to elephants is particular; childhood memories, early experiences of the circus, of seeing an elephant for the first time and re-living

the wonderment that something so visually awkward yet ultimately so sophisticated could exist in the world. The form and spirit of elephants are fascinatingprehensile trunks that often become serpentlike; large padded, silent feet; folds of skin; a beady eye. They possess a great sincerity and humility often tinged with humour.

They have immense strength yet are very gentle. They have both male and female attributes, can be aggressive or placid. Their engagement with us is as equals, and they relate to us with a closeness which is always awe-inspiring and often acutely disarming.

587 Dogs of Fo Japanese Granite 122cm.; 48ins high by 92cm.; 36ins long ÂŁ4000-6000

ÂŁ15,000-20,000

588 Francis Thornburn The Beast Wood and steel Unique 340cm.; 134ins high by 740cm.; 291Âźins long by 290cm.; 114Âźins wide ÂŁ12,000-18,000

The Ministry of Alternative TransportM.A.T. M.A.T. was established in 2008 by Francis Thorburn. Originally operating under the name of the "Alternative Transport Network", the institution was set up to research the potential of man powered transport for the fast approaching age of the "petrol-less" world. With

the appointment of the "Minister of Alternative Transport" (Francis Thorburn) M.A.T. was born. To date M.A.T. has created and tested 13 manpowered vessels including two amphibious prototypes. The aim is to continue developing this fleet to deal with the predicted overwhelming demand. All the vehicles

rely on the idea of collaborative labour to complete their specified journeys. With the absence of the combustion engine M.A.T. will usher in a return to our physicality once lost in the age of technology. For further information on M.A.T go to;www.ministryofalternat ivetransport.com

Francis Thorburn is a practising artist working with performance and sculpture. Since 2008 he has been developing a series of processional performances, which use sculptural devices to head the procession. He wishes to fascinate and capture the audiences' attention

with the absurd and the extravagant, through ritualized action and the epic machine. His performance work has been commissioned by Tate Modern, Tate Britain, the Centre for Contemporary Art Warsaw (Poland) and the Folkestone Triennial. He

has exhibited across the UK with recent shows at the Olympic Park, Focal Point Gallery, The Grundy Gallery, The New Art Gallery, Generator Projects, and Embassy Gallery. Thorburn has also shown internationally in Australia, Korea, Portugal and Poland.

589

590

Christian Paix

Artiste

Factory

Mixed media

110cm.; 43¼ins high by 100cm.; 39½ins wide by 25cm.; 10ins deep

150cm.; 59ins high by 80cm.; 31½ins wide £4000-6000

More than 20 years ago Christian Paix started making his tableaus, which he calls “Illustrations of humorous life”. A former student of Beaux-Arts de Reims, he enjoys creating life scenes in micro-theatres of our everyday life: a sculptor’s studio, a factory and a public toilet with a voyeur’s hole. His work has been described as a combination of Wallace and Gromit and three dimensional Beryl Cooke. £4000-6000

Interior of the piece 591 Christian Paix Restroom Mixed media, (detail through key hole) 40cm.; 15¾ins high by 40cm.; 15¾ins wide by 150cm.; 59ins deep £4000-6000

592 Keith Riley Trio of Cow Tables with drawers Painted wood 75cm.; 29½ins high by 95cm.; 37½ins wide by 44cm.; 17½ins deep £800-1200

593

594

Rachel Stevenson Catcher of the Night

A pair of Pyritised Ammonite slices

Bronze and Humming Birds under glass dome

Jurassic 150 million years old, Upper Volga, Russia

Signed

38cm.; 15ins wide by 40cm.; 15¾ins long by 3cm.; 1¼ins deep

Sculpture measures 64cm.; 25ins high by 25cm.; 10ins wide by 18cm.; 7ins deep, overall height 85cm.; 33ins £6000-8000

£1800-2500 595 Two Giant Clam Shells 28cm.; 11ins high by 74cm.; 29ins wide by 44cm.; 17¼ins deep £1200-1500

596 A steel Armada chest Continental, 17th century with dummy lock and secret opening point 44cm.; 17ins high by 74cm.; 29ins wide by 42cm.; 16Â˝ins deep ÂŁ1200-1800

597 A Victorian Prison Door from Salisbury Jail Wood and steel 180cm.; 71ins high by 120cm.; 47ins wide by 90cm.; 35½ins deep £800-1200

598 Nick Toomey Oxbow river Stainless steel Unique 100cm.; 39½ins high by 67cm.; 26½ins wide by 9cm.; 3½ins deep £3000-4000

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599 Claudia Wegner, Born Austria 1954 Head Unique Glazed Stoneware 45cm.; 17¾ins high by 36cm.; 14ins wide £1200-1800

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600 Anilnilk Peelaktoak, Canadian Inuit, born 1950 Man and his Son Alaskan stone Signed under foot 55cm.; 21½ins high by 36cm.; 14ins wide by 21cm.; 8¼ins deep £2000-3000

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601 Andy Peters Valkyrie Wood Unique 212cm.; 83½ins high by 56cm.; 22ins wide by 103cm.; 40½ins deep Andy Peters is a self-taught authority on authentic wood carvings of figureheads and other decorative woodwork used in the stern and quarter galleries or interiors of tall ships and all manner of vessels. His interest in wood carving started early, which combined with his passion for sailing tall ships and a life of wandering led to him living abroad in Holland. While completing his own repairs he would offer to help others, and gradually an interest in his craft and demand for his work developed. Andy has been commissioned to work on high profile restorations including a replica of the Götheborg, a Swedish East India ship from 1738, and the HMS Chesapeake of 1855 from Chatham (a five metre lion figurehead made using 3 tons of timber). His years of experience in restorations enable him to match the styles of the period, country and type of vessel, and the techniques and characteristics from the original carvers. £6000-8000

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602 Juniperis Chinensis ‘Itoigawa’ Chinese Juniper 67cm.; 26½ins high by 52cm.; 20½ins wide £1200-1800

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603 Pinus Parviflora Japanese White Pine 57cm.; 22½ins high by 114cm.; 45ins wide by 72cm.; 28½ins deep £4000-6000

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604 Carprinus Coreana ‘Korean Hornbeam’ 90cm.; 35½ins high by 84cm.; 33ins wide £1000-1500

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605 A Wulpertinger 73cm.; 28¾ins high by 125cm.; 49ins wide by 42cm.; 16½ins deep £1200-1800

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606 Maggie Rose Twinkle Twinkle Mixed media artwork Unique 90cm.; 35½ins high by 210cm.; 82¾ins wide see youtube video on summersplaceauctions.com £4000-6000 607 Jaguar Grill Mirror 28cm.; 11ins high by 62cm.; 24½ins wide by 8cm.; 3¼ins deep £1200-1800

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608 John Homer Sideboard Various woods 70cm.; 27½ins high by 173cm.; 68ins wide by 48cm.; 19ins deep £6000-8000

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609 Antique saw with later painted decoration 18cm.; 7ins high by 116cm.; 45¾ins wide by 2cm, ¾ins deep £100-200 610 Turbot Record Hand painted wood Signed Unique 77cm.; 30¼ins high by 117cm.; 46ins wide by 7cm.; 2¾ins deep £2000-3000

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611 Simon Groves Sofa Oak 68cm.; 27ins high by 158cm.; 62ins wide by 65cm.; 25½ins deep £3000-4000 612 A Rootwood Table With Ion Glass top 72cm.; 28½ins high by 148cm.; 58¼ins wide by 120cm.; 47ins deep £800-1200

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613 A Horn and Hide seat Ugini Cattle 130cm.; 51ins high by 150cm.; 59ins wide by 70cm.; 27½ins deep £2000-3000 112

614 A pair of Horn and Hide Chairs Ugini Cattle 110cm.; 43¼ins high by 75cm.; 29½ins wide by 55cm.; 21½ins deep £2000-3000

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615

616

An Oak Arts and Crafts Drinks Cabinet

A brass and mahogany Campaign style Commode

early 20th century 152cm.; 60ins high by 90cm.; 35½ins wide by 34cm.; 13½ins deep £800-1200

late 19th century 50cm.; 19½ins high by 54cm.; 21¼ins wide by 44cm.; 17¼ins deep £600-800

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617 A pair of Brass and Marble Side tables late 19th century formally used at the King George VI Hotel Paris 98cm.; 38½ins high by 46cm.; 18ins wide by 44cm.; 17½ins deep £2500-3500 115

618

619

621

622

A pair of Art Deco burr walnut chairs upholstered in cream leather

A canvas ribbon Strap Chair

A pair of Indian Colonial style Corner Cabinets

A carved wood parcel gilt mirror

82cm.; 32¼ins high by 92cm.; 36ins wide by 70cm.; 27½ins deep

with inlaid floral marquetry and mirror backs

20th Century

£800-1200

130cm.; 51ins high by 60cm.; 23½ins wide by 30cm.; 12ins deep

1930’s 86cm.; 34ins high by 86cm.; 34ins wide by 70cm.; 27½ins deep £1200-1800

620 A Retro Globe Light with Red and Blue diffuser 50cm.; 19¾ins sphere £800-1200

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£800-1200

130cm.; 51ins high by 130cm.; 51ins wide by 8cm.; 3¼ins deep £1200-1800

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623 â&#x20AC; Wilfred William Frederick Pritchard, Born 1970 Backflip Bronze Signed and numbered from an edition of 3 330cm.; 130ins high For more information on Wilfred Pritchard see introduction to catalogue ÂŁ15,000-20,000

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624 † Wilfred William Frederick Pritchard, Born 1970 Adolph Hitler or Mother Teresa Foetus and formaldehyde in limed oak frame Unique 47cm.; 18½ins high £10,000-15,000

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625 † Wilfred William Frederick Pritchard, Born 1970 Bronze, cast from Original African Currency 173cm.; 68ins high by 43cm.; 17ins wide by 2cm.; ¾ins deep £3000-5000

626 † Wilfred William Frederick Pritchard, Born 1970 Whale Bone Balance Bronze Signed and numbered 2 from an edition of 3 170cm.; 67ins high by 157cm; 62ins wide £10,000-15,000 120

Eddie Powell studied photography at Guildford School of Art & West Surrey College of Art & Design from 1975 – 1978

In 1979 The Photographers Gallery in London held a One-Man exhibition of The Captivity Series.

He graduated with a 1st Class Honors Degree.

Comprising 30 photographs, this series was a personal view of creatures caged in completely un-natural surroundings behind bars, wire-mesh and

His degree show was made up of several photographic essays such as:Man & Beast, Figure in the Landscape and Captivity.

plate-glass, amongst steel, bricks and concrete. The pictures express the inevitable incongruity that exists between animal and surroundings when beasts are incarcerated and exhibited in this fashion in the name of conservation, education and research.

627 † Eddie Powell (b.1950) Captivity No 7 Tinted Ivory frame and Tusks Signed and numbered A.P. 77cm.; 30¼ins high by 105cm.; 41¼ins wide £600-800

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628 † Eddie Powell (b.1950) Captivity No 5 Gorilla with Nesting Material Yellow Tinted Frame and straw 105cm.; 41¼ins high by 79cm.; 31ins wide £600-800

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628A † Eddie Powell (b.1950) Heron Chick 200ft above ground in a Scots Pine Tinted Gaping Mouth Framed 80cm.; 31ins by 104cm.; 41ins £600-800

629 † Eddie Powell (b.1950) Captivity No 1 Aged Chimp unframed 76.5cm.; 30ins by 100.5cm.; 39½ins, £600-800

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631 † Eddie Powell (b.1950) Pregnancy 630 † Eddie Powell (b.1950)

76.5cm.; 30ins by 100.5cm.; 39½ins

Man and Beast II

unframed

Giraffe and Keeper

£400-600

76.5cm.; 30ins by 100.5cm.; 39½ins, in Pinkish tint and frame £600-800 124

632 †

633 †

Eddie Powell (b.1950)

Man and Beast 6 Haslemere Museum

Figure in the Landscape ‘Headless in the Cairngorns’

Sam and Brown Bear Mounted but unframed 100cm.; 39½ins high by 75cm.; 29½ins wide £400-600

Black Frame Signed A.P. 105cm.; 41¼ins high by 79cm.; 31ins wide £600-800

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634 † Eddie Powell (b.1950) Man and Beast, No4 Pigs Last Dip Signed and numbered A.P. 75cm.; 29½ins by 106cm.; 41¾ins, red tint and frame £600-800 635 † Eddie Powell (b.1950) Oscar Skating Framed and glazed Signed and numbered 1 of 9 20cm.; 8ins by 92cm.; 36ins £600-800

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636 † Eddie Powell (b.1950) Man and Beast No 6 The Dinosaur Park Unframed, signed and numbered A.P. Mounted but unframed 75cm.; 29½ins high by 100cm.; 39¼ins wide £400-600

637 † Eddie Powell (b.1950) Rhymney Valley 1974 Unframed Mounted 75cm.; 29½ins high by 100cm.; 39¼ins wide £400-600

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Exhibition at the Birmingham ICC in 1994. Photo: Derek Harris.

THE LIFE AND WORK OF ROBERT LENKIEWICZ (1941-2002) ROBERT LENKIEWICZ was born in London in 1941, the son of refugees who ran a Jewish hotel in Fordwych Road catering mostly to elderly residents. At sixteen Lenkiewicz attended St Martin’s College of Art & Design and later the Royal Academy. However, he was virtually impervious to contemporary art fashions, being more interested in his favourite paintings in the National Gallery. Inspired by the example of Albert Schweitzer, Lenkiewicz threw open the doors of his studios to anyone in need of a roof – down and outs, addicts, criminals and the mentally ill congregated there. These individuals were the subjects of his paintings as a young man. After moving to Plymouth in 1969, the artist attracted so many vagrants and street alcoholics that Lenkiewicz was forced to commandeer derelict warehouses to house them. One of these warehouses also served as a studio and in 1973 became the exhibition space for the Vagrancy Project. The Vagrancy Project consisted in paintings of the vagrants and a large book of notes written by the `dossers’ themselves and those involved in their care and control. The format of the ‘Project’ – combining thematically linked paintings with the publication of research notes and the collected observations of the sitters – was to be used consistently throughout Lenkiewicz’s career. Projects such as Mental

128

Handicap (1976), Old Age (1979), Suicide (1980), and Death (1982), continued to examine the lives of ostracised, hidden sections of the community. In a parallel line of inquiry, Lenkiewicz often adopted a metaphorical pictorial style to portray ‘human physiology in a state of crisis’ in Projects such as Love & Romance (1975), Love & Mediocrity (1976), Jealousy (1977), and Orgasm (1978). This line of enquiry culminated in his grand study of obsessive attraction, The Painter with Mary (1981). The centrepiece of this Project, a huge folio of notes and sketches documenting every significant event in his four-year pursuit of the woman who became his third wife, was published in 2014 as a sumptuous iBook by HarperCollins. These Projects examining `the falling in love experience’ led the artist to believe that the physiology of desire itself was `the straight road to fascism’ – the tendency to treat another person as property. Lenkiewicz concluded that the kinds of sensations people felt when a lover abandoned them or when their cherished beliefs were threatened were identical to the withdrawal symptoms and anxieties experienced by addicts or alcoholics. The Projects thus became an extended study in `addictive behaviour’ – the title of his 20th Project, unfinished at the time of his death. His own observations were

supported by his 25,000 volume private library, which contained large sections on philosophy, theology, fascism, anti-Semitism, the witchcraft phenomenon and the occult, and which he viewed as a history of `fanatical belief systems’. Robert Lenkiewicz died on 5 August 2002 from a serious heart condition. In his obituary of Lenkiewicz, art critic David Lee observed: `Robert’s greatest gift was to show us that an artist could be genuinely concerned about social and domestic issues and attempt the difficult task of expressing this conscience through the deeply unfashionable medium of figurative painting. In that sense he was one of few serious painters of contemporary history.’ The Lenkiewicz Foundation, 2015 The Lenkiewicz Foundation is a registered educational charity (No. 1063357) created to preserve and disseminate the library, paintings and other original works of artist Robert Lenkiewicz (1941-2002). Through exhibitions and related educational activities the charity aims to raise awareness of the thought-provoking life, work and ideas of Robert Lenkiewicz. www.robertlenkiewicz.org info@lenkiewiczfoundation.org

THE EDDIE POWELL ROBERT O. LENKIEWICZ COLLECTION Through recent public gallery exhibitions such as ‘SelfPortraits 1956–2002’ at London's Ben Uri Jewish Museum of Art (2008), ‘Still Lives’ at the Royal West of England Academy in Bristol (2011) and ‘Human, All Too Human’, the first international touring exhibition of his work in Leipzig and Nuremberg (2013), Robert Lenkiewicz is now gaining long-overdue recognition as one of this country's most significant post-war figurative painters. Lenkiewicz has always been an artist whom people either love or loathe with little half measures. While he was alive, right from his very early years in Plymouth, the artist’s many ‘patrons’, who came from all walks of life – from nobility to businessmen, from lawyers and doctors to taxi drivers and plumbers – would support him on a kind of feudal bartering system, often reinforced by Lenkiewicz’s magnetic charisma. In return for paintings, they would pay for his vast studios and their running costs, his paints and materials, as well as the cost of his ever-growing library. 129

is that confidence in your own taste, the pursuit of your own judgement of quality and the determination to acquire it, which is the unmistakable sign of the real collector. What perhaps strikes me most about Eddie Powell’s collection of Lenkiewicz’s paintings is that it reveals an artist totally at odds with the popular media’s usual clichéd caricature of him as a serial womanizer, embalmer of tramps and faker of his own death. The paintings which Eddie has collected over the years get straight to the dark heart of Lenkiewicz’s vision with no punches pulled, and, in particular, the artist’s obsession with decay and mortality. ‘To paint oneself is to paint a picture of someone who is going to die’, Lenkiewicz often remarked. ‘And the same applies if one paints anyone else’, he added.

Robert Lenkiewicz in 1993 standing before his self-portrait painted at the age of seventeen. Photo: Derek Harris. However, in the years since his death, new collectors have emerged, equally passionate about the man and his work. All these obsessive collectors have tended to share one particular characteristic: they are fiercely independently-minded, caring little about current art fashions or what the art critics tell them to like. They certainly have an appreciation of skill and tradition in art, but, more significantly, they seem to subconsciously recognise in Lenkiewicz a fellow free-spirit and a genuine radical. Eddie Powell is one of these collectors, whom I first met at a Sotheby’s auction when we were both bidding for the same Lenkiewicz painting: a powerful self-portrait with model. I managed to buy it on the day but then, about a week later, Eddie called me, asking how much I wanted for it. We agreed a price. It wasn’t long before I started to regret it and think that he’d had the best of the deal after all. The painting was later included in the exhibition of self-portraits at the Ben Uri Museum. But it

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Lenkiewicz’s aim was to capture the transient and haunting qualities of his subjects. His empathy for the disenfranchised, society’s down-and-outs and misfits, resulted in some extraordinary and haunting paintings. Beginning with Vagrancy in1973, and in so-called ‘Projects’ on Mental Handicap, Old Age, Suicide and 1982’s Death, his fifteenth Project, he examined in depth the effects of human isolation and brought wide public attention to hidden sections of the community. He painted figuratively at a time when Pop Art, Abstraction, as well as the emerging new forms of Video and Conceptual Art, were the flavour of the day in British Art. Although unfashionable in the art world of his time, Lenkiewicz’s work is proving that not only does it have the power to communicate directly with people about their own lives and the world they live in but also attract a new generation of shrewd collectors. Francis Mallett Chair of the Lenkiewicz Foundation

638 s Robert Lenkiewicz Lorraine with Paul 1983 Oil on canvas Framed 109cm.; 43ins by 94cm., 37ins #80 Project 16 - Sexual Behaviour Illustrated plate 54 Robert Lenkiewicz: Paintings & Projects (White Lane Press) including a copy of the above book ÂŁ12,000-18,000

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639 s Robert Lenkiewicz Robbie 1997 Framed Oil on canvas 122cm.; 48ins by 122cm.; 48ins Project 20 - Addictive Behaviour Illustrated plate 75 Robert Lenkiewicz: Paintings & Projects (White Lane Press) including a copy of the above book Exhibited Retrospective 1997 Exhibited Royal West of England Academy 2011 ÂŁ10,000-15,000

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640 s Robert Lenkiewicz Patti Avery Signed on reverse Oil on canvas Framed 178cm.; 70ins by 113cm.; 44½ins £6000-8000

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641 s

Framed

Robert Lenkiewicz

113cm.; 44Â˝ins by 135cm.; 53ins

Mr Wilkinson and his son Nicki Titled on label on reverse

#47 Project 3 - Mental Handicap

Oil on canvas

ÂŁ4000-6000

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642 s Robert Lenkiewicz Monca on a white chair 1979 Oil on canvas Framed 63cm.; 24¾ins by 57.5cm.; 22¾ins #11 Project 12 - Suicide £8000-12,000

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643 s Robert Lenkiewicz Self Portrait c. 1969 Oil on canvas Framed Signed and dated 1969 72cm.; 28¼ins by 116cm.; 45¾ins £15,000-20,000

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644 s Robert Lenkiewicz Francesca and Diogenes 1974

#67 Project 2 - Death and The Maiden Exhibited Royal West of England Academy 2011 ÂŁ8000-12,000

Oil on canvas Framed 76cm.; 30ins by 99cm.; 39ins

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645 s Robert Lenkiewicz Cathy Clipson with tampax 1983 #17 Project 16 Sexual Behaviour Framed 112cm.; 44ins by 134cm.; 53ins ÂŁ5000-7000

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646 s Robert Lenkiewicz Thais and her Mother (Karen Ciambriello) Oil on canvas Framed Inscribed on reverse - brief study 35min 87cm.; 34ins by 84cm.; 33ins ÂŁ6000-8000

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647 s Robert Lenkiewicz Ada #59 Project 16- Sexual Behaviour Oil on canvas 101cm.; 40ins by 72cm.; 28ins Inscribed on reverse by the artist study of Adrian Matthews known as Ada. One of 300 paintings on this theme 1979-81, Transvestite prostitute in Union Street Plymouth. Wanted a sex change but changed his mind seemed to be stimulated by the risk of discovery by potential clients, primarily matelots. ÂŁ3000-4000

140

648 s Robert Lenkiewicz Cyril Restieux - Bishop of Plymouth. 1983 Oil on canvas Framed 167cm.; 65¾ins by 91cm.; 35¾ins Project 16 - Sexual Behaviour Exhibited Royal West of England Academy 2011 £10,000-15,000

141

649 s Robert Lenkiewicz Ria as Janus. Double theme 1988 Oil on canvas Framed 60cm.; 23½ins by 138cm.; 54¼ins Project 18 - Robert Lenkiewicz: The Painter with Women: Observations on the theme of the Double Illustrated p14 The Painter with Women: Evolution of a Project (White Lane Press) including a copy of the above book £10,000-15,000

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650 s Robert Lenkiewicz Dean Bawden and Parents 1976 Oil on canvas Unframed 122cm.; 48ins by 92cm.; 36¼ins #41 Project 3 - Mental Handicap £2000-3000

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651 s Robert Lenkiewicz Beggar with Sandwich Oil on sailcloth Framed 174cm.; 68ins by 157cm.; 62ins ÂŁ8000-12,000

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652 s Robert Lenkiewicz Mrs Irene Small of Plymouth Oil on canvas Framed 93cm.; 36½ins by by 72½cm.; 28½ins This painting was a retirement present from her husband in 1975 £1200-1800

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653 s Robert Lenkiewicz Wolfe with Ghiberti Detail. 1982 Emulsion and cryla on canvas Framed 149cm.; 58¾ins by 91cm.; 35¾ins #02 Project 15 - Death Reference to a design on the north doors of the Florence Bapistery by Lorenzo Ghiberti Illustrated Robert Lenkiewicz: Paintings and Projects (White Lane Press) including a copy of the above book £10,000-15,000

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654 s Robert Lenkiewicz The painter with Samantha 1989 Oil on canvas Framed 186cm.; 73¼ins by 128cm.; 50½ins Project 18 - The Painter with Women: observations on the theme of the Double Illustrated p30 The Painter with Women: Evolution of a Project (White Lane Press) exhibited Spinnerei, Leipzig 2013 including a copy of the above book £20,000-30,000

Photography of the artist painting this picture by Dr Philip Stokes.

147

655 s Robert Lenkiewicz Cairn Terriers Oil on canvas Signed lower right Framed 56cm.; 22ins by 72cm.; 28½ins £12,000-15,000

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656 s Robert Lenkiewicz Portait of a young man with glasses Circa 1970 Oil on board Unframed 65cm by 48cm ÂŁ2000-3000

149

657 s Robert Lenkiewicz Study of Cockney Jim 1973 Watercolour Framed 28cm.; 11ins by 26cm.; 10¼ins Project 1 - Vagrancy Exhibited Royal West of England Academy 2011 £1200-1800

150

658

659 s

Camera on Adjustable Stand

Robert Lenkiewicz

From the Studio of Robert Lenkiewicz 195cm.; 73¾ins high by 78cm.; 30¾ins wide by 70cm.; 27½ins deep, height variable

Snowy plus drawing of tramps (framed as one) Watercolour, pen & ink 22cm.; 8¾ins by 20cm.; 8ins £2000-3000

£1200-1800

151

660 s Robert Lenkiewicz Elderly Lovers. 1983 Oil on canvas Framed 75cm.; 29½ins by 56cm.; 22ins #73 Project 16 - Sexual Behaviour £3000-5000

152

661 s Robert Lenkiewicz The Two-Headed Necrophiliac 1982 Oil on board Framed 84cm.; 33ins by 84cm.; 33ins #04 Project 15 - Death illustrated plate 12 P&P Illustrated Robert Lenkiewicz: Paintings and Projects (White Lane Press) including a copy of the above book ÂŁ8000-12,000

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662 s Robert Lenkiewicz Death making love to the Maiden 1974 Oil on canvas Framed 78cm.; 30Âžins by 53cm.; 21ins Project 2 - Death and the Maiden ÂŁ5000-7000

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663 s Robert Lenkiewicz Blind Tobit masturbating in the wind. 2000 Inscribed verso Oil on canvas Framed 179cm.; 70½ins by 149cm.; 58¾ins #07 Project 21 - Paintings Painted Blind £10,000-15,000

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664 s Robert Lenkiewicz Andrew Adams in wheelchair 1976 Gouache Framed 44cm.; 17½ins by 34cm.; 13½ins #100 Project 3 - Mental Handicap £1200-1800

For a selection of prints by Robert Lenkiewicz produced by the Lenkiewicz foundation see lots 700-714. For further information see www.lenkiewiczfoundation.org

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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

158

(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. 159

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

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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 164 and 260. 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. No payments for lots can be accepted at the Sculpture Park.

Credit/Debit Card We are pleased to accept major credit cards (regrettably we are unable to accept American Express or Diners Club card payments), for which a surcharge will be made of 3% of the transaction total. This is to cover the charge made to us by our bank. There is no charge for payments made by debit card. Sterling Banker’s Draft or Building Society Cheque and Electronic or Wire Transfer Drawn on a recognised UK bank or building society. Wire Transfers can be made directly to our Bank, NatWest, Billingshurst Branch, 57 High Street, Billingshurst, West Sussex RH14 9FJ. A/C 66025206, sort code 60 02 31. IBAN GB79 NWBK 6002 3166 0252 06. BIC NWBK GB 2L. Please contact us for further details. Sterling Cheque Please note that we require seven days to clear sterling cheques where the amount exceeds the cheque card guarantee limit, unless special arrangements have been made with the auctioneer in advance of the sale (normally the presentation of a letter of guarantee from your bank). We always reserve the right to hold goods until a cheque is cleared. Collection and Storage On receipt of cleared funds, lots can be collected from the Walled Garden, Stane Street, Billingshurst, West Sussex, RH14 9AB and at the Sculpture Park 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 or Sculpture Park 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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Sealed Bid – How it works

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

No of Sales

Rest of World

Garden & Nat. History Sep 2015*

£15 n

£20 n

Evolution (Nat. History) Nov 2015

£15 n

£20 n

All of above

£25 n

£35 n

Includes both Live and Sealed Bid sales(*) All amounts are in sterling (GBP) Name …………………………………………………… Address ..................................................................... ............…………………………………………………… ............…………………………………………………… Email..........……………………………………………… Tel No……………......................................................

First you require a catalogue. Once you have the catalogue, you need to register your interest in bidding. This can be done quickly and simply by presenting one of our viewing staff with some photographic ID (a modern driver’s license or passport is ideal) or by scanning a copy and emailing it to us. We will take a copy of the ID and a registration form can be completed. Next give us your bid(s). This can be done by filling in the bidding slip found in your catalogue. If you are sending your bidding slip to Summers Place Auctions by post, please mark the envelope “Sealed Bid” so that we know it contains a sealed bid and do not open it accidentally. Bids may also be sent by e-mail. If you choose to send the bid electronically, please e-mail sealedbids@summersplaceauctions.com . This is a closed mailbox and will not be opened before the advertised time. However, we strongly recommend that if you have not viewed the sale in person, that you ask for condition reports on any lots you are thinking of leaving bids on. Sealed bid auctions differ from established auctions in that the bid left is the bid that will be exercised in full. Therefore, if you decide to leave a bid of, say, £900 on the lot estimated at £800-£1000 and there is no higher bid, (where two identical bids are received, the earliest received bid will take precedence), £900 will secure the lot subject to buyer’s premium and VAT on the premium. We will contact you if you have been the successful bidder to inform you of the lot or lots that you have purchased, so that you can make payment and make arrangements for delivery. We have had many years of experience dealing with both UK carriers and international shippers and are happy to obtain quotations and facilitate transport and shipping of single lots and multiple purchases to anywhere in the world. Bids will be opened on Thursday 16th April and sales results will appear on the Summers Place Auctions website. Please be mindful that we will have to process a large number of bids, which does take time. However, we will endeavour to get this accomplished as quickly as possible and will expect to have the results of the sale posted by the end of the day. If you have never bid in a sealed bid sale before, here are some things to be aware of as regards leaving bids for this auction: Every lot in the sale has a fixed reserve, (the minimum price for which the lot can be sold) and this is never above the low estimate, it can be slightly below, but in the vast majority of cases it is the low estimate. The highest bid (as long as it is on or above the reserve) will be the winning bid. This is the “hammer price” that the lot will be sold for. You should consider leaving a bid of an odd amount in pounds, for example, rather than bidding £1,000, try say £1,004, as many lots have been bought for the sake of the odd £1! You can tailor your bid in ways that are impossible to do in a live auction. For example, if you really like three lots, but only need one, and the piece you like the most is later in the sale, simply mark your order of preference. As long as your instructions are clear, having looked at any other bids left on the lots, we will do our best to comply with your preferences.

Credit/debit card type.............................................. In the event of two identical highest bids, the earliest bid received with take precedence.

Card no .................................................................... Expiry date..........Issue Number …………………….. 3 digit security number on reverse of card ............ Amount to be debited.............................................. Signature .................................................................

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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 700-885 All sealed bids must be with us, at the latest, by 5pm BST on the 24th June since the bids will be opened on the 25th June. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. For further information on sealed bids and how they work see page 164.

Official giclée on canvas prints The Lenkiewicz Archive is the official imprint of The Lenkiewicz Foundation, the UK charity whose aims are to promote public awareness of the work, ideas and life of painter Robert Lenkiewicz (1941-2002). All our giclée prints are produced to the highest archival standards. Each print is numbered out of 475 and comes with a matching certificate of authenticity. The premium box-stretcher prints have a 35mm depth and are strung ready-tohang and therefore do not require frames. For those wishing to add frames to their prints, we recommend our deluxe 21mm depth stretchers, which accept the largest range of frame mouldings. 700

701

702

Robert Lenkiewicz

Warren Woods, 1995

Anna standing in the black shawl, 1996

Bishop startled, 1972

Number 26/475

59.7cm.; 23½ins by 59.7cm.; 23½ins, box stretcher (ready to hang)

Number 01/475 26.3cm.; 10½ins by 99.8cm.; 39¼ins, 2.1mm.; ¾ins stretcher £120-150

99.5cm.; 39¼ins by 48.5cm.; 19ins, 2.1cm.; ¾ins stretcher £120-150

Number 11/475

£80-120 165

703

705

Robert Lenkiewicz

St Antony’s Cave, 1993

The Painter with Anna (II), 1995

Number 12/475 59.7cm.; 23½ins by 48.3cm.; 19ins, box stretcher (ready to hang) £80-120

Number 18/475 59.7cm.; 23½ins by 59.7cm.; 23½ins, box stretcher (ready to hang) £80-120

704 Robert Lenkiewicz Still-Life (Three Chairs), 1981 Number 11/475 45.5cm.; 18ins by 59.7cm.; 23½ins, box stretcher (ready to hang) £100-150

706 Robert Lenkiewicz Anna with paper lanterns, 1996 Number 08/475 84.1cm.; 33ins by 60cm.; 23¾ins, 2.1cm.; ¾ins stretcher £120-150

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707

708

Robert Lenkiewicz

Les Ryder in bowler hat, 1996

Woman walking away, 1977

Number 12/475

Number 02/475

84.4cm.; 33½ins by 59.7cm.; 23½ins, box stretcher (ready to hang)

42.3cm.; 16¾ins by 84.4cm.; 33¼ins, 2.1mm.; ¾ins stretcher

£80-120

£120-150

167

709

711

Robert Lenkiewicz

Syd sniffing glue, 1988

The Painter with Anna (I), 1993

Number 13/475 59.7cm.; 23½ins by 59.7cm.; 23½ins, box stretcher ( ready to hang)

Number 30/475

£80-120

710 Robert Lenkiewicz The Painter with Anna (III) - white shawl Number 26/475 £120-150 168

84.4cm.; 33½ins by 64.3cm.; 25½ins stretcher

712 Robert Lenkiewicz Still-Life (Prayer Plant), 1981 Number 01/475 84.4cm.; 33½ins by 59.7cm.; 23½ins by 2.1cm.; ¾ins stretcher £120-150 713 Robert Lenkiewicz The Painter with Moira, 1995 Number 12/475 59.7cm.; 23½ins by 45.5cm.; 18ins, box stretcher (ready to hang) £80-120 714 Robert Lenkiewicz The Painter with Anna (IV) - green dress Number 06/475 84.1cm.; 33ins by 84.1cm.; 33ins, 2.1cm.; ¾ins stretcher £120-150

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715 David Cooke, Born 1970 Landing Hare Bronze Signed and numbered 1 of 9 94cm.; 37ins high by 95cm.; 37½ins wide by 28cm.; 11ins deep David Cooke has been a professional wildlife artist since graduating in 1992 from Leeds Metropolitan University with a degree in 3D Design. He grew up in East Anglia with ready access to clay thanks to his mother Rosemarie Cooke, who is also a ceramic sculptor. David has been based at Sculpture Lounge Studios in Holmfirth since 2005, and has been running ceramic workshops there 170

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 716 David Cooke, Born 1970 Leaping Hare Bronze Signed and numbered 1 of 9 83cm.; 32½ins high by 78cm.; 30½ins wide by 29cm.; 11½ins deep £4000-6000

717 David Cooke, Born 1970 Fourcan Bronze resin 156cm.; 61½ins high by 45cm.; 17¾ins wide £2000-3000 718 David Cooke, Born 1970 Raven on Pitchfork Bronze Signed and numbered 1 of 9 140cm.; 55ins high £4000-6000 719 David Cooke, Born 1970 Stork in a Hat Stoneware Unique 130cm.; 51ins high by 40cm.; 16ins wide by 34cm.; 13½ins £2000-3000

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720

721

Robert Crutchley, Born 1943

David Mayne, Born 1962

Tiapolo’s Dog

Longhorn, Steel and wood

Bronze

155cm.; 61ins high by 190cm.; 75ins wide by 73cm.; 29ins deep

Signed and numbered from an edition of 4 153cm.; 60ins long Robert Crutchley originally trained as a silversmith, but began sculpture shortly after completing his studies at the Birmingham College of Art. After an early period creating sculptures directly from life in terracotta and cement fondue, he began using cardboard and paper, finished by the addition of wax by brush and modelling tools. £8000-12,000

A foundation course at Harrogate Art College was followed by degree studies in Sheffield, which then led on to teaching and residencies at numerous schools, colleges, institutions and academic centres. Mayne has maintained a commitment to teaching throughout his career, to encourage both teachers and children to participate in sculpture projects. He uses a variety of different techniques and materials to produce both gallery and public artwork, including coiling, welding, cutting, grinding, rusting, polishing, plating and casting. £8000-10,000

172

173

722 Sally Arnup Laying Whippet Bronze Signed Arnup Numbered 6 of 10 8cm.; 3ins high by 16cm.; 6¼ins wide by 10cm.; 4ins deep Sally Arnup was raised up in Surrey, where she went to a Montessori school, and by the age of five, she had already decided she wanted to be a sculptor. She went to art school in Kingston Upon Thames at the age of 13, surviving the school’s attempts to turn her into a dress designer, before going on to study at the Royal College of Art. She has works on public display, held in private and corporate collections and has exhibited widely in the UK, Europe and the USA. Her sculpture ‘Silver Leopard’ was given to HM the Queen in 1981 by the City of York. £4000-6000

174

723

724

Joyce Playle

Lucy Kinsella, Born 1960

Picasso's Goat

Rolling Horse

Bronze

Signed and numbered 1 from an edition of 9

Signed and numbered 3 of 4

82cm.; 32ins high by 98cm.; 38½ins wide

170cm.; 67ins wide

Lucy Kinsella graduated from Loughborough University B.A. (hons) Fine Art Sculpture in 1989. Exhibitions include; Chelsea Flower Show, Burghleigh Sculpture Park, Olympia Art Fair, ‘The Sculpture Show’ Osbourne Studio Gallery London.

Her work is represented in collections in Ireland, Belgium, Japan, China, Channel Island, United States, France, South Africa, Dubai, Sweden, New Zealand and throughout the UK £15,000-20,000

£8000-12,000

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725 Marjan Wouda Born 1960 Owl of few words Variegated green brown patination Signed and numbered 3 of 5 60cm.; 23Â˝ins high Marjan Wouda grew up in Holland before moving to England where she studied fine art at both Manchester Polytechnic and North East London Polytechnic where she obtained a First Class Honours degree. Her piece Germinations IV was selected for an International travelling exhibition. In 1987 she returned to Manchester to complete her MA in sculpture. Marjan has completed several large scale Public commissions for the towns of Leigh, Preston, Lancaster, Newcastle upon Tyne and Ashton-under-Lyne as well as for the London Docklands Development Corporation. Internationally her work can be seen at the new British Consulate in Hong Kong as well as Ireland and Holland. ÂŁ4000-6000

176

726 Marjan Wouda, Born 1960 Giant Crab Bronze Signed and numbered 1 of 9 113cm.; 44Â˝ins wide ÂŁ10,000-15,000

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727 Michael Chaikin Grouper Copper Unique 81cm.; 32ins high by 128cm.; 50Â˝ins wide by 30cm.; 11Âžins deep Michael Chaikin was born in 1957, studied Medicine and was a hospital doctor for a while before falling in love with Sculpture. He completed his medical studies and worked as a hospital doctor and GP while studying at Eastbourne Art College, East Sussex, UK in 1986 (foundation studies) then Falmouth Art College, Cornwall, UK (1987-1990) where he obtained a degree in Fine Art.

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He taught sculpture at Hawkesbay University, New Zealand and the Joined Red Herring Studios in Brighton as a working sculptor. Exhibited in London, Brighton, Hamburg, Paris with numerous one man shows the last one in Feb 2011 in Dubai, UAE. He lived and worked in Brighton until 1999 then moved to Falmouth, Cornwall, UK to start his own studio complex in a derelict water mill which he renovated and turned into eight studios keeping the largest for himself. Michael then went on to work with The Eden Project and a number of Theatre Companies making moving sculptures. Movement is his great

obsession. Most of the things he makes move in some way and it is his life’s work to strive to make sculptures that look beautiful when they are still and spectacular when they move.

£1200-1800

728

729

730

A Bronze Art Deco Monkey

Sitting Orang-utan

Robert Bradford

Bronze

Cork Eagle

17cm.; 6¾ins high by 13cm.; 5ins wide by 9cm.; 3½ins deep

Signed S.P. edition of 25,

Steel and cork

12cm.; 4¾ins high by 14cm.; 5½ins wide by 12cm.; 4¾ins deep

Unique

£200-400

£300-500

approx 500cm.; 197ins high by 1100cm.; 433ins wide by 500cm.; 197ins deep £15,000-20,000

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731

732

Nancy Thompson

Jan Rosetta

Powerful Play

Wild Cat

Steel with wooden saddle

Bronze

Unique

33cm.; 13ins high by 16cm.; 6¼ins wide by 16cm.; 6¼ins deep

230cm.; 90½ins high by 220cm.; 86½ins wide by 70cm.; 27½ins deep £20,000-30,000

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£400-600

733 Miranda Michels Flying Fish Stainless steel Unique 210cm.; 82¾ins wide by 93cm.; 36½ins deep Miranda Michels is completely self-taught and has developed a style and technique that is entirely

her own. In the case of the birds, each and every feather is made individually. Michels has exhibited in America, Ireland and Portugal and recently had two solo exhibitions in the UK. She designed a large sculpture for BAE Systems. £6000-8000

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734

735

736

Ratan Krishna Saha

Lyle Sopel (Canadian b1952)

Giant Ant

Carving of two Ducks Flying

Unique

Power Mixed coins Unique 72cm.; 28½ins high by 125cm.; 49ins wide by 51cm.; 20ins deep Born in 1964, Midnapore (West Bengal), Ratan Saha received his Bachelors degree in Fine Arts from the Rabindra Bharati University, Calcutta in 1985 and his Masters in Creative sculpture, from the Faculty of Fine Arts, MS University, Baroda in 1993. He has exhibited in solo and Group shows at Jehangir Art Gallery, and Taj Art Gallery, and selected awards include the 1987 All India Young Artist competition, 1988 All India University unifest (Gold Medal), 1990-92 National Scholarship, New Delhi. £6000-8000

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Green Nephrite on stone base Signed Sopel F033 44cm.; 17¼ins high by 34cm.; 13½ins wide by 22cm.; 8¾ins deep £1200-1800

Stainless steel 85cm.; 33½ins high by 145cm.; 57ins long £4000-6000

737 Olivier Ferrier, Born 1978 Night Spirit Bronze 55cm.; 21½ins high by 32cm.; 12½ins wide by 33cm.; 13ins deep, base After having obtained her honours degree in ceramics at Bath Spa university, Olivia completed a three month residency in India then went to live and exhibit work in Australia for 2

years. On her return Olivia spent time training in sculpture at the Florence Academy before returning to the UK to become a full time sculptor. Olivia now works in ceramics and bronze at her studio. ‘The human figure plays a central part in my making, I spend a lot of time observing and drawing movement, posture, strength, spirit and individuality’

‘I generally make original pieces in clay and then cast into bronze using lost wax casting methods, I also cast found objects into wax and model the waxes into a form, ready to cast into bronze’ £6000-8000

183

738

739

Karen Green, Born 1968

Mr Toad

Humpback whale weathervane

Bronze Signed edition of 12 70cm.; 27½ins high by 32cm.; 12½ins wide by 27cm.; 10½ins deep Karen Meleney Green, has been working in metal for 18 years. She is the granddaughter of celebrated Norwegian doll maker, Rønnaug Petterssen, and has studied sculpture, drawing and painting at The Corcoran, Washington University, and Rhode Island School of Design (RISD) £4000-6000 184

84cm.; 33ins high by 31cm.; 12ins wide £3000-4000

740 Jack Russell Dragonfy Bronze Copper and stainless steel Unique 75cm.; 29½ins high by 75cm .; 29½ins wide Russell was born and raised in the Cotswolds, where he studied a B.A Hons course in Fine Art Sculpture at Cheltenham Art College before going on to work as a sculptor full time. His work represents wild life, human form and abstracts, using mainly stainless steel, copper, aluminium and recycled industrial objects and waste. He is an energetic and exciting sculptor from a traditional background, but his use of metals in experimental mixtures

and techniques, including painting with metal dust and oxidizing agents really makes the colour of his work stand out. His work has been widely exhibited, including in award winning gardens at the RHS Chelsea Flower Show, and highly commended in the Cheltenham Art Prize. Circles of Reflection has also won a highly commended runner up award at the Showborough House Sculpture competition. £2000-3000 741 Deco Owl Bronze 50cm.; 19¾ins high by 16cm.; 6¼ins wide by 15cm.; 6ins deep £1200-1800 185

742 Dragon Copper & bronze Unique 80cm.; 31½ins high by 325cm.; 128ins wide by 280cm.; 110¼ins deep £6000-8000 743 Crispin Foy Shark Bronze resin 235cm.; 92½ins high by 280cm.; 110¾ins long £4000-6000

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744 Jim Unsworth, Born 1958 Elephant with Ball Steel Unique 453cm.; 178½ins high including stand, 382cm.; 150½ins wide £8000-12,000

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745 Bushra Fakhoury The Basilisk Bronze Signed and numbered 1 of an edition of 5 201cm.; 79ins high Bushra Fakhoury studied Art and Education in Beirut and at London University where she obtained her PhD in ArtEducation in 1983. Her themes and subjects range from human to animal figures, merging in some works into surreal figures of myth, fable, fantasy and humour. She was privileged to have lived in exotic countries, 188

such as Ivory Coast, France, Kenya and Lebanon which had a great influence on her work. Fakhoury started sculpting at the very early age of 7 at the convent where she was taught to use marzipan to create flowers and animals. Bushra Fakhouryâ&#x20AC;&#x2122;s work has deep roots in the Hellenistic culture of the Levant, but has also leans to the neo-expressionist art of Europe. Her work shows a steady search for dynamic form, often ironic and grotesque, but invariably opulent and vehement. The figures scroll, run, struggle or dance and seem to be

engaged in a perpetual effort to defy gravity. At the same time, it is well-contained within the norms of stylistic discipline which allows the artist personality to emerge clearly within selfimposed boundaries.

Bushra has been living and working in London since 1979 and exhibits regularly with a number of galleries in the UK & USA. She undertakes commissions and large public sculptures. £15,000-18,000

746

747

Iain Tatum

Pierre Diamontopoulo

Preying Mantis

13 Flamingos

Salvaged metals

Powder coated steel

Unique

Open, 220cm.; 86½ins high by 360cm.; 141¾ins wide by 70cm.; 27½ins deep

300cm.; 118ins high by 300cm.; 118ins wide by 250cm.; 98½ins deep £3000-5000

£8000-12,000

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748 Dagmar Stransky Arched Cat Bronze 32cm.; 12½ins high by 83cm.; 32¾ins wide by 20cm.; 8ins deep £4000-6000

749 Andy Peters Rocking Sea Horse Pine Unique 90cm.; 35½ins high by 125cm.; 49ins wide by 54cm.; 21¼ins deep Andy Peters is a self-taught authority on authentic wood carvings of figureheads and other decorative woodwork used in the stern and quarter galleries or interiors of tall ships and all manner of vessels. His interest in wood carving started early, which combined with his passion for sailing tall ships and a life of wandering led to him living aboard in Holland. While completing his own repairs he would offer to help 190

others, and gradually an interest in his craft and demand for his work developed. Andy has been commissioned to work on high profile restorations including a replica of the Götheborg, a Swedish East India ship from 1738, and the HMS Chesapeake of 1855 from Chatham (a five metre lion figurehead made using 3 tons of timber). His years of experience in restorations enable him to match the styles of the period, country and type of vessel, and the techniques and characteristics from the original carvers. £3000-5000 750 Saraj Guha, Tuna Drinks Cabinet Steel and wood Unique Open, 177cm.; 69¾ins high by 210cm.; 82¾ins wide by 70cm.; 27½ins deep; Closed 44cm.; 17½ins £6000-8000

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751 Andrew Sinclair Pre- Hysteric Bronze resin Edition 1 of 5 340cm.; 133Âžins high by 410cm.; 161Â˝ins wide by 130cm.; 51ins deep Andrew specializes in bronze figurative, portrait and surrealist sculpture, and is one of the rising stars in his field. Selftaught, his background in screen printing, clay modelling and his skill as a bespoke cabinet maker has given him the eye for detail which has contributed to his ongoing success today. He has an incredible ability to create stunning realist and fantasy sculpture, inspired by the earliest sculptures and paintings of otherworldly figures created from fertile imaginations full of fear, romance and superstition. Strange creatures and spirits have leapt, danced and fornicated in our art and our imaginations forever, and Sinclair is passionate about this bizarre fantasy aspect of our psyche and produces a number of dark and humourous sculptures fired from his own imagination.

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Andrew has lived in South Africa and worked in Europe and is influenced by the great classical sculptors of the renaissance. He lists the Earl and Countess of Leicester, Oldham City Council, Christopher Moran of Crosby Hall, publisher Felix Dennis, Georgio Logothetis of Lomar Shipping, Royal Ascot racecourse and Royal Caribbean amongst his clients. Sinclair has work in private and corporate collections in the UK, USA, Norway, Greece, Holland and South Africa. He has exhibited in London and the Home Counties. £15,000-20,000 752 Paul Riley, Born 1944 Kissing Arch Marble resin and cast concrete From an edition of 5 190cm.; 75ins high by 110cm.; 43½ins wide by 40cm.; 15¾ins deep £6000-8000

193

753 John Humphreys Joe Bloggs Wax Unique 35cm.; 14ins high by 36cm.; 14ins wide by 22cm.; 9ins deep ÂŁ8000-12,000

194

John Humphreys was born in Salford and studied sculpture at Gloucester College of Art and Design, and then later at the Royal Academy in London. Having worked extensively in the film industry, Humphreys fuses his strengths in fine art with his experience in special effects, and in doing so, creates sculptures that literally boggle the mind. His

concern with distorted dimensions presents a fresh and interesting way of exploring portrait sculpture, making the viewer work hard to correct the information that they are presented with. Although a fine art sculptor, his work in both film and television include projects such as Dr. Who, Charlie and the Chocolate Factory, Max Headroom and

Alexander. He also made the model alien for the film Alien Autopsy in 1996; a poor quality, black and white film that launched world wide controversy around a supposed UFO crash near Roswell, New Mexico. Humphreys' work is held in private collections in the USA, Austria, Turkey, and the UK.

754 James Alexander Matthews Billy Bond Rough sleeper 28 yrs, London 120cm.; 47ins high by 85cm.; 33½ins wide by 55cm.; 21½ins deep James Matthews comes from a family with a rich sculptural heritage having grown up in an environment of traditional figurative art. His grandfather John F. Matthews was a prominent sculptor in the 1950’s and exhibited 3 life-size figure sculptures at the 1951 Festival of Britain alongside work by Dobson, Epstein, Moore and other renowned sculptors of the time. James’s father Nicholas is also a figurative sculptor who runs his own gallery in France. James studied under the tutelage of sculptor Allan Sly at Wimbledon School of Art, where he developed his passion for figure and portrait sculpture. James uses the traditional techniques of modelling the subject in clay from life sittings and images, then casting in bronze using the lost wax process. James’s notable sitters have included Gyles Brandreth, Ardal O’Hanlon, Nicholas Parsons, Mark Gatiss, Martin Jarvis and Simon Callow. Recently the Royal Society of British artists selected his portraits of Charles Dickens and Oscar Wilde to be exhibited at their 2014 annual exhibition at the Mall Galleries, Pall Mall, London, SW1. £4000-6000

195

755 Patricia Volks Totem Head III Stoneware Unique 80cm.; 31½ins high by 50cm.; 19¾ins wide by 40cm.; 15¾ins deep Patricia Volk was born in Belfast and has been creating distinctive, prize winning ceramic sculpture for over twenty years in a style uniquely her own. Her Juxtaposition of pure shape and colour portray contradiction of power and fragility, stability and precariousness, meant to reflect the relationships between beings. She is an associate member of the Royal Society of British Sculptors and has exhibited both nationally and internationally. £4000-6000

196

756 Tom Joynes Two Heads are Better than One Bronze 100cm.; 39Â˝ins high on 120cm.; 47ins plinth ÂŁ6000-8000

197

757 James Copper Pride 1990 Portland stone Unique 105cm.; 41½ins high by 65cm.; 25½ins wide by 34cm.; 13½ins deep £6000-8000

198

758 Janis Ridley Icarus Bronze on stone mount Number 1 from an edition of 3 148cm.; 58¼ins high by 99cm.; 39ins wide by 57cm.; 22½ins deep, excluding base Janis Ridley was born in Co Durham and studied sculpture at Newcastle upon Tyne School of Art and painting at Exeter college of Art, and graduated in 1976 with a BA (Hons.) Fine Art. Until 1994 she painted in oils and exhibited throughout the UK including Beaux Arts Bath, and the Royal Academy. In 1995 Ridley began to concentrate solely on making sculpture. In 1998 she was elected member of the Royal British Society of Sculptors. She has produced numerous work for public commissions and private collections in the UK, France, Australia and the USA. £15,000-20,000

199

759

760

Ferri Farahmandi Hope

Helen Sinclair, Born 1954

Stoneware

The Skellig Boatmen

Unique

Signed and numbered 2 of 5

153cm.; 60ins high by 44cm.; 17½ins wide by 42cm.;16½ins deep Farahmandi studied Creative Arts at Harrow College, followed by a degree course in Ceramics at the University of Westminster. Her work has always referred to nature and frequently explores the human form, examining how society restricts our lives and demonstrates the boundaries to our freedom. Her work is hand built using stoneware and porcelain clay, and is fired in an electric kiln at temperatures of up to 1260 degrees C. She won the ‘Passion for Freedom’ award in 2012, and is a member of the Craft Potters Association, the London Potters and the Society of Designer Craftsmen. She has exhibited widely in London and the South East. £4000-6000

200

196cm.; 77ins high by 154cm.; 60½ins wide £30,000-40,000 see footnote to lot 534

201

761 Bill Harling, Born 1946 Generation Bronze resin Signed and numbered 1 of 3 444cm.; 174¾ins wide William Harling was born in Middlesborough and was trained in art, design and sculpture at Maidstone College, graduating in 1969. William has been involved in a variety of commercial, industrial and art projects, including sculptural signage, theatre and rock stage sets, airport furnishings and car design & manufacture. Now a full time sculptor based in

202

Hove, William has exhibited at ‘Brighton festival Fiveways Open Studios, has had a one man exhibition at Worthing Museum Art Gallery and displays in various commercial galleries and regional group shows. £12,000-18,000 762 Walking Man Bronze Signed 46cm.; 18ins high by 27cm.; 10½ins wide by 10cm.; 4ins deep £600-800

763 Wenqin Chen, Born 1979 Changing Stainless steel and copper Signed 16-5-07 edition 2 of 8 233cm.; 91¾ins high by 385cm.; 151½ins wide by 368cm.; 145ins deep £8000-12,000 203

764 Austin Emery, Born Ottawa 1971 Bird Man Bones salvaged from the River Thames Unique 95cm.; 37½ins high £1200-1800 765 Danu, Born France 1952 Saxophonist and Dancer Powder-coated heavy gauge steel Signed and numbered 193cm.; 76ins high by 199cm.; 78½ins wide

767

£600-800

The Fighter

Matt Lamb (1932 - 2012) Metal

766

Signed Lamb 06

Woman of the Wind

Unique

Signed

350cm.; 137¾ins high by 290cm.; 114ins wide by 180cm.; 70¾ins deep

Bronze 46cm.; 18ins high by 32cm.; 12½ins wide by 10cm.; 4ins deep £600-800

£4000-6000 768 Halliday Avray-Wilson, Born 1967 Herm Bronze Signed and numbered 1 of an edition of 8 240cm.; 94½ins high

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Born in London, but now residing in France, Halliday was trained in fine art at Oxford and Florence. Awarded a Medal of Honour for his contribution to the arts in France, in part due to his monument ‘Victoire’, a controversial 30 foot high work commemorating the French Resistance. Other pieces include a large scale abstraction of a racehorse

in steel for the Wetherby Racing Group UK, and works in bronze for the French National Collection of Equestrian Art. Sculpting for over twenty years Wilson’s work enjoys an international clientele of discerning collectors and works of all scales have been shipped throughout Europe and the US. £15,000-20,000

205

769

770

Becci Kenning

Michael Coombs

Ship Wreck

John’s Tractor

Reclaimed wood

Canvas, resin and fibreglass

Unique 330cm.; 130ins high by 250m.; 82ft wide, 360cm.; 141¾ins deep £20,000-30,000

Unique 233cm.; 91¾ins high by 200cm.; 78½ins wide by 342cm.; 134½ins long Michael Coombs studied

206

at Epsom School of Art and Design, followed by a Fine Art Degree at Cardiff University where he was awarded the Student of the Year award. He continued with post graduate studies at Slade School of Fine Art, and a residency at Rijks Academy, Amsterdam. He has taught and lectured

widely, in the UK, India, Mexico, Peru, Argentina and Gautemala. Coomb’s work explores our perception of the world. He invites the viewer to look beyond their first impressions and to discover what is really presented to them. He presents casts of everyday objects, which at

first allude to things that they are not, creating unexpected and often disturbing twists in the object and the viewer’s perception. On closer inspection, all is disclosed, as the objects reveal their true nature to the viewer. This process of realisation of what you are really seeing is fundamental to his work. John’s Tractor confirms how a singular making process can result in a multifaceted work. By directly casting a tractors in resin-soaked canvas, he has created an ambiguity of contradictions; seemingly soft, but actually hard; apparently solid, but actually hollow. £12,000-18,000

207

771 Iain Edwards, Born 1962 Wheels Steel Unique 223cm.; 87¾ins high by 245cm.; 92¼ins wide by 217cm.; 87½ins deep £10,000-15,000

208

772 Eddie Powell’s 1990 Rolls Royce Silver Spur II Battleship grey with ivory leather interior, 12 Month MOT, Set of New Tyres £6000-8000 773 Decommissioned unmanned Mine Detector Submarine 100cm.; 39½ins high by 270cm.; 106¼ins wide by 130cm.; 51ins deep £2000-3000

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774 A Birmingham Back to Back Gig Steel, wood and leather 170cm.; 67ins high by 350cm.; 137¾ins wide by 160cm.; 63ins deep £800-1200 775 A Bousin’s Gig Boat Book Shelf crafted in antique pine with brass trims 190cm.; 75ins high by 70cm.; 27½ins wide by 42cm.; 16½ins deep £500-800 776 A Mining Sofa Salvaged mining trolley and cedar wood 90cm.; 35½ins high by 210cm.; 82½ins wide by 65cm.; 25½ins deep £800-1200 777 A Camel Seat Wood metal and closenailed leather seat 42cm.; 16½ins high by 69cm.; 27ins wide by 36cm.; 14ins deep £200-300

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778

781

A Large Table

Bicycle Wheel Wall Art

formed from reclaimed Ox-cart timbers and wheel with genuine metal straps

Reclaimed bike wheels

86cm.; 34ins high by 238cm.; 93½ins wide by 54cm.; 21½ins deep

250cm.; 98½ins long by 80cm.; 31½ins wide by 8cm.; 3ins deep £400-600

£800-1200 779 A wood and steel wheelchair, early 20th century 105cm.; 41½ins high by 68cm.; 26¾ins wide by 115cm.; 45¼ins deep £500-700 780 A Bicycle Wheel Mirror Reclaimed bike wheels 140cm.; 55ins high by 126cm.; 49½ins wide by 20cm.; 8ins deep £400-600

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Interior of Miscellanea showrooms, Churt 212

782 Stephen Pearce, Born 1969 Spitfire Steel sculpture Unique 265cm.; 104ins high by 210cm.; 82½ins wide by 52cm.; 20½ins wide £6000-8000

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783 A Ships Brass Engine Telegraph 110cm.; 43¼ins high by 60cm.; 23½ins wide by 20cm.; 8ins deep £1200-1800 784 A Teak Ox Cartwheel stool Formed from centre wheel hub 40cm.; 16ins high by 35cm.; 14ins wide by 30cm.; 12ins deep £200-300 785 A Search-Light Copper, brass glass and magnifier 190cm.; 74¾ins high by 55cm.; 21¾ins wide by 35cm.; 13¾ins deep £800-1200 786 A Hodsick Falls N.Y.USA Wall Mounted Antique Steel Wood and pumice stone knife sharpener 49cm.; 19½ins high by 35cm.; 14ins wide by 35cm.; 14ins deep £200-300

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787 A Life Ring with later painted decoration 80cm.; 31½ins diameter by 10cm.; 4ins deep £100-200 788 A Life Ring with later painted decoration 80cm.; 31½ins diameter by 10cm.; 4ins deep £100-200 790 789 A Life Ring with later painted decoration 80cm.; 31½ins diameter by 10cm.; 4ins deep £100-200

A Replica Model of HMS Victory 150cm.; 59ins high by 190cm.; 74¾ins wide by 60cm.; 23½ins deep £800-1200

791 A Replica HMS Victory and Wrought Iron table 160cm.; 63ins high by 80cm.; 31½ins wide by 25cm.; 9¾ins deep £600-800

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792 A Copper Hot Water Geyser 80cm.; 31½ins high by 50cm.; 20ins wide by 60cm.; 23½ins deep £400-600 793 An Antique Bouvard Cadet Wine Vat 99cm.; 39ins high by 66cm.; 26ins wide by 50cm.; 19½ins deep £400-600 794 Three Samovars Copper & brass far right 50cm.; 19¾ins high by 36cm.; 14ins wide by 40cm.; 15¾ins deep £400-600 795 An Original Miele Oak and cast Iron Washing Machine with cog mechanism 52cm.; 20½ins high by 80cm.; 31½ins wide by 40cm.; 15¾ins deep £400-600 796 A replica Whalebone with inscription from the South Georgia Whaling Station 36cm.; 14ins high by 123cm.; 48ins £800-1200 216

797 A Tribal Canoe Glass Top sidetable 55cm.; 21½ins high by 40cm.; 15¾ins wide by 130cm.; 51ins long £200-400 798 A Retro Industrial Hand Drill Mounted on a Camera Tripod 140cm.; 55ins high by 50cm.; 19¾ins wide by 40cm.; 15¾ins deep £600-800 799 A Vintage adjustable height Hairdryer Light 160cm.; 63ins high by 63cm.; 24¾ins wide by 36cm.; 14ins deep £800-1200

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800

802

A Reclaimed pine Butcher’s type table

A Pair of Opium Chairs

carved cabriole legs with draw and original metal stud strapping

60cm.; 23½ins high by 75cm.; 29½ins wide by 80cm.; 31½ins deep

81cm.; 32ins high by 130cm.; 51¼ins wide by 51cm.; 20ins deep

£400-600

£800-1200

803

801

A Repro Zinc Bath Planter in the style of a French Bateau Bath

A Porch Glider Steel 82cm.; 32¼ins high by 130cm.; 51ins wide by 64cm.; 25¼ins deep £600-800

218

Wood and brass

54cm.; 21½ins high by 115cm.; 45¼ins wide by 55cm.; 21½ins deep £200-300

804 John D Joyce ‘Trace’ (Ghost Piano) Carl Heine baby grand and steel 200cm.; 78½ins high by 250cm.; 98½ins wide by 250cm.; 98½ins long

Educated at Brooklands College, then at the University for the Creative Arts, Surrey, for both his BA and MA (distinction) in Fine Art Sculpture, Joyce has been working as a sculptor for the last twelve years. As a practising contemporary

sculptor, Joyce’s current focus is on the awareness of presence through absence, as shown through the imagery of preservation, and the evocative object. Influences of Derrida and his references to ‘trace’ are evident here, the notion

that the element of an object is neither present nor absent. £10,000-15,000

219

within a cell echoes the organs of the body which collectively create our working structural form. The rooks in Secret Garden Door (2004) are a mob, building enormous spring nests that signify the end of winter and rebirth for a tree. The cycle of life is given further attention in his winter trees, which illustrate the duality inherent in growth - a living tree needs to be cut and “repressed” in order to allow it to grow healthy and strong. ‘Arbour Metallum’ (2006), is a protector, from the heat of the sun, creating a dappled shade, as nature protects and nourishes us.

805 Mark Reed Arbour Metallium Forged and stainless steel Unique 290cm.; 114ins high by 410cm.; 161½ins wide by 300cm.; 118ins deep Sculpting in metal, primarily in bronze, forged steel, stainless steel, and aluminium has been a passion of Mark’s since 1995.

220

His practice is deeply rooted in themes of nature, science and the passage of time. With a background in biology and engineering, he is intrigued by the mechanics of natural forms and the way they contribute to the aesthetic appearance of a plant or animal. It is with this understanding that in Reed’s hands, trees become tables, and

natural shapes are harnessed for a function in bronze or forged steel. Reed is interested in intangible structures as well, especially the ways that an individual exists as an element in a hierarchy of collectives. In “Life Leaf” (2000), a single leaf is the `life giver’, giving energy to the whole tree, yet recycled into the system. In Golgi Body (2007), this organelle

In “Bee Ration (Fork in Pollen)” the pollen grain is a male gamete and a vector for the transference of male DNA, as a hay fever sufferer Mark is only too aware of the negative effects of the pollen grain, and it is also a signifier of our irritable patriarchal society, the fork protruding in an erect state. Reed’s work is held in several private collections in the UK, Europe, Middle East and the USA. £20,000-30,000

806 Nigel Ross Riorus Ash Unique 65cm.; 25½ins wide by 178cm.; 70ins long As a child living in rural Hertfordshire, Nigel was happiest running wild in the surrounding woodlands. His family moved to the Isle of Arran in Scotland, where his stepfather, sculptor David Gilbert opened his eyes to art, sculpture and carving wood. Following his love of the outdoors, he worked in various forestry related employment and eventually ran his own fencing dyking and forestry business on Arran. His art is developed from this background, with the rhythms and energy of nature being an inspiration and by the mid-nineties he was working full time as a sculptor and maker. He sculpts from lengths of fallen trees, creating abstract forms sometimes with a functional element. The sculpture, sculptural benches and furniture, bridges etc are situated in woodlands, parks, gardens, schools,

hospitals, gardens, and new developments across Britain, Europe and USA. £3000-5000 807 A run of old wooden cinema seats 82cm.; 32¼ins high by 190cm.; 75ins wide by 52cm.; 20½ins deep £200-300 808 A rootwood table 85cm.; 33½ins high by 200cm.; 78¾ins wide by 50cm.; 19¾ins deep £800-1200

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809 A Wooden Workbench 84cm.; 33ins high by 223cm.; 88ins wide by 93cm.; 36½ins deep £600-800 810 A large painted French Butcher’s block 100cm.; 39½ins high by 62cm.; 24½ins wide by 62cm.; 24½ins deep £1200-1800 811 An Oak Butter Churn with stand 120cm.; 47ins £500-800

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812

814

A pair of Brass Lighthouse style Ship Lights

A pair of hardwood Folding Swiss Deck Chairs

30cm.; 12ins high by 20cm.; 8ins wide by 25cm.; 10ins deep

in hardwood

£200-300

100cm.; 39½ins high by 90cm.; 35½ins wide by 62cm.; 24½ins wide £300-500

813 A painted wooden table

815

with highly ornate carved legs

A large retro style steel and wood butcher’s block

80cm.; 31½ins high by 154cm.; 60½ins wide by 62cm.; 24½ins deep £300-500

with faux vegetables 83cm.; 32½ins high by 93cm.; 36½ins wide, 50cm.; 19½ins deep £600-800

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816 Jørgen Høvelskøv The Harp Chair designed in 1966 130cm.; 51ins high by 110cm.; 43½ins wide by 100cm.; 39½ins deep £800-1200

224

817 Philip Hearsey Focus Burr oak top with bronze inlay and leg Unique Signed 83cm.; 32½ins high by 46cm.; 18ins wide by 142cm.; 56ins long Hearsey creates beautiful objects that ease into a space between pure form and purpose. His unique designs are created from locally sourced native hardwoods combined with iron, steel, bronze, glass, stone and resin. The work is crafted from reclaimed trees that have died or suffered the fury of the wind and have little commercial value, though in his hands they are transformed into exclusive and desirable works of art. £4000-6000 818 Philip Hearsey Rootworks II Scorched and natural oak with bronze Unique Signed 27cm.; 10½ins high by 62cm.; 24½ins wide by 42cm.; 16½ins deep £2000-3000 225

819 Philip Hearsey Reflection GRP Composite Signed and numbered 4 of 7 90cm.; 35½ins high by 140cm.; 55ins wide by 210cm.; 82½ins long £6000-8000

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820 A set of American G.I. Lockers in aged steel and paint finish 140cm.; 55ins high by 173cm.; 68ins wide by 40cm.; 15¾ins deep £1200-1800 821 A Knole Sofa Kudu Hide 263cm.; 103½ins wide by 97cm.; 38ins deep by 108cm.; 42½ins £1200-1800

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822

825

An Edwardian Mahogany Marquetry inlaid Music Cabinet

A German Butchers Chopping table

circa 1910 with bevelled mirror decor panels 136cm.; 53½ins high by 56cm.; 22ins wide by 38cm.; 15ins deep

manufactured in 1874 with original makers mark 80cm.; 31½ins high by 32cm.; 12½ins wide by 32cm 12½ins deep £300-500

£400-600 826 823 A Chimney Stoneware 127cm.; 50ins high by 50cm.; 19½ins diameter £400-600 824 An Edwardian Mahogany Marquetry inlaid Music Cabinet with ornate frieze and finials together with bevelled mirror decor panels 112cm.; 44ins high by 54cm.; 21ins wide by 42cm.; 16½ins deep £400-600 228

An Oak bedside table 19th century with drawer and lift up extension sections 67cm.; 26½ins high by 95cm.; 37½ins wide by 42cm.; 16½ins deep £200-300

827 A Meteorite 29cm.; 11½ins high by 43cm.; 17ins wide by 15cm.; 6ins deep £2000-3000 828 An carved wooden Rajasthan Chest with secret slide door hardwood 117cm.; 46ins high by 140cm.; 55ins wide by 60cm.; 23½ins deep £800-1200 829 A Shell Pump Brass and cast iron with functioning light 215cm.; 84½ins high by 40cm.; 15¾ins wide by 40cm.; 15¾ins deep £1500-2500

229

830 Mark Bowman Jack Beech Signed 106cm.; 41½ins high by 128cm.; 50ins wide by 141cm.; 55½ins deep £3000-5000

230

831

833

A set of Brass and Wood Portable Scales

Three Antique Copper and Brass Samovars

19th century

complete with travel case 125cm.; 49ins high by 100cm.; 39½ins wide by 40cm.; 15¾ins deep

far left measuring 33cm.; 13ins high by 28cm.; 11ins wide by 26cm.; 10ins deep

£600-800

£300-500

832 A set of Brass Servants Bells Mounted on Mahogany Wall Panel

834 An oak corner cupboard late 18th century with inlaid decoration 88cm.; 34½ins high by 65cm.; 25½ins wide by 36cm.; 14ins deep £400-600

19th century 68cm.; 27ins high by 103cm.; 40½ins wide by 24cm.; 9½ins deep £400-600 231

835

836

837

A Hand Carved Wooden French Mirror

An oval carved and gilded wood mirror

A Metal Suit of Armour

with gilt finish

in Rococo style with age gilt style

140cm.; 55ins high by 64cm.; 25ins wide by 3cm.; 1ins deep £600-800

232

120cm.; 47ins high by 70cm.; 27½ins wide £600-800

185cm.; 73ins high by 75cm.; 29½ins wide by 53cm.; 21ins deep £800-1200

838 A gilded metal mirror with gilt finish 90cm.; 35½ins diameter £300-400 839 A Yarn Strength Tester Various Metals on mahogany base 55cm.; 21½ins high by 78cm.; 30¾ins wide by 45cm.; 17¾ins deep £800-1200

840 A Vanity unit made from driftwood and granite with petrified wood basin and French brass pump style faucet 118cm.; 46½ins high by 130cm.; 51ins wide by 62cm.; 24½ins deep £2500-4000

233

841

842

A pair of Imitation Elephant Tusks

Jean-Luc Gambier, Born France 1977

Carved water buffalo horn

Scent Bottle

220cm.; 86½ins high by 60cm.; 23½ins wide by 33cm.; 13ins deep

Blown glass

£6000-8000

Unique 71cm.; 28ins high by 43cm.; 17ins wide by 17cm.; 7ins deep £800-1200

234

235

843

845

Sculptural Folded Books

A Painted Steel Mobile

largest book 34cm.; 13½ins high by 44cm.; 17¼ins diameter

approx 280cm.; 110ins high

£800-1200 844 Sculpted Multiple old Books 27cm.; 10½ins high by 55cm.; 21½ins wide by 32cm.; 12½ins deep £500-800

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£2000-3000

846 Ekkehard Altenburger Queens House Fountain Limestone Unique 110cm.; 43½ins diameter Ekkehard Altenburger grew up on a farm at the Swiss / German border, and has been based in the UK since 1995. He studied sculpture at Bremen’s Hochschule fuer Kuenste and later at Edinburgh College of Art. He finished his studies in 1999 with an MA from Chelsea College of Art in London. Prior to his academic studies, he worked as master mason at the Gothic Cathedral of Schwabisch Gmuend in South Germany.

His work explores the physical balance of the built environment, using architectural references as well as sculptural volumes of physical material. This balance is also represented in the relationship between form and surface of a sculpture. Altenburger often uses texture and colour to manipulate surfaces, adding a further layer of information to a sculptural form. He lives with his family in London and is member of A.P.T studios in Deptford, South London.

847

£6000-8000

Glass Poppies

Carrie Fisher Unique Approximately 183cm.; 6ft by 92cm.; 3ft £2000-3000

237

848 A Painted Ships Rudder forming a Nautical Sculpture 172cm.; 67¾ins high by 40cm.; 15¾ins wide by 5cm.; 2ins deep £800-1200 849 A pair of Dutch Working Boots in leather & wood 60cm.; 23½ins high by 38cm.; 15ins wide by 14cm.; 5½ins deep £250-350 850 Two Mussel Poles mounted on Ebony wood block stands 180cm.; 71ins high by 22cm.; 8½ins wide by 20cm.; 8ins deep £300-500 238

851 An Marble Cheese Platter with glass dome and Roe Deer horn handle 35cm.; 14ins high by 34cm.; 13½ins wide by 33cm.; 13ins deep £300-500 852 A Steel Milk Churn with original lid and locking mechanism 65cm.; 25½ins high by 36cm.; 14ins diameter £100-200 853 A circular glass Chandelier 1920s 52cm.; 20½ins high by 44cm.; 17ins wide by 10cm.; 4ins deep

855

£200-300

with bevelled detailing

A circular mirror with Boa feather decoration 80cm.; 31½ins diameter

854

£1200-1800

A Torso Lamp Hardwood Unique 161cm.; 63½ins high by 46cm.; 18ins wide by 40cm.; 15¾ins deep £800-1200

856 Francoise Dufayard Square Plate Stoneware 66cm.; 26ins high by 66cm.; 26ins wide by 11cm.; 4½ins deep £800-1200

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859 Ruth Moilliet Sun Canopy II Stainless steel and anodized aluminium Signed 400cm.; 157½ins high by 280cm.; 110¼ins diameter

857 ‘The Simpsons’ Big Light Glass 135cm.; 53ins high by 45cm.; 17¾ins diameter £800-1200 858 Allister Malcolm Linear Glass I Mounted on chiselled glass Unique 64cm.; 25ins high by 21cm.; 8¼ins wide £800-1200 240

Ruth studied a Foundation in Art and Design at Manchester Metropolitan University, and continued onto a BA Homours course in Fine Art (Sculpture) and then a Masters degree in Art as Environment. She has won numerous awards, including the AHRB Postgraduate Professional and Vocational Award to study her MA, the North West Arts Board, Setting Up Scheme Award and Placement in 2001-2003 and Best Bespoke Accessory for ‘Allium’ in the Design and Decoration Awards 2004.

She exhibits at numerous prestigious solo and group exhibitions throughout the UK and has completed commissions for Kew Gardens, The Oasis of the Seas cruise ship, and many luxury hotels, public gardens and commercial developments. Moilliet produces highly finished metal and glass sculptures inspired by the plant kingdom. In her work she aims to draw the viewerâ&#x20AC;&#x2122;s attention to both the overall spectacle and individual beauty of a flower. Her work is inspired by her close study of a particular species and the beautiful, intricate forms she discovers. The finished pieces and the materials used explore the apparent fragility of an individual plant contrasted with its ability to sustain existence through ongoing lifecycles. ÂŁ30,000-40,000

241

860

862

Frances Doherty

Martin Scorey

The Bishop’s Pom Pom

Racer

Stoneware

Scrap metal

Unique

Lead and wood

30cm.; 12ins high by 40cm.; 16ins diameter

Unique

£800-1200 861

52cm.; 20½ins high by 93cm.; 36½ins wide by 22cm.; 8¾ins deep

Mark Smith

£1200-1800

Signed

Viking Longboat Stoneware

863

Unique

Frederick Chevarin

99cm.; 39ins high by 87cm.; 34¼ins long

Lion Fish

£1200-1800

Unique

Alabaster 45cm.; 18ins high by 65cm.; 25½ins wide by 60cm.; 23½ins deep £6000-8000

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243

studied Graphic Design at La Plata’s Academy of Fine Arts, in Argentina, and became a successful illustrator and writer of children’s books in Madrid, Spain. After moving to the UK in 1999, Maylee became involved in the ancient art of Byzantine mosaics at the Mosaics Art School in Ravenna, which lead her to pursue a Masters of Mosaics in Venice with Orsoni. While working in Italy, Maylee also collaborated with other mosaic artists, renowned innovators and creators of new mosaic styles. In order to gain the necessary in-depth knowledge into some of the mediums that she would be working with, Maylee went on to study Sculpture at Winchester School of Art and glass casting at the Liquid Glass Centre. She is a member of AICM (Associazione Internazionale Mosaicisti Contemporanei), SAMA (Society of American Mosaic Artists) and BAMM (British Association of Modern Mosaics). 864

Unique

Maylee Christee

335cm.; 132ins high by 210cm.; 82½ins wide by 200cm.; 78¾ins deep

Passion Flower Stainless steel glass mosaic Semi-precious stones and enamel 244

Maylee Christie brings her extensive and highly varied artistic experiences

together with her multicultural background to create a distinctive and innovative sculpturing style that is unique to her. Peruvian-born British mosaic sculptress Maylee

‘Mosaic is my own way of being a child again, playing happily for hours on end with hundreds of different materials in a world of make believe. I like to let my emotions

and imagination soar free to create a vision of worlds inside other worlds, telling stories, mixing abstract forms within figurative shapes and thoroughly enjoying the journey’ £25,000-35,000 865 Hilary Cartmel, Born 1958 Large Apple With grey, stainless steel and mosaic Unique 170cm.; 67ins high by 110cm.; 43ins wide by 105cm.; 41½ins deep Hilary Cartmel was born in 1958. She was educated at the Maynard School and studied at Exeter College of Art and Design under Roger Dean and Trent Polytechnic under John Clinch. She lives near Doncaster. Her sculpture is figurative with a strong image, in stainless steel, steel, bronze, and other materials including cast glass and glass mosaic. Hilary has completed over 60 commissions for public sites in both rural and urban environments, including a recent project of paving inlays for Exeter Cathedral Close. Cartmel has shown work in both solo and group exhibitions at the Tate Gallery, London; The Yorkshire Sculpture Park; Kildrummy Castle, Scotland and the Serpentine Gallery, London. Doncaster Museum and Art Gallery have just purchased a major piece of work for their permanent collection. £8000-12,000

245

866

867

868

The Best Thing Since

Darren O’Connor

Clare Curtis

Bronze

Silent Bells

Jupiter

Number 1 from an edition of 9

Bronze

Richmont stone

Unique

19cm.; 7½ins high by 52cm.; 20½ins long

each approx 96cm.; 38ins high by 112cm.; 44ins diameter

35cm.; 14ins high by 34cm.; 13½ins wide

£3000-5000

£4000-6000 246

£800-1200

869 Victor Halvani Mother Playing with her Child Bronze Edition of 6 213cm.; 84ins high by 365cm.; 143½ins wide by 91cm.; 36ins deep Victor Halvani was born in Egypt to a traditional Jewish family. His works reflect his childhood

interest and passion for ancient Egyptian art, and the beauty and spirituality inspired by Biblical stories. He studied at the Zamalek Academy of Art, Cairo, and won scholarships to further study at the Bezalel Academy of Art, Israel, and Hammersmith College of Art, London. (MA, Sculpture). He has taught and lectured on Sculpture at Tel Aviv and Haifa

Universities, and was instrumental in the founding of Art Learning Programs and Art Workshops in Israel. He has also developed a selftitled sculpture park, artist’s colony and foundation in Safed, Israel.

Biennial of Sculpture in Israel at the Museum of Modern Art, Haifa. His work has been exhibited, and is held in collections in the USA, Canada, Japan, Israel, France and London. £30,000-50,000

Halvani was elected to represent Israel at the International Exposition of Sculpture in Paris, and participated in the 2nd

247

870

871

Paul Cox

Won Lee

City Cuts

The Meditators

Powder coated corten steel

Bronze

approximately 4 metres.; 157½ins tall

Signed from an edition of 3

Educated at Northbrook College of Design and Technology, Winchester School of Art – Fine Art Sculpture BA(Hons) (First Class) and Royal Academy Schools, London – Postgraduate Sculpture MA. He has won several awards and prizes for his work, including an Henry Moore Scholarship and a British Institute of Sculpture Award. His work is held in collections in the UK Europe and USA.

204cm.; 80¼ins high

‘I am fascinated by drawing and the ability to create an image from lines and marks on paper. I like to experiment with paper and cardboard exploring scale and form, which are translated into more permanent media like ceramic, bronze, steel and wood – enjoying the variety of materials employed in my sculpture like hard metal and soft clay I can realise the sometimes surreal world from within.’

His sculptures incorporate both abstract and figurative elements that combine to create works remarkable for their expression. Earlier works more closely resemble recognizable human form whilst later pieces have moved toward further abstraction. Lee’s sense of the moment, projected in clay or bronze is communicated with fervor and finesse, the work conveys all the human conditions with a large embrace of a humane reading of life.

£15,000-25,000

Korean by birth, though now based in Toronto, Lee was educated at Johnson State College, (MFA, Vermont, USA), Pepperdine University (BFA, LA, USA) and Otis Art Institute (LA, USA). He also lectures on postmodern art theories and practice at Luxan Academy of Fine Arts in China, and as a visiting professor at a variety of further institutions.

£30,000-40,000

248

249

872 Ian Walters, 1930 - 2006 Face Slice Unique Resin Bonded GRP on a steel framework 235cm.; 92½ins high by 190cm.; 74¾ins wide by 70cm.; 27½ins deep Born in Solihull, Walters was educated at Yardley Grammar school and under William Bloye at the Birmingham School of Art. After National Service in the Royal Army Medical Corps[1] he taught sculpture first at Stourbridge College of Art and then from 1957 to 1981 at Guildford School of Art. A committed socialist from his schooldays, Walters took part in Josip Broz Tito’s public sculpture programmes in Yugoslavia in the early 1960s and worked with the African National Congress in the 1970s. His work includes the memorial to the International Brigades in Jubilee Gardens South Bank, London and a large head of Nelson Mandela (now outside the Queen Elizabeth Hall, London). He had finished the 9foot-tall (2.7 m) clay sculpture for the statue of Nelson Mandela in Parliament Square, but died of cancer before it was cast in bronze. He also sculpted a statue of Fenner Brockway in London, a statue of Harold Wilson in Huddersfield. A statue of Stephen Hawking at the Centre for Theoretical Cosmology in Cambridge was his last public work. £6000-8000

250

873 Ian Stoney C.H.A.I.R. Stainless Steel 125cm.; 49¼ins high by 65cm.; 25½ins wide by 50cm.; 19¾ins deep Ian studied Fine Art (Sculpture) at Winchester School of Art, graduating in 2011. He was selected for the Affordable Art Fair’s recent graduate’s exhibition in 2011, showing his piece Synthesis at both Battersea and Hampstead shows. He has subsequently worked on commissions for a variety of international private collections. He currently lives in London and works as a welder in a sculpture foundry. £1200-1800

251

874 Jonathan Loxley, Born 1960 Atman Antique Portugese marble, 24 carat gold 245cm.; 96½ins high by 106cm.; 41¾ins wide by 17cm.; 6¾ins deep £12,000-18,000

252

875 Polly Ionides This is Life II Bronze Unique 228cm.; 89¾ins high by 220cm.; 86½ins wide by 210cm.; 82½ins deep Ionides studied at the Slade School of Art, has a degree in Zoology from Oxford University and is an elected Member of the Art Workers Guild. Her work is generally site specific and her range covers smaller domestic sculptures to a sixty ton community project which won a Civic Trust Award. The subject is frequently symbolic, a merger of figurative and abstract, and tends to reflect her love of the natural world. Two working visits to New Mexico have had a profound influence. £20,000-30,000

253

In February 1984, the caricatures of Peter Fluck and Roger Law were brought to life in puppet form for television. The show Spitting Image ran for 18 years and is fondly remembered as one of the most original and funniest TV satire shows.

876

878

Original Spitting Image Puppet of Julian Clary

Original Spitting Image Puppet, Mike Tyson

100cm.; 39½ins high by 50cm.; 19¾ins wide

Rubber Latex

£1500-2500

104cm.; 41ins high by 76cm.; 30ins wide by 28cm.; 11ins deep

Peter Fluck was born in 1941, and attended Cambridge School of Art, where he met Roger Law, (born 1941). Working initially as freelance illustrators, they made 3D caricatures to be photographed for articles in the glossy magazines that proliferated at that time. It became clear that the static caricatures could become puppets, and the idea for Spitting Image was conceived.

877

254

Original Spitting Image Ringo Star Puppet 100cm.; 39½ins high by 60cm.; 23½ins wide £4000-6000

Unique

£3000-5000

879

880

881

Original Spitting Image Puppet of Neil and Glenys Kinnock

Original Spitting Image Puppet of Janet StreetPorter

Fox and Pheasant

110cm.; 43½ins high by 58cm.; 23ins wide

90cm.; 35½ins high by 65cm.; 25½ins wide

£3000-4000

£1500-2500

94cm.; 37ins high by 68cm.; 27ins wide by 49cm.; 19½ins deep

Taxidermy and Shotgun

£800-1200

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882 Ulnuis Parviflora ‘Chinese Elm’ 92cm.; 36ins high by 72cm.; 28¼ins wide £300-500 883 Acer Buergerianum ‘Trident Maple’ 54cm.; 21ins high by 53cm.; 21ins wide £400-600 884 Penus Parviflora, ‘Nasagoyo’ Japanese White Pine 66cm.; 26ins high by 57cm.; 22½ins wide £1200-1800 885 Rhododendron Undicum ‘Satsuki Azalea’ 73cm.; 28¾ins high by 60cm.; 23½ins wide £800-1200

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Summers Place Auctions Ltd

Title First name

Last name

Address Postcode

SALE NUMBER GS049

Tel

Mobile

SALE DATE 23RD JUNE 2015

Fax

EDDIES EYE2

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

Sterling price (excluding premium & VAT)

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

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

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

ONLY)

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.

258

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 GE050

Tel

Mobile

BIDS TO BE RECEIVED BY 5PM 24TH JUNE 2015

Fax

EDDIES EYE2

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 700-885 All sealed bids must be with us, at the latest, by 24th June 5.00pm BST since the bids will be opened on the 25th June. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. Sealed bids, when placed by telephone, are accepted only at the 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

260

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

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