25th/26th Sept., 2018 Garden, Natural History & Tribal Auction by Summers Place Auctions

Summers Place Auctions Ltd

Garden Natural History and Tribal Art

Viewing 22nd & 24th of Sept 10a.m.- 4p.m. Auction starts at 1p.m. 25th Sept. at Summers Place Auctions, The Walled Garden, Stane Street, Billingshurst, West Sussex, RH14 9AB For more information, further images and videos please refer to

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

Rupert van der Werff

James Rylands

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

Specialist

+44(0)1403 331 333

+44(0)1403 331 334

rupert.werff@summersplaceauctions.com

james.rylands@summersplaceauctions.com

Errol Fuller

Kate Diment

Curator for Natural History

+44(0)1403 331 335

errol.fuller@summersplaceauctions.com

kate.diment@summersplaceauctions.com

Letty Stiles

Lindsay Hoadley

+44(0)1403 331 336

+44(0)1403 331 337

letty.stiles@summersplaceauctions.com

lindsay.hoadley@summersplaceauctions.com

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Condition of Lots

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Given the swelteringly hot summer we have had to endure, it’s quite fitting that our September sale has an “Out of Africa” theme, encompassing very diverse collecting areas. The tribal art section concentrates particularly on masks which are becoming particularly popular with both collectors and decorators. This sale is rich in very good Kifwebe examples from the Songye people in the Congo as well as masks from the Pende people, also in the Congo. Complementing the tribal section is a taxidermy collection belonging to F. Cecil Cobb, who joined one of the most famous big game hunters of all time, Major Percy Powell-Cotton (1866-1940) on one of his many expeditions to Africa. Cobb wrote a book titled ‘Sport on the Setit’, in which he recounted his hunting trip to the Sudan, in 1911. The book is illustrated with photographs of some of the animals he shot during the expedition, and many of these are presented in this auction – mementos of a bygone era when attitudes to such things were very different to our own. Highlights of the collection for sale are two magnificent Zebra heads by Rowland Ward from the early 20th century. The animal theme continues with a strong section of contemporary sculpture with a number of pieces by John Cox including a stunning life size bronze white rhinoceros. The African menagerie continues with, elephants, giraffes, crocodiles, wildebeest, flamingos, hippos and sailfish. Also from Africa comes a good early collection of fossil material from Morocco, as well as malachite from Congo and stunning jasper from Madagascar. Trumping them all, however is a top-grade quality box veneered in extremely rare Russian mineral Charoite, together with another box veneered in fossilised dinosaur bone and Gedrite. A sculptor whose work we have sold consistently well over the years is John Robinson, who died in 2007 and whose oeuvre encompassed both figurative and abstract sculpture. We have been invited by the Robinson family to sell the contents of his garden and studio, which revealed a treasure trove of works. Most iconic and inspired by a trip to Greece with its Olympic tradition, is his 5 metre high bronze resin group of Acrobats.

This group was certainly instrumental in John being appointed the Official Sculptor for the British Olympic Committee in 1988. John, however, was a true artistic renaissance prince and his next artistic phase led him in a completely different direction into his Symbolic Sculpture, which formed his Universe series, which explores, often utilising complicated mathematical formulae, man’s relationship with the Universe. The bronze abstract piece Elation, a casting of which was gifted by the British Olympic Association to the International Olympic Committee in Lausanne, representing the punching of a fist in athletic triumph, is a tour de force in elegant simplicity. In addition to this, John was an accomplished portrait sculptor. His most well known works are busts of Her Majesty Queen Elizabeth, the Queen Mother in her role as Warden of the Cinque Ports and Her Majesty the Queen in her role as Colonel in Chief of The Royal Tank Regiment. Both the plaster originals and bronze castings, are included in the sale. On a more traditional level, we are offering a pair of Georgian Coade stone figures, originally modelled by George III’s favourite sculptor, John Bacon as well as a Coade stone figure of Diana de Gabies. The Coade factory was started around 1769 by the redoubtable Eleanor Coade, perhaps one of the earliest examples of “girl power” in business. Right through to the 1840’s the factory, based in Lambeth, London, produced a huge range of statuary, ornament and architectural embellishments which can still be seen everywhere from Buckingham Palace to Bermuda. All of the pieces described here have merit in so many ways….. so what’s our favourite?.... it’s a humble Edwardian shepherd’s hut on wheels and traditionally moved around so the shepherd could tend his flocks… just the thing for a camping trip al fresco after the warmest of summers. As ever we are always happy to provide condition reports on any lot and if you want to visit before the official viewing times, just give us a ring. James and Rupert

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

1 Circle of Jan Pieter van Baurscheit: A rare carved gritstone ﬁgure of Venus Low Countries, early 18th century on later stone plinth 200cm high Jan Pieter van Baurscheit was born at Wormersdolf near Bonn in 1669 and became a student of Peter Scheemakers in Antwerp. One of the most notable sculptors of the Low Countries, his work is well represented in the Rijksmuseum, Catalogue Nos 360-363. As well as working on a number of Antwerp churches, the majority of his work is classical in subject. He worked in marble as well as sandstone. He also worked with his son Pieter van Baurscheit the younger (1699-1768) who eventually became director of the Antwerp academy. They supplied garden sculpture to a number of patrons in the Netherlands and there are a few examples of their work in England, including a set of six marble vases carved with classical scenes at Waddesdon Manor built for Baron Ferdinand de Rothschild and now a National Trust property. Venus, the goddess of love, is represented in various guises. In this ﬁgure, the dolphin represents her birth from the sea, whilst the grapes she is holding represent “Sine Baccho et Ceres friget Venus” a quotation from the Roman comic dramatist Terence, implying that love grows cold without the stimulus of wine and feasting. This theme was especially popular in the 17th century with Flemish artists and sculptors, following Ruben’s treatment of it. £8000-12,000

2 A rare late Coade stone figure of the Diana de Gabies circa 1830-1840 on Coade stone pedestal, the base of the statue stamped Coade’s terracotta, Lambeth the figure 165cm high, the pedestal 70cm high, overall height 235cm Eleanor Coade (d.1821) opened her Lambeth Manufactory for ceramic artificial stone in 1769, and appointed the sculptor John Bacon as its manager two years later. She was employed by all the leading late 18th century architects. From about 1777 she began her engraved designs, which were published in 1784 in a catalogue of over 700 items entitled A Descriptive Catalogue of Coade’s Artificial Stone Manufactory. Then in 1799, the year she entered into partnership with her cousin John Sealy, she issued a handbook of her Pedlar’s Lane exhibition Gallery. The firm became Coade and Sealy from this date and following Sealy’s death in 1813, it reverted to Coade and in 1821 with the death of the younger Eleanor Coade, control of the firm passed to William Croggan, who died in 1835, following bankruptcy. Coade’s manufactures resembling a finegrained natural stone, have always been famed for their durability. The original of this statue was excavated by Gavin Hamilton in 1792 on Prince Borghese’s property at Gabii outside Rome. In September 1807 it was purchased together with the bulk of the Borghese antiquities by Napoleon Bonaparte, brother-in-law of Prince Camillo Borghese. It was sent from Rome between 1808 and 1811 and by 1820 it was displayed in the Louvre where it still stands. On the advice of Sir Thomas Lawrence, a plaster cast was placed in the entrance hall of the Athenaeum in London. Many smaller commercial copies were also manufactured, in bronze, in basalt stoneware by Copeland and in terracotta by Blashfield. This model appears in Blashfield’s 1851 catalogue as No 202 and it is almost certain that he purchased some of the Coade moulds including this model. Although the pedestal is not stamped, the consistency of the clay, which is identical to the statue would suggest that it is also Coade stone. Included with this lot are a couple of letters to the owner of the statue written by Alison Kelly, the recognised authority on Coade stone and author of Mrs Coade’s Stone, published by SPA 1990 Literature: See Taste and the Antique by Francis Haskell and Nicholas Penny, Yale University press, 1981. £10,000-15,000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

Engraving from the 1784 Coade catalogue

3 An important pair of Coade stone figures of Vestal virgins late 18th century stamped Coade Lambeth and stamped Coade underneath the bases together with workman’s initials 140cm high £30,000-50,000 See footnote to previous lot. This rare pair of statues is listed and engraved in the 1784 Descriptive Catalogue of Coade’s Artificial Stone Manufactory as numbers 33 &34, Statues to hold Lights, £16.6.0 each (see engraving). The style of modelling would suggest that they were almost certainly modelled by the leading Coade sculptor, John Bacon, for whom a number of statues are recorded. He first started working for Eleanor Coade shortly after she started her business in 1769. He had received a commission around this time to produce a bust of King George III for Christchurch Oxford. It was customary for modellers to take a mouthful of water to soften the clay by spitting on it as they worked. Bacon decided that this would not appear seemly and devised a little silver filter for the purpose. This elegant behaviour pleased the King whose influence later secured Bacon many commissions, becoming an RA shortly afterwards in the newly formed Royal Academy. This certainly helped put Coade stone on the map as did his own sculptures for the factory, often, as in this pair, in a Neo-classical style which perfectly complimented the architectural features also being produced by Coade. It is highly unusual for Coade pieces to be stamped on the underside and therefore unseen. In addition the pieces have been monogrammed by a workman with an R within a roundel.

4 An extremely rare Coalbrookdale cast iron occasional table circa 1850 with tilt top, the brass mechanism stamped Coalbrookdale Co. Shropshire, the top painted with a hunting scene and inscribed The death of a stag at Glen Tilt, on original castors 70cm wide by 54cm deep Sir Edwin Henry Landseer RA (7 March 1802 - 1 October 1873) was an English painter and sculptor, well known for his paintings of animals - particularly horses, dogs, and stags. However, his best known works are the lion sculptures in Trafalgar Square. In 1824, when he was 21, he visited Scotland for the first time, staying with Sir Walter Scott and later with the Duke of Atholl at Blair castle. He already knew something of Scotland from Sir Walter’s novels but on his first visit to Blair Atholl he fell in love with the Highlands. The grandeur of the scenery, the quaintness of the inhabitants (to his eyes) and the magnificence of the wild life, particularly the deer, all combined to excite and delight him. In addition, he enjoyed the outdoor pursuits of hunting, shooting and fishing and the company of the landed gentry who could indulge such pastimes. He executed a number of paintings of deer in the highlands, the most famous of which is Monarch in the Glen, painted in 1851. He had a certain tendency to leave his paintings unfinished until, in some cases, years later. For these reasons, it is sometimes difficult to date or even set a locality for some of them. There is no doubt that he painted a number of pictures in the Blair Atholl area which he visited in 1824 ‘25 and ‘26. His picture ‘Death of the Stag in Glen Tilt’ was painted especially for the Duke of Atholl and portrays the old Duke, his grandson, the Duke’s head keeper, John Crerar and his son Charles about to gralloch the dead stag. The furniture style of this extremely rare Coalbrookdale table, would suggest a date of around 1835-40, making it a very early example of the world famous foundry compared to the vast output in the latter half of the 19th century. £2000-4000

5 A Regency reeded wrought iron seat early 19th century 200cm long ÂŁ1200-1800

detail of underside of Lot 4

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

6 A pair of carved stone gate pier balls 19th century 76cm high by 46cm diameter ÂŁ1200-1800

7 A pair of rare Bath stone armorial gate pier capitals in the form of horses heads 18th century on plinths 127cm high ÂŁ4000-6000

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

8 S Einar Utzon-Frank: A bronze equestrian group of Christian III of Denmark green brown patination, on marble base inscribed Regna Firmat Pietas 140cm high Utzon-Frank, Danish (1888-1955) became professor of Sculpture at the Copenhagen Academy of Fine Arts in 1918 and held the position until his death. He received numerous large scale commissions from the Danish State and is one of the best known inter-war Danish sculptors who became particularly known for his modernist interpretations of classical ďŹ gures. ÂŁ3000-5000

9 Shelton: A bronze group of two entwined lovers early 20th century indistinctly stamped 60cm high by 52cm wide ÂŁ3000-5000

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

10 Karl (Carl) Hassenpﬂug (German, 1824-1890): A carved white marble group of a young girl with her dog the base signed and dated to one side C HASSENPFLVG / FECIT ROMA 1865 68cm high Karl Hassenpﬂug came to Berlin to study in the studio of Wichmann and then became a student of Ludwig Schaller in Munich between 1844 and 1847. Between 1848 and 1850 he stayed in Rome and modelled a group of Samson and Delilah. After returning to Germany, he worked in Hanover for the new theatre, made a trip made to England and then lived in Kassel, where he several sculptural works for the Elisabeth Church in Marburg and the Michael church in Fulda. In 1856 he went for the second time to Rome and created a group of works including the marble group of Cupid and Psyche for King Friedrich Wilhelm IV, Eros and Anteros (now in the museum in Cologne) and Ariadne and Galatea surrounded by amorini. He became a professor of sculpture at the Kassel Academy in 1868. £4000-6000

11 A carved white marble two tier fountain Italian, circa 1900 140cm high by 180cm diameter ÂŁ6000-10,000

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12 An elaborate and unusual Savonnerie stone planter Northern European, early 20th century 130cm high by 148cm wide ÂŁ6500-10,000

13 A Louis XIV style terracotta urn 19th century with later composition stone socle Restorations 174cm high, the base 62cm square ÂŁ2500-4000

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14 A set of six powder coated aluminium and concrete chairs designed by Konstantin Grcic for MAGIS early 20th century the plastic undersides (suitable for indoor use) stamped MAGIS, Made in Italy 81cm high by 55cm wide Konstantin Grcic was born in Munich, Germany in 1965. After training as a cabinet maker at Parnham College in England he studied Design at the Royal College of Art in London from 1988-1990. Since setting up his own design practice Konstantin Grcic Industrial

Design in Munich in 1991 he has developed furniture, products and lighting for some of Europe’s leading design companies. Grcic’s most well-known designs include the Chair_One for Magis. Four years in the making, Chair_One went on to become a design icon and now resides in the permanent collections of many prestigious museums including MoMA in New York and Centre Georges Pompidou in Paris. In 2006 it won the silver medal for the Designpreis Deutschland (Design Award of the Federal Government of Germany). The Italian Furniture company MAGIS was established in 1976 and makes furniture by a number of leading designers. £1500-2500

15 S Steven Gregory Bag Men, Bronze, signed S Gregory Set 4 of 9, 127cm high Steven Gregory was born in South Africa in 1952 but has lived in London since the 1960’s. He studied sculpture at St Martins School of Art. Gregory has exhibited widely both in the UK and globally, including Germany, France, Italy, Iceland, New York and Czech Republic. In 2002 he exhibited in Thinking Big, 21st Century British Sculpture, at the Peggy Guggenheim Museum, Venice. In 2005-2006 Gregory held a solo exhibition Skulduggery with Cass Sculpture Foundation. In 2006-2007 Damien Hirst, who has been a collector of Gregory’s work since 2002, included some of Gregory’s skull sculptures in his Murderme exhibition In the darkest hour there may be light at the Serpentine Gallery, London. In 2007 Gregory had a solo exhibition Steven Gregory, Bone Stone Bronze

at the Nicholas Robinson Gallery in New York. Steven Gregory is also a regular exhibitor at the Royal Academy of Arts Summer Exhibitions in London and continues to maintain a strong presence of work at the Cass Sculpture Foundation, West Sussex where other bronzes in this edition were exhibited. Their exhibition notes remarked; “Anthropomorphic paper bags cast in bronze. These insectile apparitions have amused, enthralled and have even made skin creep, as they are variously funny, intriguing and sinister. Like circus clowns they emerge jauntily from the woodland, their bag bodies in attitudes of buffoonery, frolic and mischief. The sense of carnival is at once fun and a little scary in this bag parade. As children, we all at some point put our heads in paper bags. To hide from the world and yet be part of it, with an assumed identity unlike our own, is as basic as learning to walk. Masks are as old as human ritual, they hide, alter and also protect - and so do paper bags”. £12,000-18,000

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16 S Hamish Mackie Oyster Catcher Bronze on fossil marble base Polychrome naturalistic patina signed HAM 2006 2/12 53cm high Hamish Mackie (born October 1973) is a British wildlife sculptor who works in bronze, silver and any other castable metal using the lost wax castings method. He is considered to be one of the worldâ&#x20AC;&#x2122;s foremost wildlife sculptors. Largely self-taught, Mackie captures his subjects - ranging from livestock to birds via wild animals - by observation in a natural environment, taking detailed photographs and sometimes modelling in plasticine. He has won numerous commissions including works for Jilly Cooper, Charles Saatchi, Ronnie Wood and the RSPCA, National Trust, Woburn Abbey, Merrill Lynch, Hiscox and most recently the Berkeley Group Holdings(public). He has travelled to places including Antactica, the Falkland Islands, Austrialia, across Africa and the United Arab Emirates in search of subjects. ÂŁ2500-4000

Guy Taplin is a self-taught artist and was born in 1939 in Whitechapel, London’s East End. His family moved to Hereford during the war, where he was surrounded by nature. He soon roamed the hedgerows and fell in love with birds. When he moved back to London, he had a variety of jobs, eventually moving to Regent’s Park as a labourer and gardener. He was later promoted to look after the birds. During that period, he started to carve. He is now regarded as one of the truly great wildlife sculptors.

17 S Guy Taplin A driftwood Curlew on stand Base of bird inscribed Guy Taplin, running curlew Wivenhoe 1992 97cm wide £1500-2500

His work has been cast in bronze for public spaces and private gardens. Examples of the larger pieces can be seen at the London Zoo, Regent’s Park. His work is often classiﬁed into the bracket of folk sculpture but his carvings are not naïve. He captures a bird with a quiet sophistication that he has worked on over time.

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

18 ‡ Isaac Kahn Repose Bronze on granite base and ebonised plinth Signed I. Kahn 9/9 158cm high overall 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. £4000-6000

A SA-6 Ramjet missile in its carrying case Russian

An OKB-2 liquid fuel second stage rocket engine mounted on stand with circular glass table top

overall 6m

late 1950’s

SA-6 “gainful” was a ground to air low to medium height anti aircraft missile developed in the late 1950’s and ﬁnally entering service with the Russian army in 1967 and produced until the mid 1980’s.

104cm high

£3000-5000

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

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

The John Robinson Collection

punching of a ﬁst in athletic triumph, is a tour de force in elegant simplicity.

I ﬁrst came across John Robinson’s work nearly 30 years ago when I was asked to auction his wonderful bronze ﬁgure of Papageno, from Mozart’s Magic Flute, which had stood for a few years at Glyndebourne. Over the subsequent years we have been lucky enough to have sold quite a few of his pieces and so when, following their mother’s death (John died in 2007), the Robinson family asked Rupert and myself if we could sell some of their father’s sculpture, we were naturally delighted.

In addition to this, John was an accomplished portrait sculptor. His most well-known works are busts of Her Majesty Queen Elizabeth, the Queen Mother in her role as Warden of the Cinque Ports and Her Majesty the Queen in her role as Colonel in Chief of The Royal Tank Regiment. Both the plaster originals and bronze castings, lots 40, 41 and 44 are included in the sale.

Little did I realise what a treat was in store in the extensive gardens of their idyllic cottage, Agecroft near Yeovil in Somerset as well as John’s studio, virtually untouched in the 10 years since his death. John enjoyed a remarkably full and varied life, from early on jackarooing and then farming in Australia, to returning to this country with a young family to try his hand at sculpture. His early work, which started as small commissions for his friends, is largely made up of charming, beautiful observed studies of children, a number of which are included in this sale; my undoubted favourite is his three young sons Peter, Mark and Tim squirting each other with a hose, lot 21, capturing their youthful exuberance exactly.

Unlike many sculptors who channel all of their creative energies into their work, John was an accomplished author and produced a lavishly illustrated three volume hardback autobiography entitled From the Beginning Onwards as well as Symbolic Sculpture, Symbolism, Sculptures and Tapestries, A Bradshaw Foundation Report and a CD of rotating images for his symbolic sculptures. The purchase of every lot of John’s sculpture in this sale, will also receive a copy of each of these books/CD. Where applicable and for further detailed explanation and illustrations, the catalogue description of each lot also gives page references to the relevant books which may be viewed next to the catalogue entry on our website. We hope you enjoy the John Robinson experience! James Rylands

Inspired by a trip to Greece with its Olympic tradition, he moved onto athletes, the most impressive and iconic of which is his 5 metre high group of Acrobats, lot 38. This group was certainly instrumental in John being appointed the Ofﬁcial Sculptor for the British Olympic Committee in 1988. Most sculptors have a distinctive style which remains fairly constant throughout their working career. John, however, was a true artistic renaissance prince and his next artistic phase led him in a completely different direction into his Symbolic Sculpture, which formed his Universe series, which explores, often utilising complicated mathematical formulae, humankind’s relationship with the Universe. The bronze abstract piece Elation, lot 52, a casting of which was gifted by the British Olympic Association to the International Olympic Committee in Lausanne, representing the

The buyer of every lot of John’s sculpture will receive a copy of each of the above publications

21 Three bronze resin ﬁgures of Mark, squirting Peter and Tim with a hose pipe each signed John ‘69 the tallest 97cm Originally modelled from a photograph of his three sons, taken whilst still living in Melbourne. Literature: Vol I, page 230. Further pictures and details on our website. £2000-3000

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

23 A bronze resin group of two children plumbed for a fountain, on circular base 75cm high by 118cm diameter ÂŁ600-1000

22 A bronze child holding a cup 50cm high ÂŁ800-1200

A bronze ﬁgure of Lily

A bronze resin seated boy with a puppy

signed John

98cm high

56cm high

Literature: See Vol I, pages 320-321. Further pictures and details on our website.

£600-1000

£1000-1500

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

A bronze resin boy with a Great Dane

A bronze resin high relief of Henry VIII

110cm high

130cm high

Commissioned for Derek Crowther of Crowthers of Syon Lodge, Isleworth who were the pre-eminent dealers in garden sculpture, the original of this group was exhibited on Crowthers stand at the Chelsea Flower show, circa 1970 and 12 casts in bronze were sold, one of which stands on St Lawrence Waterway, Canada.

The original commission for a gentleman’s tailors in New York

Literature: See Vol I, page 231-2. Further pictures and details on our website. £1000-1500

£300-500

A bronze ﬁgure of an athlete

A bronze resin group entitled Peace

signed John 2/12 and dated ‘73 on marble base

198cm long

36cm high £200-400

Modelled whilst still heavily inﬂuenced by Rodin’s work in the late 1960’s.

A bronze ﬁgure of a female athlete

Literature: See Vol I pages 226-227. Further pictures and details on our website

on marble base

£1500-2500

33cm high £150-250

John Robinson with the clay model of this piece. For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

31 Two bronze resin children playing with a stone each signed John a/c the seated boy 46cm high, the girl 69cm long £600-1000

32 A bronze of Genevieve sleeping 23cm high by 97cm long £1500-2500

33 A bronze ﬁgure of a bear signed John 21cm long, together with a bronze rabbit indistinctly signed Richard Adams 4/10, 23cm high £200-400

Richard Adams was the author of the well known book on rabbits, Watership Down. Originally this ﬁgure was produced as part of a treasure hunt to raise money for charity, which did not take place. The rabbit was the last sculpture created by John Robinson before he died in 2007.

A bronze group of two baseball players

A bronze group of two gymnasts

signed John 1/12 and dated ‘73

signed John 1/10 and dated ‘70

43cm long

20cm high

£200-400

£150-250 36 A bronze resin group of two heads entitled Lovers signed John ‘69 43cm high This group was on display in All Hallows Church by the Tower of London. Literature: See vol 1 page 223-224. Further pictures and details on our website. £300-500

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

37 A bronze ďŹ gure of a girl with Great Dane 100cm high This was sculpted as a companion piece to the Boy with Great Dane, lot 26. Literature: See Vol I, page 233. Further pictures and details on our website. ÂŁ3000-5000

38 A monumental bronze resin group of acrobats signed John 500cm high This iconic sculpture, arguably John’s most well known and acclaimed piece was originally conceived during a trip to Greece in the 1970’s. Based on the original Olympian athletes dating back to the 8th century BC in ancient Greece, John started with a 16inch bronze maquette, which he then scaled up to a monumental scale. Being very practical, he ingeniously made a joint on the wrist of the upper acrobat, which is reinforced with a steel rod, making transport and erection relatively simple. The ﬁrst cast was mounted at the Hyatt Regency hotel in Maui, Hawaii. There are another 7 examples around the world, one of which is located outside the Australian Institute of Sport in Canberra, Australia. Literature: See Vol I pages 253, 275, 341, 432, Vol II, 453-455, 465-8, Symbolism, sculptures and Tapestries page 6. £10,000-15,000

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

A bronze resin group of the birth of Adam

A bronze portrait bust of Her Majesty Queen Elizabeth, the Queen Mother

A bronze portrait bust of Her Majesty the Queen

signed John ‘69 47cm high by 76cm wide Following a trip to the Rodin museum in Paris and admiring his work, John produced this work of a baby being born, umbilical cord still attached and being raised by the arm of God from Mother Earth. An anaesthetist friend, Jimmy Smart, observed that he thought the baby too big and invited John to observe a birth by caesarean section. Literature: See Vol I, page 223. Further pictures and details on our website. £100-200

titled Her Majesty Queen Elizabeth, The Queen Mother, dated 1981, signed John on marble base 55cm high, together with a photograph of Her Majesty Queen Elizabeth, The Queen Mother, Lord Warden of the Cinque Ports, 1981 Commissioned by Folkestone Council whose ofﬁces are based in Hythe, which is one of the ancient Cinque Ports of which Her Majesty Queen Elizabeth, the Queen Mother was Warden. Literature: See Vol I, pages 367-9. Further pictures and details on our website. £200-400

stamped EIIR signed John and dated 1982 on marble base 56cm high, together with a framed photograph of Her Majesty Queen Elizabeth II Colonel-in-Chief of The Royal Tank Regiment 1983, and a framed linen tape measure originally used to measure Her Majesty’s head for the commission. Literature: See Vol I pages 368-371. Further pictures and details on our website. £200-400

42 A plaster portrait bust of Queen Elizabeth, The Queen Mother signed Her Majesty Queen Elizabeth, The Queen Mother 1981 and signed John, 40cm high, together with a plaster bust of Genevieve signed John dated ‘87 and inscribed Genevieve, 30cm high, and a composition mannequin dummy head on wooden base, 38cm high. The plaster portrait bust of Queen Elizabeth, The Queen Mother is the original plaster maquette for lot 40. Literature: See Vol I, pages 367-9. Further pictures and details on our website. £150-250 43 A resin bust of a girl signed John ‘70 on wooden base 44cm high, together with two other plaster portrait busts on wooden bases the larger 49cm high and signed John £150-250 44 A plaster portrait bust of Her Majesty The Queen inscribed EIIR 1982 and signed John 45cm high, together with a plaster portrait bust of Uncle Jo signed John and dated ‘69 on wooden base, 43cm high, a plaster bust and partial mould of Joan of Arc, 47cm high and a plaster torso of a child, 44cm high Literature: This is the plaster original of the bronze bust of her Majesty the Queen, See lot 41. See also Vol 1, pages 368-371 for more details and photographs of the bust of her Majesty; Vol 1 page 196 for a photo and details of Uncle Jo Palmer; and Vol I page 411-412 for details and photographs of John’s wife Margie as Joan of Arc as well as the bronze head lot 41. Further pictures and details on our website. £150-250 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

A bronze of Prometheus and the Eagle

A bronze reclining cat

A bronze group entitled Hera’s cuckoo

18cm wide

signed John 2/10 and dated ‘73, 20cm high

on marble base

£100-150

Following an extended holiday around Europe, John became fascinated by Greek mythology. This group depicts Zeus personiﬁed as a cuckoo and preying on the goddess Hera’s love of animals, Zeus pretended to be in distress outside her window. Hera, feeling pity towards the bird brought it inside and held it to her breast to warm it.

20cm high Literature: See Vol I, page 239. Further pictures and details on our website. £150-250

Literature: See Vol I, page 252. Further pictures and details on our website. £200-400

46 A bronze bust of Joan of Arc signed John, ‘72 2/10 on marble base, 44cm high

49 A bronze bust of the sculptor’s son, Peter Robinson

Literature: Vol I page 411-412 for details and photographs of John’s wife Margie as Joan of Arc as well as the original plaster, lot 44. Further pictures and details on our website.

signed John and initialled PLR ‘83 and with Singer foundry stamp, on marble base, 53cm high

£150-250

£100-200

Literature: See Vol I, page 457-8. Further pictures and details on our website.

The following lots, some of which aren’t recorded in any of the relevant literature are inspired by John’s interest in symbolic sculpture focusing on simple shapes such as the ovoid, or egg, the symbol of life, together with spirals as a symbol of mystic knowledge. 50 A polished bronze entitled Womb stamped JR 1/9 ‘80 III on marble base, 35cm high Literature: See Symbolic Sculpture, page 47 £200-400 51 An abstract bronze of the bull horns of Knossos

52 A bronze sculpture entitled Elation stamped JR ‘85, 2/9 and with foundry stamp Moriani Pietrosante, Italy 200cm high Originally conceived in 1983, there are examples in The Philip Trust collection, The International Olympic Committee collection, The Benbasset collection and the Robert Hefner II collection in Aspen. Literature: See Symbolic Sculptures page7, 29 and 113 and Symbolism, Sculptures and tapestries, page 14-15 and Vol II page 529 and 605. Further pictures and details on our website. £1000-2000

stamped JR ‘75 6/9 on wooden base, 36cm high £200-400 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

A bronze roundel on marble base

A similar circular bronze roundel

Another similar with a sphere

30cm high

on marble base

Abstract bronze of a semi-hemisphere within a roundel

£100-200

30cm high

on marble base

£100-200

30cm high £100-200 57 A bronze circular ring 30cm diameter £100-200 58 A bronze spiral ring entitled Rhythm of Life stamped JR9L 3/9 and with foundry stamp 31cm high This was originally conceived to be suspended within a bronze circle. Literature: See Symbolic sculpture page 31 and 111 and Vol II page 600. £150-250

A bronze group of three ovoids on marble base

A painted and stainless steel abstract group entitled Evolution

30cm high

on composition stone base

£200-400

190cm high

60 An abstract bronze entitled Sun Moon Ovary on marble base 38cm high Literature: See Symbolic Sculpture page 40 and 119 and Vol II page 601 £200-400

This piece and the example in bronze lot 69 were inspired by a visit to Romania by the Robinsons in 1996, where John fell under the inﬂuence of the sculptor Constantin Brancusi and in particular Brancusi’s Endless Column, which stands close to Brancusi’s birthplace Turgu-Jiu. Literature: See Vol II pages 517,528, Vol III page 909. An example is on display at the Museum of the Rockies in Montana. £1000-1500

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63 An iron sculpture made up of axe heads on roof ridge base French, mid 20th century 135cm long Bought by the Robinson family whilst on holiday in Provence. The axe heads represent a bishop, choir boys and a nun following a processional cross. Family tradition has it that the ﬁgure leading the procession is the bishop of Bath and Wells. £400-600 64 A stainless steel hanging dodecahedron 71cm high £150-250

62 An abstract bronze and stainless steel group entitled Innocence stamped JR ‘89, 1/9 Moriani, Pietrosante, Italy foundry stamp, 120cm high Conceived in 1988 as part of the symbolic series, there is an example in the Philip Trust collection. Literature: See Symbolic sculpture page 71 and 109-10 and Vol II page 594. £600-1000 38

The following 4 lots were all painted by John, at various stages of his career. He was particularly drawn to Matisse and executed a number of fresco type pictures for the Aspen home of his Patron, Robert Hefnor III, including Matisse’s iconic picture, The Dance.. see lot 65. It is a credit to John’s incredible versatility that he was able to work in so many mediums, including paintings and tapestries which were woven by the Aubusson factory in France. 65 After Matisse

66 After Van Gogh A low countries bridge scene Oil on canvas

The Dance

122cm high by 153cm wide

Oil on canvas

£100-200

122cm high by 153cm wide

67 A nude in a bedroom setting

Oil on canvas

After Matisse

62cm by 52cm, together with an oil on canvas of an aqueduct in wooden frame, 60cm high by 50cm wide

Girl reclining

£100-200

Oil on canvas 152cm high by 100cm wide

£100-200 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

A bronze abstract entitled Evolution

A collection of bronze portrait relief heads

mounted on steel plate

together with a quantity of promotional material relating to John Robinson including screen print posters etc

238cm high Literature: See Vol II pages 517,528 and lot 61. ÂŁ1500-2500

ÂŁ100-200

The following 38 Lots are Cobb collection from his travels with Major Powell-Cotton in the early 20th Century

The museum at Quex Park near Margate focuses on the extraordinary collection assembled by Major Percy Powell-Cotton (1866-1940), perhaps the most driven big game hunter of all time. For a period of around half a century the major engaged in a long series of expeditions into Africa and sometimes elsewhere. The intention behind these expeditions was to acquire specimens of as many game animals as possible. Each kill was recorded in great detail, with geographical coordinates, size of the animal, habitat, and any other relevant information. Then, after the expeditionâ&#x20AC;&#x2122;s spoils had been transported back to Britain, many specimens were set up by the Rowland Ward Company and became the mounted exhibits that make up the vast dioramas at Quex Park - massive attempts to showcase the big game fauna of Africa.

71 A mounted Cape hartebeest head with Rowland Ward label 82cm Rowland Ward (1848-1912) the most celebrated of all taxidermists, operated from premises in Piccadilly. Here, he catered to Dukes and Duchesses, the rich and famous, and sportsmen the world over. He was so successful, and his reputation so great, that following his own death in 1912, the company he founded stayed in business for another 60 years, despite the general decline in interest in taxidermy through the twentieth century. During this period, the ďŹ rm employed hundreds of workers, and was always renowned for the high quality of the work produced and the top quality standards maintained by its employees. Ward himself made many innovations in terms of taxidermy, and always maintained that a good taxidermist was not simply a craftsman but an artist and that he or she should be regarded as nothing less. ÂŁ80-100

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A mounted zebra head with Rowland Ward label 56cm

A mounted steinbuck head on wooden shield with Gerrard label

£200-300

40cm £60-100

73 A mounted Sommering’s gazelle head

46cm

A mounted Grant’s gazelle head with Rowland Ward label

£40-60

91cm £80-120

A mounted springbok head 48cm

A mounted wildebeest head with Rowland Ward label

£40-60

73cm £200-300

77 A mounted impala head

90cm

A mounted Grant’s gazelle head

£40-60

103cm £40-80

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A mounted Grant’s gazelle head with Rowland Ward label

91cm

86cm

£80-120

A mounted Sommering’s gazelle head

A mounted Grants gazelle head with Rowland Ward label

49cm

65cm

£40-60

£80-120

A mounted Uganda kob head on wooden shield 71cm

A mounted Mountain Reed buck head on wooden shield with Gerrard label

£50-80

56cm £80-120

85 A mounted zebra head

80cm

A mounted Grant’s gazelle head

£200-300

81cm £40-60

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A mounted Uganda kob head with Gerrard label 77cm

A mounted Sommering’s gazelle head on wooden shield with Spicer label

£80-120

64cm £80-120

A mounted Uganda kob head on wooden shield

70cm

88cm

£40-60

A mounted impala head

A mounted Thomson’s gazelle (young) head with Rowland Ward label

A mounted Coke’s hartebeest head on wooden shield

35cm

£50-80

79cm

£80-120 93

A mounted Kirk’s dik-dik head on wooden shield with Gerrard label

A mounted Sommering’s gazelle head

28cm

55cm

£80-120

£40-60

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A mounted Thomson’s gazelle head

A mounted Dorcus gazelle head

58cm

£40-60

41cm

£40-60 99 97 A mounted Grant’s gazelle head with Rowland Ward label 70cm £80-120

A mounted Dorcus gazelle (female) head 37cm £40-60

100

101

A mounted waterbuck head

A mounted impala head

108cm

90cm

£50-80

£50-80 102 A mounted wildebeest head with Rowland Ward label 63cm £200-300

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103

105

A mounted kudo head on wooden shield

A mounted blackbuck head

144cm

£50-80

68cm

£100-200 106 104

P. Spicer: A warthog on shield

A mounted Grant’s gazelle head with Rowland Ward label

58cm high

98cm £40-60

£150-250

107

108

A mounted baboon’s head on wooden shield

A Colobus monkey

58cm high

£100-200

122cm

£300-500

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109 Janiform Power Figure Kusu People, DRC, 2nd half of 20th century 31cm high Kusu art is relatively rare and is highly inﬂuenced by the neighbouring Luba, Songye, and Hemba peoples. Power ﬁgures like this with the artistic janiform design (two heads/two sides) and opening for ritual substances were used as instruments to bring good fortune, protect, heal, tell the future, and counteract evil. Nice patina £1750-2800

110 Beaded Mask Grassland People, Cameroon 1950’s 43cm high Dancing group mask with typical blown-up cheeks and two abstract leopards ﬁgures on top. Rare color of beads. £3000-4800

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111 Terracotta Memorial Head Akan People, Ghana, 18th century Adanse traditional area, Fomena or Akan 27cm high From the collection of Simon du Chastel de la Howardie (1926-2014) ÂŁ700-1120

112 Female Terracotta Elongated Figure Sokoto People (?), Nigeria 44cm high Female Statue with head decoration and necklace. Arms broken off. From the collection of Simon du Chastel de la Howardie (1926-2014) ÂŁ700-1120

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113 Boli Power Object Bamana People, Mali 57cm high A rough, cracked surface obscures exact identification of the organic and inorganic materials assembled to create the boli (pl.: boliw), or power object, shown here. Such objects play an essential role within Bamana spiritual life. Boliw have attracted much attention from Western observers due to their amorphous forms and unusual materials. The bulbous and amorphous shape is rather idiosyncratic within the repertoire of Bamana art. Boliw are composed of a wooden armature “core” wrapped in white cotton cloth, around which clay and sacrificial materials are encrusted. This boli has four short “legs” upon which it sits, as well as a single hump rising from the top. The creature that a boli represents is unidentifiable, but many take on the loose zoomorphic form suggested by this work, while others may be anthropomorphic. From the collection of Simon du Chastel de la Howardie (1926-2014) £2000-3200

114 Bwoon Mask Kuba People, DRC, 2nd quarter of 20th century 33cm high Bwoom masks belong to the three ‘royal’ masks of the Kuba (‘mwaash amboy’, tribe founder and king, ‘ngaady amwaash’, his wife and sister, as well as ‘bwoom’, the brother of the king, who envies ‘mwaash amboy’ his power and woman). ‘Bwoom’ is amongst the Kuba the most popular of the three ‘royal’ masks and is often performed alone. The present, large ‘bwoom mask’ has all the characteristic features of this mask type. The large forehead, as well as the nose and mount, are covered with brass. Old trade beads cover the rest of the face. The eyes are almond shaped. The nose is large and broad, the mouth carved in relief is small, and at the bottom the mask wears a semi-circular cauris beard. An impressively large, ‘puristic’ piece, with colour scufﬁng to the edges and exposed areas due to long use, as well as with a good patina outside and in the ‘helmet’ inside. From the Thevenet Collection £1500-2400 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

115 Initiation Face Mask Nzakara People, Kongo, 1st quarter of 20th century 26cm high These mask were used in ceremonies of initiation into hunting or warrior associations. They danced alone and are very rare. Reproduction on p.138 of 100 Peoples of Zaire by Marc.L. Felix From the Thevenet Collection ÂŁ2750-4400

116 Mwana Phwevo Mask Lovale/Chokwe People, Angola DRC, 1st quarter of 20th century 22cm high The Chokwe and the Lovale - who are closely related people - the Mwana Phwevo mask embodies a mythological character of remarkable female beauty. They were danced by men. From the Thevenet collection ÂŁ1250-2000

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117 Bongo Mask Kuba People, DRC, 2nd quarter of 20th century 42cm high Bongo masks belong to a series of masks used during circumcision rites. They are produced with more stylistic variations than other Kuba mask types. Some examples closely resemble in style the Bwoom mask, but with painted surface decoration rather than the extensive use of metal, shell and beads, to larger masks with even more pronounced foreheads and noses. Some examples are entirely painted a dense black or painted half black and half red or white. This is a ďŹ ne example of a great mask. From the Thevenet collection ÂŁ1250-2000

118

119

Elders abstract prestige and judicial staff

A rare Prestige Staff of a chief or other dignitary, with a whole female ﬁgure

Pende People, DRC, 2nd quarter of 20th century 99cm high From the Thevenet collection £500-800

Luba People, DRC, 2nd quarter of 20th century 117cm high Chiefs and old dignitaries of the Luba, in southern Congo, own prestige staffs, such as the present one, as a symbol of their authority. The present staff consists of a piece of hard, brown wood. The upper half is richly carved with fine details. It features a whole female figure in a kneeling position, with head, hairstyle, and a long body with typical tribal scarification marks and with comparatively short, bent arms and legs. Beneath the figure there is a further flat decoratiion that is repeated. The staff has a very nice patina. From the Thevenet collection. £3000-4800

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120 Mbuya mask Western Pende People, DRC, 1950s 33cm high Since the 17th century, the Pende have been divided into Eastern and Western Pende. For their initiation ceremonies the West Pende perform large, theatrical ‘mbuya dances’, with many different mask types. The present type of such a ‘mbuya mask’ represents a priest, healer or soothsayer, and is called ‘mbuya nganga ngombo mask’. The mask is carved from hard, light-coloured wood and dyed light reddish-brown, black and white. It shows a ‘classical’ Pende face: with broad, protruding forehead with central decorative scarification marks, transverse, long eyebrows, small, protruding ears, ‘hanging’ lids above slit eyes, with a small, broad, slightly curved upwards nose and a pointed, open mouth, above a pointed chin, into which a vegetable fibre beard is bound. The hairstyle consists of light brown fibre fabric, embroidered with lines and three pendant plaits including tassels of black, vegetable fibres. From the Thevenet collection £1000-1600 62

121 Beautifully sculptured facemask Pende People, DRC, 2nd quarter of 20th century, 18cm high Nicely carved typical Western Pende facemask: triangular eyes and mouth, slightly upward curved nose, pointed chin and broad forehead with clear separation just above the eyes. Very nice mask. ÂŁ700-1120 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

122

123

Sceptre with ﬁgural design

Cult knife with double ﬁgure handle

Pende People, DRC, 2nd quarter of 20th century

Dogon People, Mali, 1st quarter of 20th century

62cm high

29cm high

From the Thevenet collection

Dogon cult knife, the handle consists of two female ﬁgures, leaning against each other back to back. The female ﬁgures are made from brown patinated wood, standing in a half crouched position, the arms are held in front of their stomachs. The wood end of the handle has been sculptured and the blade is forged.

£500-800

124 Male red, white and black Kifwebe mask Songye People, DRC, 2nd quarter of 20th century 44cm high This ‘Kifwebe’ is coloured in alternating shades of red, black and white. The old net made of braided strings of plant ﬁbres still hangs on the back. The net covered the back of the dancer’s head during his performance. Overall, the present ‘Kifwebe mask’ displays good and very old usage patina on the outside as well as on the inside, and some minor age-related damage: minor tears, cracks, colour scuffed etc. From the Thevenet collection £4000-6400

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125 Young male Kifwebe mask Songye People, DRC, 2nd quarter of 20th century 65cm high The kifwebe masks embodied supernatural forces and is characterized by striations. The kifwebe society used them to ward off disaster or any threat. The masks, supplemented by a woven costume and a long beard of rafďŹ a, dance at various ceremonies. They are worn by men who act as police at the behest of a ruler, or to intimidate the enemy. The size of the crest determines the magic power of the mask. Mask, colours, and costume all have symbolic meaning. The dancer who wears the male mask will display aggressive and uncontrolled behaviour with the aim of encouraging social conformity. The use of white on the mask symbolizes positive concepts such as purity and peace, the moon and light. Red is associated with blood and ďŹ re, courage and fortitude, but also with danger and evil. The mask had also the capacity to heal by means of the supernatural force it was supposed to incorporate. From the Thevenet collection. ÂŁ1000-1600

126 Female Kifwebe mask Songye People, DRC, 2nd quarter of 20th century 42cm high The kifwebe masquerade is a genre shared by the Luba and Songye, indicative of the interaction that has occurred between the two societies. Kifwebe masks represent either male or female beings. Both mask types are characterized by angular and thrusting forms, and in both cases the entire face is covered in patterns of geometric grooves that are uniquely characteristic of these masks. Female masks, such as this one, are distinguished by the predominant use of white clay and the rounded form of the head crest. The mask shows normal age and tear. From the Thevenet collection. ÂŁ1750-2800

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127 Female Nkisi power statue Songye People, DRC, 2nd quarter of 20th century 50cm high A small, stylistically very good and typically crafted ‘nkisi’ power figure’, from the Songye in southeast central Congo. ‘Nkisi’ are power figures and protective sculptures, which are supposed to protect against illness, witchcraft, robbery and general misfortune, as well as ease births. They are also used for divinations and soothsaying. Their own, inner ‘power’ is activated by the ‘nganga’ (priest, soothsayer, healer), in that he ritually places ‘magic material’ (earth, plants and other substances) in hollows on the top of the head, the abdomen or the belt of the ‘nkisi’ and thus ‘consecrates’ it. This typical, female ‘nkisi’ consists of hard, lightcoloured wood. Its head is broad and the face, under protruding eyebrow arches, is designed in triangular fashion down to the pointed chin. The slit eyes protrude, the nose is wide, the mouth is open and the chin projects forward. At the top of the head the ‘nkisi’ bears a small, black, antelope horn (from a dik-dik antelope) originally filled with ‘magic material’ hidden in a cavity. His necklace consists of large blue glass beads and also holds a grain pendant. The arms are bent and hang free by the sides. His proportionally large hands hold the protruding stomach, which contains a cavity for ‘magic material’ at the height of the navel. The figure stands with short legs and large feet on a round plinth carved from the same piece. This figure wears a sort of animal fur skirt. Colour scuffing to the edges, and some minor cracks through protracted use. From the Thevenet collection. £2000-3200

128 Maternity figure Bause People, Ivory Coast, 2nd quarter of 20th century 50cm high Classically carved figures such as this mother and child are known among the Baule generally as ‘Waka Sran’, meaning a ‘person of wood’. Some maternity sculptures were owned by diviners, who could tell the future, cure illnesses as well as solving local community problems. The figure embodied a number of symbolic elements as shrine figure; she is a ‘mother’ and for the diviner she is a place of residence for the spirit of the bush to reside ready to be called upon by the diviner. Advised by the bush spirit the diviner will determine the reason that a woman is barren and direct her as to what she must do to bear children. It is the energy and power of the bush spirits that create and give life that are contacted by the diviner and directed to the woman. This well carved figure exhibits typical Baule concern with the esthetics of the presentation of the beauty of the women and child. Her hair is carefully combed and modeled and scarification on her chest, abdomen, neck and face show her as a mature and prominent woman of her village. Made of lightweight wood, dyed black. A fine, carefully executed sculpture, with good, old shiny patina and minor age-related damage. £4000-6400

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129 Zamble half man, half animal mask Guro People, Ivory Coast, 2nd quarter of 20th century 43cm high Horns are the trademark of the Zamble mask-being, portraying the bushbuck antelope. In performance, Zamble drapes a cloth over its back and the rim of the mask and wears the pelt of a wild cat associated with the wilderness, as well as a ﬁbre skirt and other paraphernalia, such as bells on its arms. Its trademark is a whip, which it cracks vigorously. ‘Zamble’ is a mythical composite creature made up of man, crocodile, antelope and leopard. More precisely, ‘Zamble’ consists of a half human face, with eyes framed by a circle, and a small, curved nose without nasal wings. Beneath the nose there is always the open jaw of a crocodile. The human part of a ‘Zamble’ includes a high forehead with typical tribal scariﬁcation marks, as well as a jagged framed hairstyle. Two curved horns of an antelope always protrude up from this hairstyle. ‘Zamble’ is male and serious. He always appears with two additional mask types: with ‘Gu’, his beautiful, gentle wife, and with ‘Zauli’, an animal mask with long antelope horns. These three masks perform together at all feasts, initiations, weddings and especially at burials and feasts in commemoration of the dead of the Guro people. The present ‘Zamble-mask’, the most important type of the three, is perfectly formed, and coloured black, red/brown and white. This mask is visibly old and has often ‘danced’. It displays on the outside and especially on the inside an excellent, smooth, shiny usage patina. The horns are slightly chipped above. £2500-4000

130 Gägon beak mask Dan People, Ivory Coast 1940 43cm high This type of mask of the Dan people, called ‘Gägon’, represents a mythical hornbill. The mask, worn by men in full body costumes, represents the guardian in a bush camp of the young initiates, or it dances in the villages for entertainment purposes. The present mask is made of hard wood dyed black and displaying a visible, fairly old usage patina both on the front and on the back and with an old age crack on the left. A ‘beard’ made of monkey skin (of the black-and-white colobus monkey) is attached to the underside of the long, powerful ‘beak’ and glued to its edge by means of black tree resin. Remains of an earlier outline with metal are detectable near the small, almond-shaped eyes. £2500-4000

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131 Miniature Gägon beak mask Dan People, Ivory Coast 1940 22cm high This type of mask of the Dan people, called ‘Gägon’, represents a mythical hornbill. The mask, worn by men in full body costumes, represents the guardian in a bush camp of the young initiates, or it dances in the villages for entertainment purposes. The present mask is made of hard, brown wood and displays a visible, fairly old usage patina. (with minor age-related damage) both on the front and on the back! A ‘beard’ made of monkey skin (of the blackand-white Colobus monkey) is attached to the underside of the long, powerful ‘beak’ and glued to its edge by means of black tree resin. Remains of an earlier outline with metal are detectable near the small, almond-shaped eyes. The entire face is outlined with scariﬁcation marks. £1000-1600

132 Blolo Bla Spirit Spouse Sculpture Ivory Coast, Baule People/Lagoon People, 2nd quarter of 20th century 30cm high The Baule people believe that every married man and every married woman has their own spiritual partner in the ‘other world’. These are called ‘Blolo Bian’ (male) and ‘Blolo Bla’ (female). With these ‘spirit spouses’ in the shape of such figures it is possible to communicate, ask them for advice, discuss problems, etc. The present ‘Blolo Bla’ is carved from hard wood and was originally dyed black. She stands firmly on a round plinth, displays a carefully arranged Baule hairstyle with three large crest and scarification marks typical of the tribe. The sculpture shows cracks due to age, as well as traces of scuffing on exposed areas and edges due to protracted use. £1000-1600

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133 Blolo Bla Spirit Spouse sculpture Baule People, Ivory Coast, 2nd quarter of 20th century 31cm high The Baule people believe that every married man and every married woman has their own spiritual partner in the ‘other world’. These are called ‘Blolo Bian’ (male) and ‘Blolo Bla’ (female). With these ‘spirit spouses’ in the shape of such figures it is possible to communicate, ask them for advice, discuss problems, etc. The present ‘Blolo Bla’ is carved from hard wood and was originally dyed black. She stands firmly on a round plinth, displays a carefully arranged Baule hairstyle with three large crest and scarification marks typical of the tribe. The sculpture shows cracks due to age, as well as traces of scuffing on exposed areas and edges due to protracted use. £1000-1600

134 Cast brass necklace or waist beads Vere People, Nigeria-Cameroon, 2nd quarter of 20th century 33cm high Very little is known about this small Ethnic Group, numbering about 20,000 people in Eastern Nigeria close to the Cameroon border. Thereâ&#x20AC;&#x2122;s no similarity to be found with the neighbouring Tribes, the Bata and the Chamba. In my opinion they are necklaces; they are much heavier than the similar Nupe Waistbeads, that would make them very uncomfortable to wear on the hips. The necklace has 31 decorated and undecorated strung brass beads and one very large central bead that is cushion shaped and cast with pearled edges. The object has the most superb wear and patina and originated at the end of the 19th -beginning 20th century. ÂŁ700-1120

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135 A pair of Brass Dance Rattles Yoruba People, Nigeria, 1st quarter of 20th century 15cm high A pair of foot rattles for ceremonial dances. Made of old yellow cast-alloy (brass/bronze), executed with ‘waste mould’ casting. Each features four faces and four bells. With good usage patina and minor age damage. From the collection of Simon du Chastel de la Howardie (1926-2014) £700-1120

136 Saint Anthony of Padua bronze pendant Bakongo People, DRC, 1950s 10cm high ‘Catholic since the late fifteenth century, the Kongo Kingdom fostered devotion to many saints. St. Anthony was among the most popular, and was called Toni Malau (“Anthony of Good Fortune”) for his purported powers of healing and good luck. The popularity of Saint Anthony in Kongo was part of an early modern phenomenon in which the saint was equally popular in Europe, South America, and Africa. Born in Lisbon, Portugal in 1195, the Franciscan brother Anthony was canonized just one year after his 1231 death in Padua, Italy. Claimed as a patron saint by both Portugal and Italy, religious missionaries from both regions spread his cult globally. Soon after their 1645 arrival in Kongo, Italian Capuchin fathers began to spread the cult of St. Anthony. In the Kongo kingdom, locally made figures of Saint Anthony based on European prototypes became common around the eighteenth century. The practice most likely related to the saints popularity in the kingdom, and was possibly tied to the short-lived Antonian movement, during which the Kongo noble woman Beatriz Kimpa Vita gained a significant political following after declaring herself the reincarnation of St. Anthony. To the chagrin of European missionaries, the Antoniens adopted the metal, ivory, and wooden images of St. Anthony, wearing the sculpture of the saint they called Toni Malau as a sign of their allegiance and as a protective amulet. Known as “Little Anthonies,” her followers occupied the capital and travelled throughout the Kongo kingdom wearing their medallions, spreading the message of Dona Beatriz, who believed that Africanizing the church would strengthen the Kongo state, which was in disarray after a series of civil conflicts and the rising effects of the Transatlantic slave trade. While the Antonien movement was successfully put down in 1706, St. Anthony remained popular long after. Considered the “Saint of Good Fortune” or the “Saint of Prosperity,” Toni Malau figures continued to be used prominently in Kongo as forms of protection from illness, the troubles of childbirth, or other problems. £500-800 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

137 Couple of Indonesian wooden puppet heads probably Balinese, 2nd quarter of 20th century 13cm high, 10cm high puppet heads with nice patina and real hair. Nice age and use patina. ÂŁ500-800

138 Wooden seated ﬁgure called Gwandusu Bambara People, Mali, 2nd quarter of 20th century 28cm high The Gwandusu ﬁgure symbolizing fertility by touching the breasts and the obvious pregnant abdomen. Figures like these appear in the annual celebrations of Jo, an association of initiated men and women living near the towns of Bougouni and Dioïla in southern Mali. They also appear in the rituals of Gwan, a related institution concerned with helping women to conceive and bear healthy children. The distinctive style consists of massive, rounded forms rather than the angular, cubistic ones more typical of Bamana art. Fine patina. £1000-1600

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139 Two waste mould casted bronze hairpins Dogon People, Mali, 2nd quarter of 20th century 13cm high, 14cm high Round hairpins, crowned with male and female ﬁgure. The ﬁgure are astoundingly life-like and realistically carved. £500-800

140 Miniature Kneeling Female Statue Dogon People, Mali, 1940 11.5cm high The Dogon use kneeling figures for a variety of purposes, from effigies of their mythological founders, the “nommo,” to ancestor figures, and shrine figures to promote success in childbirth or the harvest. £500-800

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141 Pair of bronze rings representing rider and seated ďŹ gure Dogon People, Mali, 2nd quarter of 20th century 7cm high Bronze rings were often amulets as well as a sign of wealth for senior men and women. ÂŁ500-800

142 A pair of bronze rings representing two riders Dogon People, Mali, 2nd quarter of 20th century 8cm high, 6cm high Bronze rings were often amulets as well as a sign of wealth for senior men and women. ÂŁ500-800

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143 Standing Female Encrusted Wooden Figure Dogon Tribe, Mali, 2nd quarter of 20th century 26cm high This ďŹ gure is a prime example of classic Dogon sculpture that represents a tradition of carving rarely surpassed for longevity or imagination for Dogon art extends to the past as early as the 12th century. ÂŁ1000-1600

144 Old and rare ‘Ekpo society’ mask Eket People, Nigeria, 2nd quarter of 20th century 19cm high The Eket people are a small tribe in southeastern Nigeria, neighbours of the Ibibio and Ogoni. During harvest festivals, members of the ‘Ekpo secret society’ danced with these round masks to give thanks for a good harvest, to thank their ancestors and ‘mother earth’. Along with praising the fertility of the earth, these dance rituals also remembered important, deceased warriors. The present mask is a typical example of the Eket style: it is circular and carved from hard, brown wood. The rim, that ascends in a conical shape towards the middle of the mask, displays a ‘star-like’ spiked relief that reaches the inner circle. The eyelids are large and lowered. The masked dancer looks through narrow, curved slits. This typical Eket mask is in good condition. It has an old, partly shiny and encrusted patina on the front side, as well as a shiny usage patina on the back. £1250-2000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

145 Hungana wooden statue Hungana people, DRC, 2nd quarter of 20th century 19cm high Neighbours of the Mbala, Yaka, and Pende, the Hungana were renowned for their work in iron and ivory, but little is known about the function of their distinctive wood ﬁgures. Some may have been protective spirits; others may have had a role in healing practices. This ﬁgure, of lightweight wood, on short thick legs displays a swelling body and raised arms supporting the chin and head. £1000-1600

146 Idiok Mask of the Ekpo secret society representing an intelligent spirit Ibibio People, Nigeria, 2nd quarter of 20th century 30cm high Rare and with usage patina ÂŁ1750-2800 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

147 Fine wooden mask Idoma People, Nigeria, 2nd quarter of 20th century 22cm high The Idoma live in the territory between the Niger, Benue and Cross Rivers in southeastern Nigeria. To the north of the significantly more numerous Ibo (or Igbo), who influenced the art of the Idoma. The present mask is carved of very lightweight, light-coloured wood. In the details, however, the noticeable difference between Ibo and Idoma style can be seen: the extreme, ‘laughing’ mouth with both rows of teeth carved out from the same piece, the round, somewhat protruding ears, the wide nose and the scarification marks, very differently arranged, on the face, on the forehead, above the outlined, small, slit eyes and especially the two thick, semi-circular and black-dyed ‘batteries’ of decorative scarification marks beneath the temples. This is typical for the Idoma and is not present in Ibo works. An interesting, rare piece, with colour scuffing due to age on the white kaolin surfaces and slightly encrusted shiny patina on the black-dyed hairstyle above, and on the decorative scarification marks. There is also good, old usage patina at the back, on the inside. £1250-2000

148 Ceremonial spoon carved from a single piece of bone Lega People (also Warega or Rega), DRC, 1st quarter of 20th century 18cm high These small sculptures were displayed at the ﬁnal phase of initiation into the Bwami society. Whether in the form of human ﬁgures, heads, or tools such as spoons, knives, hammers, and billhooks, they represent the proverbs through which Bwami ideals are taught. The edges and the round incisions of the present Lega spoon are rounded and worn smooth as a result of protracted use. In excellent condition, no damage. £500-800

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149 A white Idimu style face mask Bwami society, Lega People (also Warega or Rega), DRC, 2nd quarter 20th century 19cm high Among the Lega (also called Rega or Warega) the Bwami society presides over the tribe’s entire social life. The society has six ranks for men and three ranks for women. The Idimu masks, are reserved for exclusive use by men of the two highest ranks ‘Yananio’ and ‘Kindi’ £1000-1600

150 Minimalist Luvale/ Chokwe facemask Luvale/Chokwe people, Angola DRC, 1st quarter 20th century 20.5cm high For the Chokwe and the Lovale who are closely related people, this mask embodies an ancestor ďŹ gure ÂŁ1000-1600

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151 Black Nkaki mask Lwalwa People, DRC, 2nd quarter of 20th century 32cm high The Lwalwa artists produced masks that reﬂect facial representations composed of purely geometric elements, sharply angled planes and smooth unadorned surfaces. Mask forms are distinguished from one another through the prominent noses that were inspired by the beaks of different birds. These masks were worn at dances to celebrate the circumcision and initiation of young men into the Ngongo society and to appease the spirits that control hunting. The present, large ‘Nkaki mask’ demonstrates the ‘classic’ type, carved from heavy wood and coloured black. The mask is surmounted by a helmetlike hairstyle and a noticeable middle ridge. This middle ridge continues on the forehead, becoming a wide, typically Luwalwa nose. The face is characterised by a concave shape with wide slit eyes, protruding mouth with pouting lips and the pointed, pierced chin, to which a ‘beard’ made of ﬁbres was originally attached. A beautiful, characteristic piece, with good usage patina on the front and the back. With some minor cracks of usage. £1750-2800

152 Okifa figure Mbole People, DRC, 1st quarter of 20th century 29cm high Among the Mbole, in northern Congo, the secret society called ‘Lilwa’ is in charge of social life and jurisdiction. The ‘Lilwa society’ also has the power to impose death sentences, especially in connection with the offence of betraying secrets of the ‘Lilwa society’. The present figure, made of hard wood and coloured black and white, is referred to as ‘okifa’. It depicts a man sentenced to death by hanging. It is dyed black, with a white face (in African art, white usually symbolises death). An excellent, ‘classic’ example of an ‘okifa figure’. With beautiful patina and in perfect condition. Rare. £2500-4000

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153 Elu bird beak mask Ogoni People, Nigeria, 2nd quarter of 20th century 19cm high This interesting mask which has an expressive human face, with a Bird beak and hinged jaw originates from the Ogoni or Obgoni tribe, Nigeria and is called “Elu”. The mouth is fully articulated, with lower jaw portion attached to upper by ﬁbre threads on each side. Triangular like ears protrude from sides of face and would have been worn in such a way that it covered half the face and the wearer had the ability to move the mouth. Elu masks, such as this one, are danced by young members of secret men’s societies that have social, religious, or governmental functions. The small masks are attached to cone-shaped caps of ﬁbre and cloth that cover the heads of the dancers. They are usually danced at annual festivals or at funerals of members of the societies. The mask has a good patina. £1250-2000

154 Giphogo zoomorphic horned mask Eastern Pende People, DRC, 2nd quarter of 20th century 41cm high Found among the eastern Pende, Gipphogo masks differ radically from the usual genre of masks found among the Pende. Often an emblem of high chieftaincy, represent high authority, and appear at the chiefâ&#x20AC;&#x2122;s investiture. They are sometimes carved small, compared with other well known genres of Pende masks. This class of Giphogo masks are worn as visors that leave the face open. ÂŁ1500-2400

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155 Mbangu mask Western Pende People, DRC, 1950s 30cm high The Mbangu mask depicts someone that is bewitched, diseased or handicapped due to their moral corruption (some sources point to bewitchment caused by a jealous rival inflicting disease). It is believed that scars are borne by the inflicted falling into a fire after an epileptic fit. £1500-2400

156 Female figure carrying a Vessel Senufo People, Ivory Coast, 2nd quarter of 20th century 41cm high These relatively small figures are employed by the soothsayers of the Senufo people as ‘helpers’ during their oracles and prophecies. Carved from hard wood in typical Senufo form and iconography. Agerelated cracks, good colour scuffing on exposed areas as a result of protracted use and old glass beads indicate the age of his statue. From the Renedeau collection £2500-4000

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157 Male Nkisi power statue Songye People, DRC, 2nd quarter of 20th century 28cm high A relatively small male ‘Nkisi’ power ﬁgure of the Songye. In ‘classic’ form. Carved from hard wood. With a comparatively large head, slit eyes, a short, wide nose and an open mouth. The statue has been washed. £3500-5600

158 Female Kifwebe mask Songye People, DRC, 2nd quarter of 20th century 40cm high The Songye people live in southeastern Congo. They have an important male secret society, called ‘Bwadi Bwa Kifwebe’, which performs with these masks (male and female) and with full body costumes made of bast fibres during initiations and funerals as well as with a police function. The present old ‘Kifwebe mask’ is carved from light-coloured, lightweight wood and exemplifies female type: with a flat crest on top of the head (whereas male ‘Kifwebe masks’ have a tall head crest). Typical features of ‘Kifwebe masks’ include a voluminous semicircular head, a central vertical line, running from the top of the head and over the short protruding nose all the way to the conspicuously protruding, quadrangular mouth and the elongated chin. Further characteristics are the slightly retracted cheeks and, especially, the dense geometrically composed decoration of lines in relief covering the entire surface of the mask face. The present mask shows small remains of former white and red colouring in its narrow grooves as well as excellent usage patina, especially on the inside on the back. £2000-3200

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159 Biteki Power figure Teke People, DRC, 2nd quarter of 20th century 36cm high The Teke in central Congo use these power figures, called ‘Biteki’, as magic protection especially against diseases, witchcraft and death. The ‘Biteki’ power figure offered here is carved in hard, brown wood and partly covered in cotton cloth. The head is in Teke style, with wide face, semi-circular ears, and with the typical, angular goatee beard. The legs and feet are worked together, with a recess at the back. Overall, a power figure of the Teke people, in complete, ‘classic’ form. With good, old, partly encrusted shiny patina as a result of protracted use. From the Walschaert collection £2000-3200

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160 Kidumu disc shaped mask Teke-Tsaye People, DRC, 2nd quarter of 20th century 35cm high The Teke-Tsaye (or Tsaayi) people live in the northwesternmost area of Congo, on the Gabon border. Its male secret society, known as ‘Kidumu’, was in charge of all the important events in the life of the villages. The present, visibly old, typical ‘Kidumu mask’ is almost round, horizontally divided in two halves in the middle and offset with an arched stripe. The front side is executed with relief motifs: two sets of eyes on top of each other are accentuated by broad relief lines. With a short nose at its centre. Next to it are two small eye slits for the dancer. The entire mask was originally coloured black-brown and white (now with paint losses due to age and partly repainted). Along the offset margin are several holes for feathers (above) and a hanging made of plant ﬁbres (below). Some holes are cracked as a result of protracted use. This item displays a very good, old usage patina on the front and especially on its backside. Rare. £2500-4000

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161 A large ‘Shango club’ with traces of sacrificial patina Yoruba People, Nigeria, 1st quarter of 20th century 42cm high With ‘Shango clubs’, carried in one hand as a dance sceptre, the followers of the god ‘Shango’ usually take part in ceremonies, dances and processions in honour of their god. For traditional Yoruba people, ‘Shango’ is the god of thunder and lightning. He also embodies the legendary, deified 4th king (‘Oba’) of the Yoruba. His symbol is the ‘double axe’. The present, large ‘Shango club’ features a kneeling woman holding her breasts. Surmounted by the recognisable ‘double axe’ of the god ‘Shango’. The special quality of this item is the considerable sacred significance it manifestly had for the local Yoruba people. The present ‘Shango club’ was no longer used as a dance sceptre, but placed on the altar of a ‘Shango shrine’, where it was the recipient of sacrificial offerings for many years. Proof of this is the trace of sacrificial patina. From the Ambris collection £1250-2000

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162 A Rare Terracotta Ceremonial Altar Vessel Bariba People, Benin 40cm high The disc shape top was used as a lamp at funerals or by healers. Light was produced with the help of balls of cotton wool dipped in karite fat which are then lit. The similarity of these lamps with those of the Bambara indicate that there might be a Malinke influence. Yoruba influence is also reflected in the figural pottery of the Bariba-as becomes clear in the object shown here. From the Simon du Chastel de la Howardie collection (1926-2014). (For a similar Vessel see Earth and Ore -KarlFerdinand Shaedler p.149) £5000-8000

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163 Blolo Bla Spirit Spouse Sculpture Baule People, Ivory Coast 2nd quarter 20th century, 40cm high The Baule people believe that every married man and every married woman has their own spiritual partner in the ‘other world’. These are called ‘Blolo Bian’ (male) and ‘Blolo Bla’ (female). With these ‘spirit spouses’ in the shape of such figures it is possible to communicate, ask them for advice, discuss problems, etc. The present ‘Blolo Bla’ is carved from hard wood and was originally dyed black. She stands firmly on a round plinth, displays a carefully arranged Baule hairstyle with three large crest and scarification marks typical of the tribe. The sculpture shows cracks due to age, as well as traces of scuffing on exposed areas and edges due to protracted use. £2000-3200

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164 Miniature ritual man and wife statue Dogon People, Mali, 2nd quarter 20th century 10cm high These seated miniature sculptures are ritual objects placed on personal altars in order to anchor the spiritual power of the ancestor to whom the altar is dedicated. The diminutive ďŹ gures present a smooth, undecorated surface and sinuous limbs, and are represented seated with their hands resting on their legs. That gesture has been open to interpretation, but the most commonly accepted is that it might echo a speciďŹ c moment in the ceremony, responsible for tending to ancestral altars. ÂŁ500-800

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165 Male Kiwebe Hut Mask Songye People, DRC, 2nd quarter 20th century 70cm high Male Kifwebe masks like the present one are called “masque du case” (“hut masks”). They were not danced and therefore had no holes on the rim for costume attachment. They were probably suspended from the ceiling of a hut. Quite rare. £2500-4000

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166

50cm high

Kingdom. Initially the King was the only person to wear the belt made of a rafﬁa woven strip covered with cloth and beads. After the arrival of the Germans, important lineage representatives were also allowed to use these Regalia. The belt is covered with typical animal symbols.

The double headed snake is the symbol of the Bamum

£4800-6000

Beaded double headed snake belt Grassland people, Cameroon, 1930’s

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167 Beaded ďŹ&#x201A;y whisk in the form of a rooster Grassland people, Cameroon, 1950â&#x20AC;&#x2122;s 76cm high The Royal Fly Whisks (ethnic names: see leng koko or beuka) used in dances are made of carved wood to which horse tails are attached. These tails are veritable war trophies cut from horses killed in battle against and amongst the Bamoum, Fulbe and Chamba. The handles are covered with burlap and embroidered with European glass beads. Fly Whisks are Royal attributes, and each King possesses several examples. The King can authorise certain dignitaries or warriors to use them as long as no more than three individuals use the same one. Most of the whisk handles are relatively simple in shape, but other, more complex, handle forms are sometimes encountered including horned animals, monkeys, elephants, birds, person (s), etc. The rooster head is adorned beautifully with different sized glass beads, the mouth is covered with a red material and the lower of the neck is traditional boubou cloth on the end of the animal tail. ÂŁ4000-6000

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168 Beaded Royal stool Grassland people, Cameroon, 1940â&#x20AC;&#x2122;s 38cm high This delicate stool has a round base and plateau covered with cloth and embroidered with red, white, blue and variant colours of glass beads and cowries. Two interlaced servants support the seat. These beaded stools were the prerogative of the Royal family and the notables. They were used during meetings of the secret societies and royal councils. ÂŁ5500-7500

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169 Three scarified terracotta heads Bura culture, Niger, date unknown 12-14cm high The heads are flat, oblong in shape with typical face scarification marks £480-650

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170 Eskimo Model Kayak Eskimo, 1930’s wood covered with seal skin, lined with bone 155cm What makes this model so special is that all the hunting devices are still present: spears, harpoons, spear thrower, wood ﬂoat board, and bladder, paddles and other equipment used for seal hunting. Please note how well these are made in a stunning combination of wood and bone and lashed on deck under bone and sinew spear securers. Despite the kayak frame traditionally being made by the men, it was the Eskimo women who tanned the seal hides and sewed them together to make the waterproof skin of a kayak. The women would grease the seams with seal blubber and ﬁsh oil to make sure they were watertight. The outer skin had to be renewed at least every two years. It had a driftwood or bone frame. Apart from the double paddle used to propel the kayak in the water, a harpoon, spear and swimming skin was also fastened to the kayak when hunting. The harpoon and spear would be tied to the boat using leather straps and would often trail in the water besides the hunter when not in use. The swimming skin or bladder would be fastened behind the paddler tied to the harpoon to prevent a speared seal from diving away from the hunter. The main use of an Eskimo kayak was for hunting, and seals, walruses, birds and even reindeer were all hunted using kayaks at sea. Eskimo people still use kayaks to hunt from today. In the past, kayaks were even used to deliver mail to the more remote parts of Greenland. The famous ‘Eskimo Roll’ manoeuvre was developed by traditional kayak users to enable them to raise a capsized kayak in rough seas with a single stroke of their paddle. £5500-7000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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112

171

172

Neck covering headdress “Myhara”

A Neolithic pestle

Rikbaktsa people, Brazil, unknown

approximately 8,500-6,500 B.C.

The colourful headdress is made out of a woven crown covered with feathers, and human hair. Rikbaktsa, the group’s self-denomination, can be translated as “the human beings”. Locally, they are also called Canoeiros (Canoe People), alluding to their aptitude in canoe use, or-more rarelyOrelhas de Pau (Wooden Ears), alluding to their practice of enlarging their earlobes with wooden plugs. The Rikbaktsa’s territory is within the Brazilian state of Mato Gro

Morocco on bronze base 40cm high £1000-1500

65cm £8000-12,000

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173 A pair of Kutatissites ammonites Morocco, Cretaceous on bronze stands 51cm high ÂŁ4000-6000 174 An Aeger shrimp plaque Sohlnhofen, Jurassic on bronze base 36cm high ÂŁ700-900

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175 A group trilobites including Drotops, Crotacephalina and Morocconites Morocco, Devonian the largest 18cm high ÂŁ500-700

176 A pair of Cleoniceras Hoplitidae ammonite halves Madagascar, Cretaceous on bronze stand 32cm high ÂŁ1200-1800

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177 A lapis lazuli veneered rectangular table on wooden base 122cm by 76cm ÂŁ3500-5500

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178 A serpentine veneered rectangular table on wooden base 122cm by 76cm ÂŁ3000-5000

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179

180

A pair of banded onyx lights

An agate lamp

41cm high

64cm high

ÂŁ400-600

ÂŁ900-1400

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181 A charoite book matched veneered box of exceptional quality with removable cedar lining and wooden presentation box 19cm wide Charoite is a rare mineral from Siberia named after the Chara river in 1978. Large enough pieces such as those used to veneer this box are very rare to ďŹ nd. ÂŁ3000-5000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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182 A pair of sodalite cubes on stands 36cm high ÂŁ1200-1800

183 A lapis lazuli cube 13cm square, 6.1kg ÂŁ850-1200

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184 A collection of 9 garnet polyhedrons Mysore, India the largest 12cm £1200-1800 185 A collection of quartz cubes Madagascar the largest 8cm £500-800 186 A large banded onyx bowl 55cm £500-800

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

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187 A lapis lazuli freeform of partial Madani quality 31cm high, 15.1kg ÂŁ3000-5000

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188

189

A ruby in fuchsite freeform

A collection of small lapis lazuli cubes

India

£650-1100

23cm high 8.8kg

190

£500-800

A malachite veneer circular table top 60cm diameter £800-1200

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191 A dinosaur bone and gedrite veneered box of exceptional quality with removable cedar lining and wooden presentation box 15cm wide Russian Gedrite, this mineral was named after Gedres in France where it was ďŹ rst discovered in 1836 ÂŁ2500-4000

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192

193

A pair of sodalite obelisks

A nephrite freeform of good colour

65cm high

41cm high, 5.1kg

ÂŁ1150-1500

ÂŁ500-800

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

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194

196

An octagonal lapis lazuli inlaid marble table top

An oval lapis lazuli veneered mirror

Afghanistan

61cm

57cm

£600-800

£250-500

195 A pietra dura panel 37cm wide £250-400

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197

198

A malachite bowl with brass rim

A ruby and zoisite freeform

Congo

40cm high, 10kg

30cm diameter

ÂŁ800-1200

ÂŁ200-400

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

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199

200

A very large North West African type 11141 nickel iron Chondrite meteorite

A North West African 11141 impact Meteorite

Zuwairat, Mauritania

class H5 on bronze base

16cm high overall

17cm high overall

This piece exhibits a good molten entry surface as well as impact fractures

ÂŁ2000-3000

Zuwairat, Mauritania

ÂŁ800-1200

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GLOSSARY OF TERMS

In renaissance style

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

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

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

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

Manner of Antonio Canova In our opinion a work in the style of the artist and of a later date After Antonio Canova In our opinion a copy at a later date of a known work by the artist. In the 19th century this indicates that in our opinion the work was made by a foundry or editor at a later date and apparently without exclusive rights. Italian 18th century In our opinion a work from that region and of that date. Probably Italian 18th century In our opinion a work that is likely to be from that region and/or of that date but less certainty as to the region and/or date than is expressed in the preceding category. For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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SUMMERS PLACE AUCTIONS AUTHENTICITY GUARANTEE

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

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

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

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

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

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

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

Property with a @ symbol

From 200,000.01 to 350,000 1%

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

From 350,000.01 to 500,000 0.5%

It is assumed that items sold to buyers whose address is outside the EU, will be exported from the EU. The property will be invoiced under the normal VAT rules (see ‘Property with a † symbol above). Property sold with a ‡ or 1 symbol These items have been imported from outside the EU to be sold at auction under temporary importation. When Summers Place Auctions Ltd release such property to buyers in the UK, the buyer will become the importer and must pay Summers Place Auctions Ltd import VAT at the following rates on the hammer price: ‡ @ 5% 1 @ 20% Summers Place Auctions Ltd must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at 20% on this premium, which will not be shown separately on the invoice. VAT Refunds VAT may be cancelled or refunded on export if strict conditions are met and a fee of £30 plus VAT will be charged for this service. For advice, please contact us on 01403 331 331 Sales and Uses Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of items following purchase (for example, the Use Tax payable on import of purchased items to certain states of the USA). Buyers should obtain their own advice in this regard. Artist’s Resale Right Purchase of lots marked with the following symbol S will be subject to payment of the Artist’s Resale Right, at a percentage of the hammer price calculated as follows: Portion of the hammer price (in) Royalty Rate From 0 to 50,000 4% From 50,000.01 to 200,000 3%

Exceeding 500,000 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to a maximum royalty payable of €12,500 for any single work each time it is sold. The maximum royalty payable of €12,500 applies to works sold for €2 million and above. Calculation of the artist’s resale right will be based on the Pounds Sterling / Euro reference exchange rate quoted on the date of the sale by the European Central Bank. Property with a ♠ symbol. Some of these items require specialist dismantling and may not be available for immediate collection after the sale. Intending purchasers should check the status of these lots before the sale.

3. Before the Auction Pre-sale Estimates Pre-sale estimates are intended as a guide for prospective buyers but all lots can realise prices above or below the pre-sale estimates. Seller’s confidential reserves are set no higher than the low pre-sale estimates, except in the rare circumstance in which the reserve has been set in a foreign currency and the exchange rate has fluctuated. It is advisable to consult us nearer the time of sale as estimates can be subject to revision. The estimates printed in the auction catalogue do not include the buyer’s premium or VAT. Provenance In certain circumstances, Summers Place Auctions Ltd may print in the catalogue the history of ownership of a work of art if such information contributes to scholarship or is otherwise well known and assists in distinguishing the work of art. However, the identity of the seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded to accommodate a seller’s request for confidentiality or because the identity of prior owners is unknown given the age of the work of art.

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C.I.T.E.S.

Live Auctions

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

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

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

4. The Auction Auction speeds vary, and generally average between 50 and 120 lots per hour. The auctioneer will commence and advance the bidding at levels and in increments he considers appropriate (generally in increments of approximately 10% of the previous bid) and is entitled to place a bid or series of bids on behalf of the seller up to the reserve on the lots, without indicating he is doing so and whether or not other bids are placed. Please note Conditions 5 and 6 of the Conditions of Business for Buyers contain additional information on bidding. Bidding in Person To bid at auction you must register with us to obtain a bidding number. Before the auction, ﬁll in the form at the registration desk, provide proof of identity, and you may be given a paddle showing your bidding number. This paddle should be used for bidding. The auctioneer will note this number when you purchase a lot. 132

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

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

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

CONDITIONS OF BUSINESS FOR BUYERS

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

1. INTRODUCTION

Credit/Debit Card

(i) these Conditions of Business for Buyers;

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

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

Sterling Cheque

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

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

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

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

Collection and Storage

2. DEFINITIONS

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

“Bidder” is any person making, attempting or considering making a bid, including Buyers; 133

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

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

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

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

““Buyer’s Expenses” are any costs or expenses due to Summers Place Auctions Ltd from the Buyer; “Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price or winning sealed bid price at the rates set out in the Guide for Prospective Buyers; “Hammer Price” is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable. 3. EXAMINATION OF LOTS (a) Summers Place Auctions Ltd knowledge of lots is partly dependent on information provided by the Seller and Summers Place Auctions Ltd is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of Summers Place Auctions Ltd opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at Summers Place Auctions Ltd absolute discretion. 4. EXCLUSIONS AND LIMITATIONS OF LIABILITY TO BUYERS (a) Summers Place Auctions Ltd shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of Summers Place Auctions Ltd Authenticity Guarantee. (b) Subject to Condition 4(a), neither Summers Place Auctions Ltd nor the Seller:134

(iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by Summers Place Auctions Ltd in connection with the conduct of auctions or for any matter relating to the sale of any lot. (c) Without prejudice to Condition 4(b), any claim against Summers Place Auctions Ltd and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither Summers Place Auctions Ltd nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of Summers Place Auctions Ltd or the Seller for death or personal injury caused by the negligent acts or omissions of Summers Place Auctions Ltd or the Seller. 5. BIDDING AT AUCTION (a) Summers Place Auctions Ltd has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as Summers Place Auctions Ltd requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case Summers Place Auctions Ltd’s prior and express consent must be obtained). (b) Summers Place Auctions Ltd advises Bidders to attend the auction, but Summers Place Auctions Ltd will endeavour to execute absentee written bids provided that they are, in Summers Place Auctions Ltd’s opinion, received in sufﬁcient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to Summers Place Auctions Ltd’s other commitments; Summers Place Auctions Ltd is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.

6. IMPORT, EXPORT AND COPYRIGHT RESTRICTIONS Summers Place Auctions Ltd and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licenses required by law under the International Trade in Endangered Species (CITES). 7. CONDUCT OF THE AUCTION (a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s) he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business. 8. PAYMENT AND COLLECTION (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment Date”). (b) Title in a lot will not pass to the Buyer until Summers Place Auctions Ltd has received the Purchase Price in cleared funds. Summers Place Auctions Ltd will not release a lot to a Buyer before payment. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 35 working days of the auction. Purchased lots are at the Buyer’s risk from the fall of the hammer. (e) All packing and handling of lots is at the Buyer’s risk. Summers Place Auctions Ltd will not be liable for any acts or omissions of third party removers or shippers.

9. REMEDIES FOR NON-PAYMENT Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, Summers Place Auctions Ltd may in its sole discretion exercise one or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by Summers Place Auctions Ltd against any amounts owed to Summers Place Auctions Ltd by the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above NatWest Bank Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at Summers Place Auction Ltd.’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) Exercise a lien over any Buyer’s Property in Summers Place Auctions Ltd’s possession, applying the sale proceeds to any amounts owed by the Buyer to Summers Place Auctions Ltd. Summers Place Auctions Ltd shall give the Buyer 14 days written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings. 10. FAILURE TO COLLECT PURCHASES (a) If the Buyer pays the Purchase Price but does not collect the lot within 35 days of the auction, the lot will be stored at the Buyer’s expense and risk at Summers Place Auctions Ltd’s premises or in independent storage.

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(b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, Summers Place Auctions Ltd will re-sell the lot by auction or privately, with estimates and reserves at Summers Place Auctions Ltd’s discretion. The sale proceeds, less all Summers Place Auctions Ltd’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction. 11. DATA PROTECTION (a) Summers Place Auctions Ltd will use information supplied by Bidders or otherwise obtained lawfully by Summers Place Auctions Ltd for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i). 12. MISCELLANEOUS (a) All images of lots, catalogue descriptions and all other materials produced by Summers Place Auctions Ltd are the copyright of Summers Place Auctions Ltd. (b) These Conditions of Business are not assignable by any Buyer without Summers Place Auctions Ltd’s prior written consent, but are binding on Bidders’ successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of Summers Place Auctions Ltd.

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Sealed bid- How it works Our sealed bid auctions close at 4.oopm on the day after the live auction, but are on view at the same time and are included in the same catalogue with an illustration, description and estimate. Clients wishing to leave bids should do so in writing or by emailing a signed scanned page detailing lot numbers, brief description and the bid(s) which they wish to leave. All clients should also have registered with us beforehand and provided photographic identification. Sealed bids, when placed by telephone, are accepted only at the the caller’s risk and must be confirmed by letter or e-mail to info@summersplaceauctions.com. You can also e-mail the completed sealed bid form to sealedbids@summersplaceauctions.com Next give us your bid(s). This can be done by filling in the bidding slip found in your catalogue. If you are sending your bidding slip to Summers Place Auctions by post, please mark the envelope “Sealed Bid” so that we know it contains a sealed bid and do not open it accidentally. Bids and IDs may also be sent by e-mail. If you choose to send the bid electronically please email sealedbids@summersplaceauctions.com. This is a closed mailbox and will not be opened before the advertised time. However, we strongly recommend that if you have not viewed the sale in person, that you ask for condition reports on any lots you are thinking of leaving bids on. Sealed bid auctions differ from established auctions in that the bid left is the bid that will be exercised in full. Therefore, if you decide to leave a bid of, say, £900 on the lot estimated at £800-1000 and there is no higher bid (where two identical bids are received, the earliest received bid will take precedence), £900 will secure the lot subject to buyer’s premium and VAT on the premium. We will contact you if you have been the successful bidder to inform you of the lot or lots that you have purchased, so that you can make payment and make arrangements for delivery. We have had many years of experience dealing with both UK carriers and international shippers and are happy to obtain quotations and facilitate transport and shipping of single lots and multiple purchases to anywhere in the world. Bids will be opened on Thursday 27th September; and sales results will appear on the Summers Place Auctions website. Please be mindful that we will have to process a large number of bids, which does take time. However, we will endeavour to get this accomplished as quickly as possible and will expect to have the results of the sale posted by the end of the day. If you have never bid in a sealed bid sale before, here are some things to be aware of as regards leaving bids for this auction: Every lot in the sale has a fixed reserve, (the minimum price for which the lot can be sold) and this is never above the low estimate, it can be slightly below, but in the vast majority of cases it is the low estimate. The highest bid (as long as it is on or above the reserve) will be the winning bid. This is the ‘hammer price’ that the lot will be sold for. You should consider leaving a bid of an odd amount in pounds, for example, rather that bidding £1,000, try say £1,004, as many lots have been bought for the sake of the odd £1! You can tailor your bid in ways that are impossible to do in a live auction. For example, if you really like three lots, but only need one, and the piece you like the most is later in the sale, simply mark your order of preference. As long as your instructions are clear, having looked at any other bids left on the lots, we will do our best to comply with your preferences. In the event of two identically highest bids, the earliest bid received will take precedence. An auction price is made up of different components; the winning bid is called the ‘hammer price’; A commission, which is in addition to the ‘hammer price’ is payable to the auctioneers. This is known as the buyers premium, on which VAT is payable. Lots marked with S are subject to Artist Resale Right (ARR), which is 4% of the “hammer price”. All lots that have additional VAT are clearly marked in the catalogue with a †.

Sealed bid auction Lots 300-574 All sealed bids must be with us, at the latest by 4pm BST on the 26th September since the bids will be opened on the 27th September. 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 our conditions of business.

300 A substantial carved bath stone balustrade 1st half 19th century 104cm high by 1121cm long Provenance: Removed from Witley Court in Worcestershire, England. Witley Court is a Grade 1 listed building and was once one of the great houses of the Midlands, but today it is a spectacular ruin after being devastated by ﬁre in 1937. It was built by Thomas Foley in 1655 on the site

of a former manor house near Great Witley. Subsequent additions were designed by John Nash in the early 19th century and the Court was subsequently bought by the Dudley family in 1837. The site was acquired in 1953 by its current owners, the Wigington Family of Stratfordupon-Avon, for £20,000, and is in the guardianship of the Secretary of State for Culture, Media and Sport, and managed on its behalf by English Heritage since 1984. This balustrade with a run of over 36 feet including spare bases and balusters was removed in the early 20th century. See our website for further images £4000-6000

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

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301 A pair of substantial Georgian style gates 20th century 370cm high by 380cm wide, together with two wrought and cast iron pier crestings, 60cm high by 38cm wide ÂŁ1500-2500

302 A run of 21.6 metres of iron fencing 8 panels 82cm high ÂŁ300-500

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303

304

A pair of composition stone ﬁnials

A pair of wrought iron gates

2nd half 20th century

early 20th century

130cm high overall

183cm high by 150cm wide

£1000-1500

£800-1200 305 A pair of composition stone pineapples 2nd half 20th century 58cm high £350-500 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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306

308

† A large carved sandstone gate pier ball

A wrought iron estate gate

modern

19th century

76cm diameter

146cm high by 270cm long

£300-500

£200-400 307 † A pair of carved sandstone gate pier balls modern

309

30cm diameter

† Two of carved sandstone gate pier balls

£200-400

modern the largest 46cm diameter £300-500

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310

311

A Victorian wrought and cast iron estate gate

A late Victorian wrought iron gate

mid 19th century

160cm high by 108cm wide, together with a quantity of other gates and railings

156cm high by 245cm wide £200-300

£150-250 312 Two wrought iron gates early 20th century

one showing

each gate 127cm high by 165cm wide £200-400 313 † A pair of carved sandstone gate pier balls modern 46cm diameter £300-500

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

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314

316

A pair of composition stone pineapples on associated bases

A pair of terracotta gate pier balls with spike terminals

2nd half 20th century

late 19th century

55cm high

60cm high

ÂŁ250-400

315 A wrought iron balustrade panel 20th century 188cm wide, together with a small carved stone trough and 19th century cast iron planter ÂŁ100-200

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317 A pair of monumental bronze standing lights early 20th century fitted with globes 356cm high Provenance: The Gloria Crest Estate, Englewood, New Jersey, USA Dubbed Gloria Crest and built in 1926 by Count Stefan Poniatowski, heir to the Polish throne, the 24,000-square-foot mansion is rumoured to have later been occupied by Gloria Swanson while it was owned by Lincoln Savings Bank, whose President was Ambassador Joseph Kennedy, father of President John Kennedy, during the two years of his much publicized affair with the Hollywood screen idol, Gloria Swanson. Swanson, who starred in many 1920s silent movies, was nominated for an Academy Award for Best Actress three times, including for her role in 1950 film “Sunset Boulevard.” These monumental lights originally stood outside the mansion flanking the main entrance. Finely cast with classical motifs their design is based on smaller standing bronze lamps discovered in Pompeii during the excavations of 1749 and now in the Naples Museum. £20,000-30,000 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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318 â&#x20AC; A carved limestone and oak pergola 250cm high by 350cm wide by 800cm long ÂŁ8000-12,000

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319 A wooden and corrugated iron shepherds hut late 19th century with metal makers plaque Parker & Co. Alton, Hants, the Dutch stable door with ladder enclosing tongue and groove lined interior with cast iron stove on iron wheels with turn table and hitching iron. 310cm high by 380cm long; (excluding hitching iron) 205cm wide From the Victorian period through to the 1950’s shepherd huts were used extensively on sheep farms throughout the country. The shepherd hut was a kitchen, dining room, bedroom, sitting room and storeroom all

rolled into one. The designs vary but all were constructed to provide the shepherd with practical and durable accommodation. The old huts as in this example, had a stove in one corner for warmth and cooking, and a window on each side so the shepherd could see the flock. A hinged stable door, which was always positioned away from the prevailing wind, enabled him to hear the flock, and strong axles with cast iron wheels were used to withstand the constant movement from field to field. The wrought iron hitching bar on this hut is a very good example of the village blacksmith’s skill in working wrought iron. See our website for additonal images £6000-10,000

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

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320

321

A set of four cast iron bollards

A set of four carved white marble architectural corner pieces

2nd half 19th century 70cm high, together with a set of four cast aluminium ﬂame ﬁnials, mid 20th century, 45cm high £400-600

late 19th century 65cm high £400-600 322 A wrought iron arbour 2nd half 20th century 300cm high by 192cm wide £150-250

146

323 â&#x20AC; A large carved limestone and wrought iron rotunda modern 475cm high by 305cm diameter ÂŁ12,000-18,000

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

147

with the ancestry of Queen Elizabeth II. They were commissioned by the British Ministry of Works from sculptor James Woodford (who was paid the sum of £2,750 for the work). After the coronation ceremony the statues were moved to Hampton Court Palace, the location which originally inspired the creation of the Queen’s Beasts. Woodford had been inspired by a set of ten statues known as the King’s Beasts, which were located on the bridge over the moat leading to the great gatehouse at Hampton Court Palace, and remain there today. They represent the ancestry of King Henry VIII and his third wife Jane Seymour. In 1957 the Queen’s Beasts were moved to St George’s Hall in Windsor, but a year later they were taken into storage until a permanent home for them could be chosen. It was ultimately decided that they would be gifted to one of the Commonwealth governments and Canada was offered the Beasts. They accepted the offer in 1959 and they now stand in the Canadian Museum of History in Quebec. In 1956 a replica set of Beasts were made in Portland stone once again by James Woodford and donated to Kew Gardens where they ﬂank the path leading to the palm house.

324 A rare composition stone ﬁgure of the Lion of Mortimer, one of the Queen’s beasts 2nd half 20th century 120cm high The Queen’s Beasts are ten heraldic plaster statues representing the genealogy of Queen Elizabeth II, depicted as the Royal supporters of England. They stood in front of the temporary western annexe to Westminster Abbey for the Queen’s coronation in 1953. Each of The Queen’s Beasts consists of an heraldic beast supporting a shield bearing a badge or arms of a family associated

148

The White Lion of Mortimer descends to the Queen through Edward IV. The shield shows a white rose encircled by a golden sun, known heraldically as a ‘white rose en soleil’ which is really a combination of two distinct badges. Both of these appear on the Great Seals of Edward IV and Richard III, and were used by George VI when Duke of York. Unlike the Lion of England, this beast is uncrowned. This unrecorded copy made in composition stone, has been hand ﬁnished with chisel dressing marks on the stone, suggesting that it was, if not a one off, one of very few produced. £1200-1800

325

326

A large carved fruitwood relief

A late Victorian stained glass panel depicting a crusader in painted wooden frame

French, 19th century carved in high relief with fruiting grapes, grape baskets, barrels, paniers and ewers on oak shield shaped back plate 190cm high ÂŁ600-1000

158cm high by 176cm wide ÂŁ1000-1500 327 A rare wooden sledge Russian or eastern European, 19th century with leather upholstery and iron mounts, together with horse neck harness 196cm high by 230cm long ÂŁ800-1200

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

149

328

330

331

332

A ship’s aluminium 2 dog circular porthole, salvaged from a 1970’s ship

A ship’s aluminium 4 dog rectangular porthole, salvaged from a 1970’s ship

A desk light constructed from a Bill Radette machine switch

A desk light constructed from a Walsall ﬂame proof light switch

1950’s

now refurbished as a mirror

with associated piping and hand crank spoked wheel, the shade constructed from a steel oxygen cylinder

with associated piping, the shade constructed from a steel oxygen cylinder

now refurbished as a mirror 24cm diameter £200-300 329 A similar ship’s aluminium 2 dog circular porthole 24cm diameter £200-300

150

65cm wide by 52cm high by 10cm deep £250-400

75cm high by 34cm wide £300-400

62cm high by 27cm wide £300-400

333 A sheet metal wood burning stove, designed by Dominique Imbert French, last quarter 20th century fitted with grate and ashtray and makers plaque inscribed Focus and with manufacturer’s details 214cm high by 204cm wide by 64cm deep Dominique Imbert, the creator of Focus, was born in Montpelier in the south of France in 1940. After studying literature in London and Paris, he became, ‘by accident’, as he puts it, an ethnologist in Alaska and an assistant chef in Manhattan, before being awarded a Doctorate in Sociology at the Sorbonne and becoming a history professor in a Paris Lycée. After teaching for four years, he decided he preferred shaping metal to moulding young minds and gave up the blackboard for an anvil and a welding torch. Tucked away in the foothills of the Cévennes, in a medieval village in the Garrigue north of Montpellier, he took up his new calling with ardour: forging, welding and sculpting, heating and shaping metal, producing a wide range of wood burning stoves and fireplaces with an emphasis on stylish design as well as practibility. See www.focus-fireplaces.com/collections for further details. £2500-4000

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334 Two unusually tall limestone staddlestones 100cm high £700-1000 335 A set of four Cotswold stone staddlestones 78cm high £1500-2500

336 A harlequin set of four carved Cotswold stone staddlestones The largest 84cm high £800-1200

337 Two pairs of staddlestone bases the largest 80cm high £200-400

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338

339

340

An unusual Victorian copper and wrought iron pump

A pair of carved granite uprights Indian, 19th/early 20th century

A carved grey marble Salomonic column

1st half 19th century

170cm high

19th century

on wooden back plate

£200-400

176cm high

183cm high

£300-500

£400-600

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

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341

343

A carved Travertine marble frieze plaque

A carved white marble wall sundial

2nd half 19th century

early 20th century

carved with thunderbolts and a caduceus ﬂanked by a run of matching fruited frieze, together with a pair of jambs, plaque 72cm high by 114cm wide

with replaced brass gnomen

£1000-1500

49cm high by 69cm wide, together with a carved limestone grotesque head, mid 19th century, now plumbed for water, 20cm high

342 A cast iron Terrier boot scraper early 20th century 64cm high £250-400

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Provenance: this head was removed from the Houses of Parliament by a stone mason engaged with the restoration work. See our website for image. £200-300

344

345

A bronze and roughly hewn stone semi hemispherical sundial by David Harber

A bronze armillary

140cm high ÂŁ500-800

modern on earlier veined marble column pedestal 210cm high ÂŁ1200-1800

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

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346

348

† A large wrought iron Kadai on stand, modern

A harlequin set of three terracotta rhubarb forcers

165cm diameter together with a pair of benches en suite 150cm wide £1000-1500 347 An unusual aluminium sign mid 20th century 79cm high by 61cm wide £300-500 156

early 20th century one with lid the largest 40cm high £150-250

349

351

A pair of pink granite and marble obelisks

A brass and anodised brass theodolite by Hall Bros No. 3015

19th century

with levelling screws and sight prisms, on associated adjustable wood tripod

66cm high £200-300

the scope 28cm long 350

£100-200

A pair of pink granite and marble obelisks 19th century

352

66cm high

A unique Robert Stubbs wood and composition Tudor style dolls house

£150-250

with numerous ﬁttings and furniture including some silver pieces 84cm high by 92cm wide by 61cm deep £800-1200 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

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353

357 354 A model twin cylinder steam engine Stuart “Score” ¾ins diameter by ¾ins stroke, 16cm wide £200-300 356 355 A horizontal model mill engine Stuart “No 9” with governor and feed pump 1½ins diameter by 1½ins stroke in associated glass case, 40cm wide 354

£200-300 353 A large exhibition standard scale model beam engine based on a Stuart design

355

158

356 A model steam engine Stuart “Half Beam” 1ins diameter by 2ins stroke, 32cm wide

with fulcrum beam, 2¾ins diameter piston x 5ins stroke and 18½ins ﬂy wheel, with many aluminium castings

£400-600

68cm high by 86cm wide

A steam boiler based on a Stuart “501”

£1000-1500

with safety valve manual feed pump etc.

357

£100-150

358 A very large wooden bowl, probably sycamore Welsh, 19th century or earlier, 62cm £200-400 359 A carved hardwood bed early 20th century Bamileke People, Cameroon, legs missing 220cm long The Bamileke People are famed for their intricately carved furniture, usually carved out of one piece of wood. £300-500 360 A rhinoceros skin walking cane Southern African, 94cm long £80-120 362 361

A wooden animal head

A small blond bearded mask

West African

36cm

mounted with embossed copper decoration and hung with cowrie shells and glass beads

£50-80

166cm high £200-300

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

159

363

365

364

366

367

363

364

366

A marble gravestone turban ﬁnial

A similar marble gravestone turban ﬁnial

Ottoman, 19th century or earlier Turbans were such an essential part of the Ottoman costume that they came to represent the wearer even in death. Outdoor tombs were surmounted by carved turbans, giving them an almost human presence. Particular details in the carving would provide an insight into the lives of the deceased. The appearance of the rose within the material folds, for example, might suggest afﬁliation with the Qadriyyah order of Dervishes. Turbans of the orﬁ type such as some of these were worn by members of the religious elite. For further information and diagrams of Ottoman tombstones, see Frederic Hitzel, L’Empire Ottoman XVe XVIIIe siecles, Paris, 2002, pp. 142-45. £200-300

160

£200-300

£200-300 367 365 A similar marble gravestone turban ﬁnial £200-300

A similar marble gravestone turban ﬁnial £200-300

368

369

A terracotta dog of Fo

A Japanese bronze crane

Chinese, mid 20th century

Meiji Period (1868-1912)

60cm high

93cm high

£200-300

£600-1000 370 An unusual half Coco de Mer hanging lamp early 20th century 30cm wide £100-200

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161

371 A painted Passe-Boule game board of a man in a smoking cap

examples are on view in the Musee des Arts Forains, Paris £200-400

373 A painted Passe-Boule game board of a soldier modern

modern 86cm high by 43cm wide

372

90cm high by 43cm wide

Passe-boule (ball-toss) was a very popular fairground game in France from the 19th century onwards. These recent creations by the leading fairground artist, John Dupret, in hand painted antique reclaimed wood feature typical characters of the time. His work can be seen in the Musem de musique Mechanique in Lesgets, whilst original

A painted Passe-Boule game board of a playing card queen

£200-400

162

modern 87cm high by 43cm wide £200-400

374

375

376

A painted Passe-Boule game board of a Dandy

A painted Passe-Boule game board of a Clown

A painted Passe-Boule game board of a Pirate

modern

87cm high by 32cm wide

85cm high by 32cm wide

87cm high by 32cm wide

£200-400

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163

377 The Pierrepoint Collection A collection of highly important crime memorabilia relating to Albert Pierrepoint, the last hangman in England, together with his father Henry comprising; plaster casts of Pierrepoint’s face and both hands. The plaster casts have preserved an incredible level of detail whereby each facet of his countenance, each pore and wrinkle, are immortalised. Henry Pierrepoint’s execution book, 6.75in by 4.5in, include personal details of those hanged from 1 November 1901 to 14 July 1910. The prisoner’s name, age, height, weight and drop are documented. The sites of the executions, along with remarks, are also recorded. Remarks detailed the physical frame of the prisoners and calibre of their necks, for example: “very heavy body, ordinary neck; wirey, very thin neck; strong neck, little ﬂabby”.

164

Albert Pierrepoint’s large execution ledger, 6in by 9.5in, is leather bound and embossed with his name, “A. Pierrepoint”. Like his father’s execution log, personal details are included, with some additional notes of some prisoners, such as: “the German, Dutch and Belgium spies; French Canadian; Jew; USA Negro; IRA; Cypriot; German POW; British Soldier,” etc. From 29 December 1932 to 27 July 1955, hundreds of names are recorded. Among them, some notable names are listed, including Lord Haw-Haw, Ruth Ellis, Mahmood Hussein Mattan, Elizabeth Volkenrath and F. E. Hensmann. Also included is a delicate amber and ivory cigar holder which is in very good condition and measures 3.2in in length. It comes with its original leather, silver velvetlined, case, 3.5in long, which has some age marks to its exterior clasp. The item belonged to Henry A. Pierrepoint, Albert’s father and British hangman. A silver watch chain worn by Albert, his father and his uncle (also a hangman), at hundreds of executions

between 1900 and 1956 is also included. It measures 17in in length, including the silver bar. Documents and photographs relating to Pierrepoint’s term as executioner include: the “Memorandum of Conditions to which any Person acting as Executioner is required to conform”; a letter from the War Ofﬁce; and photographs of the Pierrepoint men, Robert Fabian (Fabian of the Yard), John Ellis and JRH Robertson. The letter of thanks from the War Ofﬁce refers to the case of Golby, Hensmann and Smith, three men who, in 1950, were charged with murdering an Egyptian nightwatchman. Only Hensmann pulled the trigger, but all three were sentenced to death. The letter, 8in by 6.5in, written by Lieut-Colonel JRH Robertson, R.E. Assistant Adjutant General, reads: “Dear Mr Pierrepoint, I wish to convey my sincere thanks for your willing co-operation in the case of Hensmann, Smith and Golby. I hope you were well looked after in HELF and led (apart from business) an enjoyable trip”.

No witnesses appeared in their two-day trial. No appeals were allowed and a plea to King George for clemency was ignored. This treatment greatly affected the troops serving in the Suez and they rioted. The executions took place in a secluded area in the desert, away from the hyped media attention. A note on the last recorded hangings betrays the awareness that the last ever execution would be of great signiﬁcance. Rather than have one man stand as the last executioner, two hangings took place at the same time and date, so that the legacy would be split in two, perhaps to divide its potency. Provenance: Christies, South Kensington 29th May 1992, The Forman Archive of Crime and Punishment, including the Albert Pierrepoint Collection. PFC Auctions, 12th December St Peter Port, Guernsey. £20,000-30,000

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165

378 A rounded rectangular carved sandstone trough 40cm high by 236cm long by 70cm deep £1000-1500 379 A rounded rectangular carved sandstone trough 46cm high by 186cm long by 65cm deep £800-1200

380 A rounded rectangular carved sandstone trough 46cm high by 112cm long by 74cm deep

Lot 380

£300-500

Lot 383

166

381 A monumental oval composition stone trough French, mid 20th century 101cm high by 240cm long by 163cm deep £2000-3000 382 † A carved stone trough 90cm high by 155cm long by 88cm deep £800-1200

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

167

Lot 380

Lot 383 383

385

A rounded rectangular carved sandstone trough

A carved stone irregular oval shaped trough

40cm high by 55cm long by 81cm deep

33cm high by 110cm long by 70cm deep, together with a Victorian cast iron roller

£150-250 384 † A carved stone wellhead with sectional base and wrought iron overthrow 225cm high £1200-1800

168

£150-250

386 A carved stone wellhead with associated top French 18th/19th century 96cm high by 122cm diameter ÂŁ1000-1500

387 â&#x20AC; A pair of substantial sandstone cylindrical wellhead/planters modern 75cm high by 90cm diameter ÂŁ600-1000

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

169

388

390

A copper container

A set of three composition stone swan planters

late 19th century 60cm high, together with another copper vessel, 19th century, 85cm diameter

2nd half 20th century 56cm diameter £400-600

£500-800 391 389 A pair of composition stone bird baths on stands 2nd half 20th century indistinctly signed 85cm diameter £300-500

170

A carved Cotswold stone bird bath early 20th century 70cm high by 60cm square £400-600

392

394

A lead birdbath in the form of a boy holding aloft a replaced dish

A Georgian style circular lead planter

mid 20th century

60cm high by 62cm diameter

on composition stone base

£400-600

126cm high £500-800

395 A pair of cast iron urns

393

2nd half 19th century

A carved granite bird bath

45cm high, together with another pair of cast iron urns on pedestals, 68cm high

early 20th century 75cm high £200-300

£400-600

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

171

397 A pair of rare Victorian cast and wrought iron planters late 19th century 63cm high ÂŁ300-500

396

398

A monumental cast iron urn on pedestal 2nd half 20th century

An unusual bronze planter in the form of a capital

240cm high by 170cm diameter

20th century

ÂŁ800-1200

54cm high ÂŁ400-600

172

399

400

A pair of bronze urns, after a model by Claude Ballin 2nd half 20th century

An extremely rare carved Bath stone urn on helix pierced and carved pedestal

95cm high

circa 1840

ÂŁ800-1200

234cm high ÂŁ4000-6000

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

173

401 A pair of carved stone planters, mid 20th century with lug handles (two handles missing) 62cm high £500-800 402 † A set of four carved stone urns, modern 68cm high £1000-1500 403 A pair of carved marble urns 19th century 73cm high £300-500

174

404

405

† A set of six carved sandstone urns

† A similar set of sandstone urns

modern

68cm high by 57cm diameter

£2500-4000

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

175

406 † A pair of carved stone urns on pedestals after a design by William Kent modern 255cm high £4000-6000 407 A pair of terracotta planters late 20th century 50cm square £200-400 408 A ﬁreclay planter in the form of a tree trunk probably Scottish, late 19th century 70cm high £250-400

176

409 A carved limestone seat 1st half 20th century 173cm wide ÂŁ1200-1800

410 A carved limestone curved bench modern 240cm long ÂŁ800-1200

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

177

411 A marble table on carved limestone supports modern 235cm high by 104cm wide ÂŁ1500-2500

412 A carved granite table 20th century 120cm long, together with two benches en suite, 120cm long ÂŁ800-1200

178

413

415

A carved white marble seat

A pair of wrought iron seats

Indian, late 19th/early 20th century

2nd half 20th century

repairs and lacking back

£300-500

112cm wide

157cm long £300-500

416

414

A suite of child’s hardwood furniture

A suite of cast iron fern pattern furniture American, 2nd half 19th century comprising seat 130cm wide and two chairs.

2nd half 20th century comprising seat, 90cm long and two chairs, together with a pair of folding deck chairs £250-400

£300-500

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

179

417

418

A carved oak seat modern

A primitive wooden chair of small proportions

200cm long

probably Welsh, 19th century

£800-1200

64cm high £300-500 419 A kidney shaped free standing Tiki bar with two stools French, 1940’s constructed from bamboo and timber shelving with original laminated bar top and vinyl upholstery 107cm high by 135cm wide by 55cm deep The history of the Tiki Bar can be traced back to 1934 when Texas born Earnest Raymond Beaumont Gnatt also known as Don the Beachcomber opened the works ﬁrst Tiki bar in Los Angeles. He wanted to emulate the laid-back time he had experienced in the tropics. People including celebrities of the day ﬂocked to the bar for its escapist ambiance and potent tasty rum cocktails. £1000-1500

180

420 An unusual wrought iron rocking chair late 19th century £300-500 421 A suite of cast iron furniture French, early 20th century £250-400 422 A pair of cast iron seats with serpent supports 20th century 120cm wide Literature: Georg Himmelheber, Cast Iron Furniture, plate 97 page 79 £800-1200 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

181

423 A Coalbrookdale Lily of the Valley pattern cast iron seat late 19th century fully stamped CBDale and Co and with registration number and pattern number 186cm long (See engraving) This design, number 171578 was registered and patented at the Public Records OfďŹ ce on the 8th February 1864 by Coalbrookdale and was seat number 36 in their castings catalogue of 1875 ÂŁ2500-4000

182

424 A Coalbrookdale Lily of the Valley pattern cast iron seat circa 1870 fully stamped CBDale & Co. and with diamond registration stamp, registration number and pattern no. 36 154cm long This design, number 171578 was registered and patented at the Public Records OfďŹ ce on the 8th February 1864 by Coalbrookdale and was seat number 36 in their castings catalogue of 1875 ÂŁ3500-5000

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

183

425 A Coalbrookdale Nasturtium pattern cast iron seat circa 1870 fully stamped Coalbrookdale and with diamond registration stamp and number. 184cm long This design, number 1958629 was registered and patented at the Public Records OfďŹ ce by Coalbrookdale on the 1st of March 1866 and is seat number 44 in their 1875 catalogue of castings. ÂŁ3000-5000

184

426 A Coalbrookdale Nasturtium pattern cast iron seat circa 1870 stamped CBDale & Co and with indistinct registration number and diamond registration stamp 180cm long (See engraving) ÂŁ1500-2500

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

185

428 A Eucalyptus chair by Adam Birch 100cm high 429

428

Adam Birch grew up on a large farm outside Cape Town, South Africa and his love of trees began as a child, playing in the forests. He studied at the University of Stellenbosch, achieving a Bachelors degree in Fine Arts in 2000, majoring in Applied Graphics, but always dreaming of becoming a full time sculptor. After his studies, he became a tree surgeon, and began to work in his spare time with pieces from the dead trees he was cutting down, transforming them into innovative sculpted furniture. After his ﬁrst exhibition in Kalk Bay in 2006, he began to receive private commissions. His work has been on sale at Anthropologie in New York and London and can be seen at 5 star game lodges throughout Southern Africa.

430

427 A Madagascan fossil wood table top on metal base

After three years of studying timber construction in London, Adam returned to Cape Town in 2015 to work full time with wood. £400-600

60cm square £400-600

429 A hardwood chair by Adam Birch 96cm high £400-600 430 A cherry wood chair by Adam Birch 110cm high £300-500

186

431 A sodalite veneered low table on gilt metal base 20th century 148cm wide ÂŁ500-800

432 A studio workshop made fumed oak and maple coffee table late quarter 20th century 141cm long ÂŁ500-800

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

187

433 A rare papier mâché stallion French, late 19th century on wooden base with enamel makers plaque inscribed Cheval Granduer Naturelle Ch. Sharpentier, Paris 147cm high £3000-5000

434 A composition stone reclining deer modern with lead antlers 70cm high by 95cm long £400-600 435 A carved marble swan 20th century 62cm high £300-500

188

436 A bronze model of the Ufﬁzi boar circa 1990 signed Fuse Ferdinando Marinelli Firenze 128cm high, the base 162cm by 190cm Known variously as the Florentine Wild Boar and Il Porcellino (Little Piglet), this full size lost wax cast bronze fountain by the Florentine foundry Ferdinando Marinelli is a replica of the original. He was commissioned by Ferdinando II de Medici from Giambologna’s one-time assistant Pietro Tacca (1577-1640). The model being

based on the Antique, the animal plant and insect strewn base is pure Renaissance invention and forms a pool for the water to collect from the boar’s mouth. His nose, like the foot of the statue of St Peter’s in Rome, is worn smooth by the many hands stroking for good luck. Originally intended for the Boboli Gardens, another replica by the same foundry resides in the Mercato Nuovo, with the original now removed to the Ufﬁzi Museum. £18,000-25,000

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

189

437 An unusual large carved oak bear mid 20th century 255cm high ÂŁ3000-5000 438 A composition stone bust of a Roman Emperor on pedestal 2nd half 20th century 170cm high ÂŁ700-1000

190

439 A carved limestone head of a girl mid 20th century 46cm high £100-200

440

441

After Michelangelo: A composition stone ﬁgure of David

A composition stone ﬁgure of Diana on pedestal

2nd half 20th century

174cm high

169cm high

£400-600

2nd half 20th century

£300-500

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

191

442 A set of six sheet metal reindeer modern 70cm high £1000-1500 443 A bronze fountain figure on composition stone base late 20th century plumbed for water 220cm high £1200-1800 444 Ludwig Vierthaler (1875-1967): A bronze female nude figure German, early 20th century signed L Vierthaler weathered green patination with traces of gilding to the hair 143cm high Ludwig Vierthaler first came to prominence around 1906 as a metalwork designer in Munich and for a brief time worked in New York for Tiffany & Company £1000-1500 192

445 A carved white marble cherub Northern European, late 17th/early 18th century 60cm high by 106cm long ÂŁ600-1000

446 A pair of lead putti on composition stone balls last quarter 20th century 90cm high ÂŁ1800-2500

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

193

447 S Hubert Yencesse Bronze torso of a man 1900-1987 Signed Hubert Yencesse and bearing the stamp Alexis Rudier, Fondeur, Paris, 70cm high In 1919, Hubert Yencesse entered the School of Fine Arts in Dijon, where his father taught, the medallist Ovide Yencesse. He exhibited for the ﬁrst time at the Salon d’Automne in 1921 and received the Blumenthal Prize in 1934. After meeting Aristide Maillol, he collaborated him until 1936. He exhibited in Paris at the Petit Palais in 1935, at the Salon des Tuileries and participated in exhibitions of French sculpture in Amsterdam and Brussels. In 1972, the Musée Rodin in Paris devoted a retrospective exhibition to him. He was received as a member of the Institute on March 20, 1974, at the headquarters of Henri Navarre in the sculpture section of the Academy of Fine Arts. He was the father of the sculptor Dodie Yencesse, and the brother of the sculptor Jacques Yencesse. His wife Cécile died in 1999. £2500-4000

194

448 A bronze ﬁgure of a Neapolitan ﬁsher boy holding a crab 2nd half 20th century 117cm high £1000-1500

449 S† After Guy Taplin Curlew bronze 60cm high by 73cm long £2000-3000

450 S† After Guy Taplin Barn Owl bronze 28cm high by 38cm long £1200-1800

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

195

451 S† After Guy Taplin Pintail bronze 28cm high by 50cm long £1500-2500 452 S† After Guy Taplin Moorhen bronze 10cm high by 18cm long £800-1200

196

453

454

Rupert Merton

Bear Sculpture

Hippopotamus Head

Bronze

75cm high by 67cm wide by 36cm deep

18cm high by 41cm wide by 28cm deep

£500-800

£1200-1800 455 Mike Wood Siberian Falcon Hand carved wood sculpture with glass eye Unique 39cm high by 49cm wide by 32cm deep £600-1000

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

197

456 S Christian Maas Bronze bull Signed Christian Maas and with foundry stamp 43cm high by 76cm long Christian Maas is a contemporary French sculptor who has been sculpting since the late 1980s. He has been awarded the ‘Médaille d’or de l’Académie des Arts’ and the ‘Chevalier de l’Ordre International des Arts’ for his unique and accomplished works of art. £2000-3000

457 Baby Elephant Bronze 52cm high by 93cm wide by 39cm deep £1200-1800

198

458 John Cox, 1941-2015 White Rhinoceros Sculpture Bronze 270cm long ÂŁ20,000-30,000

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

199

459

460

John Cox, 1941-2015

Flight of Ducks (Water Fountain)

Sailﬁsh Sculpture

Bronze Sculpture

Last quarter of the 20th century

127cm high by 100cm wide by 82cm deep

Variegated green-brown patination

£2000-3000

242cm high £3000-4000

200

461 John Cox, 1941-2015 Laying Hare Bronze Foundry stamped 36cm high by 75cm wide ÂŁ600-800

462 Crocodile last quarter 20th century mid green-brown variegated patination 178cm long ÂŁ1200-1800

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

201

463 John Cox, 1941-2015 Circle of Dolphins, Water Feature 200cm high by 220cm wide by 87cm deep Â£6000-8000

202

464 Maria Bayardo Bulls Corten Steel Sculpture Unique 1.86m by 4.50m by 2.40m ÂŁ50,000-70,000

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

203

465

466

Giraffe

Pierre Diamontopolo

Opal Stone Sculpture

Five Flamingos

Unique

Powder coated steel sculpture

Signed

225cm high

92cm high by 53cm wide by 39cm deep

£4000-6000

£3000-5000

204

467

468

A sheet metal Wildebeest modern

A similar sheet metal Wildebeest

104cm high by 210cm long

104cm high by 220cm long

£1000-1500

469

470

Tony Ladd

Wading Birds

Leaping Hare

Sheet metal on wooden base

95cm high

53cm high

£300-500

£200-400

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

205

472 Artwell Chipiri Big Lady Fruit Serpentine Sculpture Unique 36cm high 471 Tinei Mashaya, Born 1978 Unite, Springstone Signed, Unique 190cm high by 80cm wide by 45cm deep £6000-8000

206

£600-800

473 Erli Fantini, Born 1944, Brazil The Window Bronze Signed 70cm high by 70cm wide ÂŁ1000-1500 474 S Ernest Shone-Jones A carved white marble group of Adam and Eve signed E. Shone-Jones ARBS 1953 on stone pedestal the marble 137cm high ÂŁ2000-3000

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

207

475 Yuelong Shi Emerging II Marble 109cm high by 115cm wide by 62cms deep Â£4000-6000

208

476 S Philip Jackson Mr Bennet’s daughter Bronze Signed Jackson and numbered 4/8 53cm high Philip Henry Christopher Jackson CVO born 18 April 1944 is an award-winning Scottish sculptor, noted for his modern style and emphasis on form. Acting as Royal Sculptor to Queen Elizabeth II his sculptures appear in numerous UK cities, as well as Argentina and Switzerland. Many of Philip Jackson’s subjects are often elongated figures with an emphasis on the headware which is often exaggerated. In this figure of Mrs Bennett’s daughter, taken from Jane Austen’s Pride and Prejudice, he has typically attenuated the young lady’s body and simplified and expanded her Victorian bonnet. This edition is now sold out from Philip Jackson’s studio. £2000-3000

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

209

477

478

479

A composition stone monk on pedestal with lead mounts

R. Schiwanthala

A carved alabaster bust of a young girl in a hooded cape

modern with detachable head housing a bird’s nesting box 156cm high by 35cm wide by 25cm deep £800-1200

210

A marble bust 19th century Signed 56cm high by 40cm wide by 28cm deep £600-1000

19th century raised on a socle base Unique 61cm high by 29cm wide by 36cm deep £800-1200

480

482

Guido Deleu

John Crampin

The Visitor, Ceramic Sculpture

Wave

76cm high

Kilkenny Limestone Sculpture

£600-800 481

65cm high by 13cm wide by 10cm deep £1200-1800

Emmanuel Homage to Hepworth Opal stone sculpture on springstone base, Unique 60cm high £800-1200 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

211

483 Martyn Barratt ARBS, Born 1965 Glass Sculpture Signed 123cm high by 114cm wide by 32cm deep Barratt studied wood and stone carving and gilding at London Art School, and an MA in architecture at East London University. His work explores the forms found in fossils, seeds and shells, and he is inspired by the presence and recurrence of these forms in all areas of the natural world – in the movements of smoke, ﬂocks of birds, shoals of ﬁsh, the unfurling of a fern or a ram’s horn. 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. 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. £8000-10,000

212

484 Martyn Barratt, Born 1965 Fossil Glass Signed 41cm high by 50cm wide by 16cm deep ÂŁ800-1200

485 Martyn Barratt, Born 1965 Glass Sculpture 94cm high by 82cm wide by 35cm deep ÂŁ4000-6000

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

213

486

487

A stone and glass sculpture

Adam Williams

on stone base

Janus

155cm high overall by 59cm wide

Bronzed iron sculpture, 176cm high

ÂŁ1000-2000

ÂŁ1800-2500

214

488 Richard Cresswell SpitďŹ re MKII Mirror Polished Stainless Steel Signed, 1 of 9 325cm high by 250cm wide by 37.5cm deep ÂŁ20,000-30,000

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

215

489

491

Room Divider

† Inﬁnity Curve

Teak

Stainless steel on marble plinth

235cm high by 122cm wide by 26cm deep £600-800

490 A root wood console table 85cm high by 200cm wide by 50cm deep £300-500

216

54cm high £600-1000

492 Root Table with glass top and two chairs Teak and Glass Table 79cm high by 130cm diameter, each chair 114cm high by 115cm wide by 62cm deep ÂŁ800-1200

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

217

493

494

Hutchings of Aberystwyth: A cased buzzard

A display of three hummingbirds and an orchid in oval glass dome wall case

circa 1900 86cm high by 92cm wide

Continental, circa 1900 72cm high by 62cm wide

The family ﬁrm of Hutchings who operated between 1860-1940 were well regarded.

£300-500

£500-600

Hutchinson of Derby: A Victorian case of game birds

495

104cm high by 62cm wide (one glass side broken) £300-500

218

496 A stuffed hornbill under glass dome circa 1900 60cm high ÂŁ500-600 497 A group of humming birds under glass dome late 19th century 44cm high ÂŁ1200-1500

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

219

498

500

A dome of mixed British birds including a night jar etc

A king bird of paradise in case

58cm high

52cm high

£300-500

£800-1000

499 A fine decorative firescreen with foliage, butterflies and humming birds circa 1900, 88cm high £400-600

220

501 A Channel Billed toucan in glass case 20th century 47cm high by 41cm wide £400-600

502

503

A pair of antelope horn gub racks

An unusual Caribou head and hoof mount on wooden shield

early 20th century

1st half 20th century

81cm high

150cm high

£300-500

£400-600

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

221

504 An early full mount wild boar on wooden carriage with inscribed brass plaque with details and date 1897 170cm overall £400-600 505 A moose trophy on wooden oval wall plate early 20th century damages 96cm across the antlers £200-400 506 A large bow fronted case of four Rainbow trout dated 1992 and with details of capture, the largest 17lb 10oz 86cm high by 166cm wide by 26cm deep £200-400

222

507

508

A full mount 6 point roebuck

A lesser ﬂamingo full mount

mid 20th century

recent

100cm high

75cm high

£250-400

£600-800

509 A Coco de Mer basket Seychelles, circa 1900 26cm £200-300

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

223

510

512

A Blue wildebeest head mount

A very large Springbok head mount

20th century

79cm deep

84cm high

£500-800

£300-500

511 A Gemsbok head mount

513

20th century

A Red hartebeest head mount

133cm high

20th century

£500-800

103cm high £500-800

224

514 A large crocodile head mount on wooden shield circa 1930’s 76cm deep £1500-2500

515 A kudu head mount 20th century 169cm high £600-1000

516 A Blesbok head mount 20th century 76cm high £400-600

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

225

517 A zebra skin rug 20th century £500-800

518 A zebra head shield mount mid 20th century 90cm high by 69cm deep £400-600

519 A large Cape buffalo skull mounted on a carved shield early 20th century 70cm high by 89cm wide £400-600

226

520 A pair of full mount Black backed jackals 20th century 98cm wide ÂŁ500-800 521 An Oribi antelope full mount 20th century 83cm high ÂŁ400-600

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

227

522

523

522

523

524

A collection of sea urchin spines under glass dome

A collection of fungid corals under a glass dome

A collection of various ﬁsh jaws under a glass dome

together with a collection of shark vertebrae under glass dome, 21cm high and a glass ball covered in nassarid shells

50cm high

55cm high

£300-500

£600-800

£250-400

228

524

525 A Mammoth tooth in case Siberia, Pleistocene, Ice Age, 33cm high overall ÂŁ400-600 526 Sixteen spinosauras teeth Morocco, Jurassic, the largest 10cm ÂŁ80-120 527 A memento mori carved from a whalebone with marine ivory teeth early 20th century 10cm high ÂŁ400-600 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

229

530 A Crinoid (Sea Lily) plaque Holzmaden, Germany, Jurassic 41cm high by 24cm wide The fossil locality at Holzmaden in Germany is celebrated for specimens that show beautiful preservation. The rocks they come from are lower Jurassic in age (approximately 180 million years old). Fossils of many kinds of creatures are found at Holzmaden but Crinoids (sea lilies) and ichthyosaurs are among the most sought-after and are perhaps the most desired by collectors. £200-300 528 A Crinoid (Sea Lily) plaque Holzmaden, Germany, Jurassic 57cm high by 33cm wide £400-600 529 A large Mioplosus Green River, Wyoming, Eocene framed 58cm high by 73cm wide specimen 42cm wide £200-300

230

531

532

A Glossopteris fossil leaf plaque

A fossil wood slice

Australian

60cm

50cm wide, together with a Moroccan ammonite on oak base, Devonian, and two pairs of polished Lytoceras ammonites, Madagascan, on stands

£300-500

£200-400

Indonesia, Triassic

533 A fossil wood slice Indonesia, Triassic 59cm £300-500 534 A fossil wood slice Indonesia, Triassic 43cm £300-500

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

231

536 An unusually pyritized Cenoceras Nautilus Madagascan, Carnian to Callovian Age 228-116 million years ago, on bronze stand 19cm high overall 535 An ammonite Morocco, Cretaceous on limestone base 56cm high overall ÂŁ1800-2500

Both the Ammonites and Nautili evolved from cephalopod beginnings in the Cambrian period. The Ammonoid group eventually dominating the prehistoric marine environment being free swimmers above the seabed, before the arrival of vertebrate ďŹ shes to the marine scene. Nautiloids were later in the Cretaceous period. The mass Cretaceous extinction, the KT boundary event, which is the marker for the extinction of dinosaurs and many other life forms gave the tenacious Nautili a chance to regain a secure foothold under the oceans as the only surviving Ammonoid. ÂŁ500-800

232

537

538

539

A group of three Mantelloceras ammonites

A goniatite

Morocco, Jurassic

on bronze base

on bronze stands

37cm high

the largest 19cm overall

£1200-1800

Morocco, Devonian

£400-600

A small ammonite, Douvilleiceras Mammillatum described by Grossouvre, 1894 Mitsinjo, Mahajanga, Madagascar, Albian stage 113 - 100 m.y.a., on bronze stand 21cm high overall Marie Félix Albert Durand de Grossouvre 18491932, Bourges was a French geologist, best known for his research in the fields of stratigraphy and paleontology. He studied at the École Polytechnique and the École des Mines de Paris, and afterwards worked as a mining engineer in his hometown of Bourges. In 1889 he attained the post of chief mining engineer. He conducted stratigraphic investigations throughout France, and in the process, uncovered numerous fossils, most notably ammonites. In 1878 he was one of the founders of the Société Scientifique, Historique et Archéologique de la Corrèze. He was an officer of the Légion d’Honneur, and in 1913 became a correspondent member of the Académie des Sciences Mineralogy section. £400-600 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

233

540

542

An ammonite

Two Drotops trilobites

Morocco, Cretaceous

Morocco, Devonian

on bronze base

on bronze stand

38cm high

the largest specimen 14cm

£600-800

£400-600

541 A petriﬁed wood slice with iron oxide mineralisation Indonesia, Triassic 57cm £120-180

234

543

544

A pecten plaque

A ﬁne fossilised Chlamys lattissima sp. pecten clam shell

France, Miocene on bronze base 29cm high overall Lacoste quarries near Marseilles, Bollene, Vaucluse department Provence-Alpes-Côte d’Azur, Southern France (more commonly known in France as ‘Coquille St. Jacques’), Cenozoic Era, Miocene Period; Burdigalian/Aquitanian Stages, around 23 to 15 m.y.a.

21cm high £800-1200 545 Two Cleoniceras ammonites on matrix Madagascar, Cretaceous 60cm wide £700-900

£500-800 For details of our buyers premium which is added onto the hammer price together with any other applicable charges please refer to our guide for prospective buyers

235

546

548

546

548

A large Drotops Trilobite plaque

A Crinoid plaque

Morocco 69cm £300-500 547

547 A starﬁsh plaque Morocco together with a polished goneatite the plaque 32cm £200-300

236

Morocco 59cm £300-500

550

549

550

Two positive negative Trilobites together with another

A collection of seven Trilobites including Drotops and Selenopeltis

Morocco

Morocco, various ages

the largest 21cm

the largest specimen 15cm

£250-400

£300-500

551

551 A collection of Trilobites including two ‘doubles’ Morocco the largest specimen 20cm long £250-400

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

237

553

555

A petriﬁed wood slice with carbon/manganese oxide mineralisation Indonesia, Triassic

A petriﬁed wood slice with iron and manganese mineralisation

44cm

Indonesia, Triassic

£120-180

37cm £120-180

554 A petriﬁed wood slice with iron and manganese oxide mineralisation Indonesia, Triassic 41cm £120-180

238

556

557

558

A carved stone ﬁgure

A Neolithic tool

Neolithic

Central Saharan

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

damages

on bronze stand

14cm high

25cm

£600-1000

from the Ténéré Central Sahara desert, Southern Algeria, Mali and Niger borders, Africa on bronze stand overall 37cm high This Acheulian hand axe is made of granular quartzite, the axe now honed to a ﬁne prehistoric desert varnish, the term varnish refers to the surface which has attained, through the aeons, a good and natural desert weathering. £600-1000

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

239

559 560

561

559

562

A malachite box Congo

A Chrysanthemum stone on wooden base

15cm wide

35cm overall

£250-500

£400-600

560

563

A malachite box Congo

A quartz and pyrite mineral specimen on chrome stand

15cm wide

Peru

£250-500

30cm wide £250-400

561 A malachite box Congo 15cm wide £250-500

240

564 A pair of lapis lazuli veneered vases 31cm high ÂŁ400-600 565 A pair of lapis lazuli veneered vases ÂŁ400-600 566 A lapis lazuli veneered bowl 36cm diameter ÂŁ800-1200

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

241

569 A ruby in fuchite freeform India 22cm high 8.2kg £450-800

567

568

A lapis lazuli freeform of partial Madani quality 24cm, 4.8kg

A quartz bowl with a collection of polished agate specimens

£2000-3000

33cm wide £600-800

242

570 An Agate bowl Madagascar 19cm wide £300-500

571 A banded onyx bowl 28cm £200-400

572 A banded onyx bowl 30cm £200-400

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

243

573

574

A quartz slice on metal stand

A lapis lazuli freeform

58cm high

ÂŁ3000-5000

ÂŁ500-800

244

82cm high, 48.4kg

✂

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode SALE NUMBER

GS077

SALE DATE GARDEN, DESIGN & NATURAL HISTORY 25th September, 2018

Tel

Mobile

Fax

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

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

Lot No.

Lot Description

Maximum Sterling price (excluding premium & VAT)

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

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

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

TELEPHONE NUMBER DURING THE SALE

(tel. bids only)

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

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

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

ONLY)

LAST DIGIT OF SECURITY CODE

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

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

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

246

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 post or e-mail up to 24th Sept2018 The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331

✂

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode

SALE NUMBER GEO78 BIDS MUST BE RECEIVED BY 26th Sep., 2018, 4PM BST

Tel

Mobile

Fax

SEALED BIDDING FORM

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

Lot No.

Lot Description

Sealed bid Sterling price (excluding premium & VAT)

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

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

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

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

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

ONLY)

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

GUIDE FOR ABSENTEE BIDDERS FOR SEALED BID AUCTION

SEALED BID AUCTION LOTS 300-574 All sealed bids must be with us, at the latest, by 26th Sept, 4.00pm BST since the bids will be opened on the 27th Sept.. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. Sealed bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or e-mail to the Bid Department. Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods. All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue. We reserve the right to seek identification of the source of funds received. In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies’ services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as “sensitive”, they agree that Summers

248

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

Please mail up to 26th Sept, 2018 4.00pm BST. The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB. For Bids only: Tel. +44 (0)1403 331 331 Email sealedbids@summersplaceauctions.com

Please note due to road closures we are viewing this sale on Saturday 22nd of September. 2019 calendar of sales March, closing for entries mid January June, closing for entries mid April September, closing for entires mid July November, closing for entries mid September

Our next sale is the Sixth Evolution sale taking place on November 20th

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

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

Please note due to road closures we are viewing on the Saturday before the sale.

25th/26th Sept., 2018 Garden, Natural History & Tribal Auction

Articles inside

The John Robinson Collection of Sculpture (25th Sept 2018 auction)

Tribal Art