Summers Place Auction 23/24th June 2015 catalogue by Summers Place Auctions

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Garden & Natural History 23 & 24 June 2015

Summers Place Auctions Ltd

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Garden & Natural History Live Auction

SPECIALISTS AND AUCTION ENQUIRIES

Sale No GS049

Tuesday 23 June 2015 at 1.30 pm

Viewing

James Rylands MRICS

Rupert van der Werff MRICS

Specialist

Tel +44 (0)1403 331334

Tel +44 (0)1403 331333

james.rylands@ summersplaceauctions.com

rupert.werff@ summersplaceauctions.com

Errol Fuller

Alistair Morris FRICS

Curator for Natural History

Consultant

errol.fuller@ summersplaceauctions.com

alistair.morris@ summersplaceauctions.com

Letty Stiles

Katharine Diment

letty.stiles@ summersplaceauctions.com

kate.diment@ summersplaceauctions.com

Tel +44 (0)1403 331336

Tel +44 (0)1403 331335

Sunday 21st to Monday 22nd June 2015 and on the day of the sale 10 am to 4 pm or by appointment

Sealed Bid Auction

Sale No GE050

Bids opened on Thursday 25th June 2015 Bids should be with us by 5pm BST 24th June 2015

Viewing Sunday 21st to Wednesday 24th June 10 am to 4 pm Cost of catalogue £10 at the gallery; £15 by mail; £20 overseas

Front cover lot 40 Bidding online available at The saleroom.com with additional fee of 3%.

Back cover lot 46

Facebook.com/SummersPlaceAuctions Shipping enquires

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Tel: +44 (0)1403 331331

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

Fax: +44(0)1403 331340

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Forthcoming Sales at Summers Place Auctions

8th-9th September Garden, Design & Natural History 25th November Evolution For extra images and videos and footnotes of this sale see our website www.summersplaceauctions.com

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

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

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

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

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

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

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

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1 A large carved limestone trough 69cm.; 27ins high by 213cm.; 84ins long by 92cm.; 36ins deep ÂŁ3000-5000

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2 A large carved limestone trough 76cm.; 30ins high by 231cm.; 91ins long by 110cm.; 43ins deep ÂŁ4000-6000

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3 A large cylindrical carved limestone trough 81cm.; 32ins high by 115cm.; 45ins diameter ÂŁ2000-4000

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4 A carved stone wall fountain and trough French, 19th century and earlier mouth drilled for water the mask plate 99cm.; 39ins high by 71cm.; 28ins long, the trough 44cm.; 17Â˝ins high by 160cm.; 63ins long by 81cm.; 32ins deep ÂŁ3000-5000

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5 A rare and early carved white marble pool surround 17th century or earlier 38cm.; 15ins high by 205cm.; 81ins internal diameter; 256cm.; 101ins external diameter ÂŁ8000-12,000

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6 A Louis XVI carved marble wall fountain mid 18th century mouth drilled for water 73cm.; 29ins high by 72cm.; 28½ins wide £2500-4000 7 A rare carved white marble fountain French, 18th/19th century 107cm.; 42ins high by 102cm 40in wide by 76cm.; 30ins deep £10,000-15,000

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8 A set of four monumental composition stone figures modern cast after the Baroque originals from the 10

pediment of the north front of Blenheim Palace, depicting classical figures, the male figure possibly intended to depict a Roman emperor the largest 216cm.; 85ins high

This and the following lot 9 are cast from the originals from the pediment of the north front of Blenheim Palace, Oxfordshire, seat of the Dukes of Marlborough.

This superb group of lifesize figures, taken form the baroque sculptures which remain at Blenheim, were conceived to flank Grinling Gibbonsâ&#x20AC;&#x2122; magnificent carving of the Marlborough

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arms to the central tympanum. Built between 1705 and circa 1722, Blenheim Palace was originally conceived as a gift form Queen Anne to the first Duke of

Marlborough in recognition of his military success at the Battle of Blenheim on behalf of a grateful nation. The architect charged with creating this palace,

intended to rival any of those in continental Europe, was Sir John Vanburgh who was later assisted there by Nicholas Hawksmoor, two of the most renowned masters of

the English Baroque. The design for the north front, showing the original figures in situ, is recorded in Colen Campbellâ&#x20AC;&#x2122;s Vitruvius Britannicus. ÂŁ20,000-30,000 11

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A pair of monumental composition stone figures of Centurion soldiers

Two Romanesque style carved marble recumbant lions

modern

55cm.; 21½ins high by 100cm.; 39½ins long

cast after the Baroque originals from the pediment of the north front of Blenheim Palace, depicted wearing armour mounted with bronzed spears the largest 235cm.; 93ins high

late 19th/20th century

Lions in a similar style often carved in Istrian marble maybe seen especially in Venice where they were often used as column bases in various architectural schemes. £3000-5000

£12,000-18,000 13

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11 Circle of Jan Pieter van Bauerscheit: A carved gritstone group of Chronos ‘Clipping the Wings of Youth’ Low Countries, early 18th century on later carved stone pedestal the group 140cm.; 55ins high by 110cm.; 43ins wide overall 254cm.; 100ins high by 147cm.; 58ins wide Jan Pieter van Bauerscheit the Elder, born Wormersdorf in 1669, architect and sculptor, lived and worked in Antwerp where he was buried in the church of Saint Waudru in 1728. In 1691 he is recorded as a pupil of Peter Scheemaeckers the Elder and in 1694-5 registered in the guild of Saint Luke as a Master. Baurscheit was appointed assistant director of the Antwerp Mint (1709), sculptor to the King (1714-1715) and sculptor to the Emperor (1717). He established one of the leading workshops in Antwerp which was continued after his death by his son Jan Pieter Van Bauerscheit the Younger (16991768). Many of van Baurscheit’s works, often carved in hard gritstone were of mythological subjects heavy with symbolism and often with a didactic or moral meaning. In this instance, the loss of youth is personified by Chronos, the father of time, clipping the wings of the youthful Cupid, as a Memento Mori “remember (that you have) to die”. Typical of the Dutch Calvinism of the time, groups such as this would be seen as a means of perfecting the character, by cultivating detachment and other virtues, and turning the attention towards the immortality of the soul and the afterlife. They were particularly popular in the Netherlands, where they decorated the town houses and country seats of its wealthy merchant population. Similar gritstone mythological groups may be seen in the Rijksmuseum, Amsterdam £30,000-50,000 14

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12 A very rare oak garden chair 18th/19th century retaining traces of original dark green paint This type of primitive stick backed chair developed from a basic three legged stool. The three legs allowing for more stability on uneven ground. During the Georgian period, many chairs were painted with green paint and can be associated with garden use. ÂŁ350-550

13 A very rare bleached oak garden chair 18th/19th century stick backed with arms on three legs ÂŁ250-400

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14 A pair of substantial and rare wrought iron bootscrapers 1st half 19th century 74cm.; 29ins high, the base plates 65cm.; 25Â˝ins square ÂŁ2000-4000

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15 A pair of carved white marble lions Italian, late 19th century 104cm.; 41ins high ÂŁ15,000-25,000

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16 ‡ After Canova: A pair of carved marble reclining lions late 19th/early 20th century 40cm.; 16ins high by 85cm.; 33½ins long Antonio Canova 1757 -1822 was an Italian sculptor from the Republic of Venice who became famous for his marble sculptures that delicately rendered nude flesh. The epitome of the neoclassical style, his work marked a return to classical refinement after the theatrical excesses of Baroque sculpture. Among Canova’s English pupils were sculptors Sir Richard Westmacott and John Gibson. These lions, carved in great detail from a particularly hard marble are copies of the crouching lions carved in 1792 for the Monumental tomb of the Pope Clemente XIII in the Vatican, Rome. £10,000-15,000

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17 A Louis XVI style carved limestone wall fountain late 19th century 228cm.; 90ins high by 100cm.; 39½ins wide £4000-6000

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18 A carved white marble bowl on stand Italian, late 19th century 134cm.; 53ins high by 74cm.; 29ins diameter ÂŁ5000-8000

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19 ‡

Attributed to the Bromsgrove Guild: A lead fountain group

A rare Bromsgrove Guild composition stone statue of Pan

early 20th century

plumbed for water

232cm.; 91½ins high

58cm.; 23ins high by 97cm.; 38ins wide

The Bromsgrove Guild of Applied Arts was established in 1894 by Walter Gilbert who took over a foundry in Bromsgrove,

£5000-8000

Worcestershire. It was first involved with decorative ironwork, but the business soon expanded into a great many other fields. By 1900 Gilbert had gone into partnership with a Mr McCandlish and had taken over further premises in the town which housed bronze and lead foundries, as well as wood and stone carving studios. By 1908 they had

established an outlet in London, and as a result of their most famous commission, the iron and bronze gates outside Buckingham Palace, they were issued with a Royal Warrant appointing them metal workers to Edward VII (an honour repeated two years later under George V). Unlike the majority of other contemporary English

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manufacturers of garden ornaments most of the Guildâ&#x20AC;&#x2122;s figurative subjects were modelled in the popular styles of the day. In 1921 the Guild became a limited company, but by this date some of the members had left to start companies of their own. However the Guild continued to produce a variety of garden ornaments for many years finally closing in 1966.

As well as making garden ornament in lead, the company also produced a range of ornament in composition stone. This figure of Pan appears in their 1908 Catalogue of garden ornament as No 1 and was one of their most popular models. Literature: John Davis, Antique Garden Ornament, pp.313-316. ÂŁ4000-6000

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21 A substantial composition stone bust of a Baccante French, 2nd half 19th century 107cm.; 42ins high ÂŁ2500-4000

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22 † A monumental carved sandstone bowl on stand modern 100cm.; 39½ins high bowl 200cm.; 79ins diameter £6000-10,000

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23 Two bronze whippets in the style of Joseph Gott late 20th century weathered outdoor patina on fossil marble bases 61cm.; 24ins high by 86cm.; 34ins long overall ÂŁ4000-6000

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24 A pair of terracotta lions French, 19th century 86cm.; 34ins high ÂŁ2500-4000

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25 A carved Hamstone sundial 19th century with 11in octagonal dial indistinctly inscribed ÂŁ3000-5000

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26 An alabaster and bronze fountain Italian, late 19th century 220cm.; 87ins high Provenance: Sothebyâ&#x20AC;&#x2122;s House sale of Woolton House, Newbury, Berkshire, 6th December 1993, lot 257. ÂŁ10,000-15,000

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27 A pair of rare Doulton stoneware urns on pedestals late 19th century fully stamped Doulton, Lambeth on urn bowls and pedestals 107cm.; 42ins high Photograph showing the urns in situ outside Langston House, Hayling Island circa 1931. ÂŁ3000-5000 30

Detail of extremely large stamp on pedestal of one urn

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The Pulham company was established in 1820 but made terracotta from around 1846 on into the 20th Century, with workshops in Broxbourne, Hertfordshire. By the 1880's the company was concentrating on garden and landscape ornaments. A catalogue of 1915, indicates that their wares were made of "Pulhamite" stone, which, is â&#x20AC;&#x153;considered the best material for all designed stonework in connection with the garden for the following reasons: Pulhamite stone is more durable than natural stone, for it never decays and never shells or flakes, cement is not used in its composition, it is a lighter substance, making more elegant productions than any other so called artificial stone. This is an important point, as the sides of a Pulhamite vase give more space for soil. It is the colour of light stone. There is nothing deleterious to plant life in it, in fact, owing to the nature of the material, the opposite may be said in its favour. We guarantee its durability, and can refer to work which has been exposed for 70 years. If desired we can reproduce in the antique style, and copies can be made from practically any existing examplesâ&#x20AC;?. The company held appointments to H.M. King Edward VII, H.M. King George V and H.M. Queen Alexandria.

28 A near set of six Pulham stoneware urns circa 1870 some stamped the largest 51cm.; 20ins high by 60cm.; 24ins wide; the smaller 48cm.; 19ins high by 56cm.; 22ins wide ÂŁ3000-5000

Otford vase engraving

Literature: see Taste and the Antique by Francis Haskell and Nicholas Penny, Yale University press, 1981. 31

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29 A Handyside Foundry cast iron Townley urn on associated pedestal 2nd half 19th century 160cm.; 63ins high Andrew Handyside established the foundry in 1806 and by 1851 the firm had expanded and operated out of the Britannia Iron Works, Derby. At the Great Exhibition they exhibited Medici vases, a bacchanalian vase and a bronzed vase decorated with busts of Peel, Nelson, Watt, Wellington, Stephenson, Scott, Shakespeare and Milton, together with a fountain. At the time, the foundry was described as being "from the magnitude of its operations is second to none in England" 1873 incorporated at a Limited Company. They produced two catalogues one circa 1850 and one in 1874 in which this urn is illustrated. In 1873 they were incorporated as a limited company. (See engraving) ÂŁ1500-2500

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30 A pair of rare cast iron urns on pedestals 2nd half 19th century 150cm.; 59ins high ÂŁ4000-6000

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31 An unusual cast iron urn on pedestal French, 2nd half 19th century 120cm.; 47ins high overall ÂŁ800-1200

32 A pair of rare Austin and Seeley Townley composition stone vases 2nd half 19th century 99cm.; 39ins high Felix Austin went into business in 1828 having bought moulds from a firm that had gone out of business. He established works in New Road, London, describing himself variously as an architect, statuary mason and sculptor as well as artificial stone maker. His material was not the same as the ceramic body used by Mrs Coade but made from Portland cement, broken stone, pounded

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marble and coarse sand (The Builder 1868). However, like Mrs Coade, he encouraged leading architects and designers to work for him. Around 1840 he entered into partnership with John Seeley. Seeley had trained at the Royal Academy

Schools and also made an artificial stone which he called artificial limestone, before entering into partnership with Austin. In 1841 they published their first catalogue, Pleasure Grounds etc. from their address in New Road. The preface begins

“Austin’s Artificial Stone is of a light tint, requires no painting or colouring, will not sustain injury from the severest winter, and, being impervious to wet, is particularly applicable to all kinds of water works. Its superiority is now so thoroughly

established, that the most eminent architects and scientific gentlemen have expressed, in their highest terms, their approbation of its durability, and close resemblance to the real stone”. £5000-8000

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33 A Coalbrookdale Lily of the Valley pattern cast iron seat late 19th century with diamond registration stamp 157cm.; 62ins long ÂŁ4000-6000

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This design, number 171578, was registered and patented at the Public Records Office by Coalbrookdale on 8th February 1864, and is seat no. 36 in their 1875 Coalbrookdale Castings Catalogue, section III

34 A similar Coalbrookdale Lily of the Valley pattern cast iron seat 157cm.; 62ins long ÂŁ4000-6000

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35 A Coalbrookdale Horse Chestnut pattern cast iron seat circa 1870 fully stamped Coalbrookdale and with registration number 188cm.; 74ins long The design of this seat, number 217568, was registered and patented by the Coalbrookdale Iron Foundry at The Public Record Office on 23rd March 1868, and is number 46 in their 1875 Castings Catalogue, Section III, page 256 (see engraving). ÂŁ3000-5000

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36 A Coalbrookdale Medallion pattern cast iron seat last quarter 19th century fully stamped CBDale & Co and with diamond registration stamps 170cm.; 67ins wide This design, number 149934, was registered and patented at the Public Records Office by Coalbrookdale on 13th March 1862, and is seat no. 35 in their 1875 Coalbrookdale Castings Catalogue, section III page 259 (see engraving) ÂŁ5000-8000 39

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37 A Coalbrookdale Foundry cast iron stick stand circa 1870 with original lift out tray and fully marked and numbered 30 (see additional photograph) 224cm.; 88ins high by 89cm.; 35ins wide Similar but not identical hall stands are illustrated in the 1875 Coalbrookdale Foundry Catalogue section 2. ÂŁ600-1000

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38 A Carron Foundry cast iron stick stand circa 1870 the four lift out trays with Victorian diamond registration stamp 92cm.; 36ins long Similar but not identical stick stands are illustrated in the late 19th century Carron Foundry catalogue. ÂŁ1000-1500

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The following two sculptures, both on a monumental scale in welded sheet copper and produced within a year of each other, form an interesting group, illustrating two culturally and artistically diverse approaches to sculpture in the post World War II era. Eisenmayer’s angular approach combining post war modernity and abstraction contrasts sharply with Teshigahara’s softer organic treatment, founded in Ikebana flower arrangements, the principals of which he applied to sculpture in different materials.

The French government awarded him the Order of Arts and Letters in 1960, and the Legion of Honour in 1961; and Japan bestowed the Minister of Education Awards for Art in 1962.

39 s

In addition to Ikebana, he continued to create various sculptures, drawings and works of calligraphy until his death. His son is the Japanese film director Hiroshi Teshigahara.

Sofu Teshigahara

Literature:

Abstract form

Signed Sofu and dated 1962

Ronald Alley, Catalogue of the Tate Gallery’s Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby ParkeBernet, London 1981, pp.716-17

398cm.; 157ins high

£20,000-30,000

Sheet copper Unique

Sofu Teshigahara (1900-1979) was a Japanese master of flower arrangement, sculptor and occasional calligraphic painter, born in Tokyo. At the age of 27 founded the Sogetsu Institute in Tokyo, the most famous modern school of flower arrangement (ikebana) in Japan. The practice of using branches of trees, roots etc., in the flower arrangements led to his also making sculptures using forms already partly modelled by nature. In 1930 he held his first solo at the Josui Kaikan in Tokyo working with scrap metal, a 42

new medium. In 1949 the first major post-war Sogetsu exhibition was held at the Mitsukoshi Department Store in the Ginza of Tokyo and proved to be revolutionary. Between 1950 and 1970, he held various exhibitions and demonstrations across Europe and the United States.

40 Ernst Eisenmeyer Abstract figure Sheet copper Unique 1963 370cm.; 146ins high Born in 1920, Ernst Eisenmayer was the eldest son of Austro-Hungarian Jewish parents. He tried to escape Vienna after the Anschluss; the annexation of Austria by Hitler in March 1938. As Eisenmayer recounts in A Strange Haircut – an

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Professor J. L. Brierley acted as Eisenmayer’s sponsor securing him his trainee post and hence his release from Dachau. As such he was possibly one of the last prisoners to have been released from Dachau prior to the war.

Eisenmayer maintained a long friendship with the architect Leslie Gooday. This shows him standing beside the sculpture in the garden of ‘Long Wall’ in 1997, over 30 years after he had made it.

autobiographical account about leaving Austria written in 2008 – on his second attempt he was caught on the French border, transported to Saarbrücken prison and from there to Dachau Concentration Camp. Through his younger brother Paul, who arrived in Britain by Kindertransport in 1939, his brother’s guardian

Following his arrival in England he was subsequently imprisoned in five different British Internment camps, including Onchan on the Isle of Man, where he produced sculpture for exhibitions and wrote for the camp newspaper. His drawing “Violinist at Onchan” was later published as a motif of a postage stamp of the Isle of Man. He later worked as a toolmaker and from 1944 he exhibited for the first time in an exhibition on Austrian art in exile before studying from 1946-47 at the Camberwell College of Arts. His paintings and graphic work of the 1940s and 1950s explore the cityscapes and inhabitants of war-time and post-war London; at which time he became friendly with Oskar Kokoschka (18861980) and his friendship with Victor Pasmore (1908-1998) who he first met at Camberwell School of Arts and Crafts.

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In 1962 Eisenmayer turned to sculpture with a series of carved serpentine and stone heads which were first shown at the Mercury Gallery in 1963. Developed from his earlier representations of the brutal features of a camp guard in Dachau and working in hard, textured stone, the heads explore themes of the conqueror and the hostage. Eisenmayer’s welded, carved and cast sculptures of the 1960s and 1970s, produced during the continuing climate of the Cold War, investigate the potentialities for individual and group personages to withstand the pressure of external forces and to act as markers of resistance, particularly in an uncertain age of nuclear capability. In this sense Eisenmayer’s works act as witness to some of the most tragic events of the twentieth-century, alongside capturing the excitement of post-war reconstruction, and overlooked aspects of modernity. This figure dates to this period and was constructed by Eisenmayer himself at Elizabeth Frink’s studio in Chelsea in 1963, then installed in the grounds of the house ‘Long Wall’ belonging to and designed by the well-known architect Leslie Gooday, where it has remained until the present day. In the 1970s Eisenmayer was commissioned to undertake a number of large public sculptures including The Family Group for the Nottingham Carlton Forum and the complex steel and bronze sculpture for the British Pavilion at Expo’ 70 in Osaka, Japan.

Eisenmayer constructing the figure at Elizabeth Frink’s studio in 1963’’ taken from the catalogue ‘About the Dignity of Man’ - Ernst Eisenmayer - Life and Work exhibition at the Jewish Museum in Vienna 2002.

Eisenmayer’s work has recently undergone a revival of interest. Some of his works were exhibited in 2009 at the London Jewish Museum of Art as part of the exhibition “Forced Journeys, Artists in Exile in Britain 1933-45”. This was followed by a major retrospective exhibition of his work “Art beyond Exile” at the Sayle Gallery, Douglas, Isle of Man, followed by The Austrian Cultural Forum, London, both in 2012. Recipient of the Medal of Honour from the City of Vienna in recognition of his artistic work, Ernst Eisenmayer has exhibited in the UK, Austria, France, Italy, Israel, Japan, Slovenia, and the USA. He currently resides in Vienna. £8000-12,000

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41 Maida Crowe A carved Forest of Dean stone figure 203cm.; 80ins high Maida Crowe was born in Axminster, Devon in 1915. After a private education, she studied at the City and Guilds of London Art School from 1957-1962. She became a member of the Free Painters and Sculpture movement working in both wood and stone. Established in 1952, FPS was originally associated with the ICA (Institute of Contemporary Arts). Founding members featured many high profile and influential artists, including Roy Rasmussen, Lyall Watson and Maurice Jadot. FPS played a significant part in the establishment of abstract art in the 1950’s and 60’s and was the first of a number of post war movements that freed artists from the orthodoxy of rigid and purely technical judgements. In 1981 there was an exhibition of sculpture by Maida Crowe in Southwark Cathedral. Roy Rasmussen in the preface to the History of Free Painters and Sculptors commented; “Her wood carvings were at home in any modern collection, and graced many FPS exhibitions. But the deeper implication of her sculptures was religious, and for her it was appropriate that they should be shown in the place where she worshipped. She worked mainly on a scale of two to six feet. Her sculptures were not overtly religious, she did not use obvious religious symbols. A woman who was comfortable and tolerant in the company of diverse opinions, she could reveal a sparkling humour. “She was passionately involved in the endless debate over forms of modern expression. She described her own work as an inward search.” She showed at the RBA as well as in the provinces and had solo exhibitions at the Cockpit and Loggia galleries. A copy of Maida Crowe’s book of her work; First and Last: A Search for Meaning, A Spiritual Journey Through Sculpture in 1994 is included in this lot which gives a full account of the carving of this statue and the placing of it in her garden. £5000-8000 45

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and ceremonial signings of agreements. Since Nagoya, it has been exhibited and used at a number of venues, including The Annual Meeting of The World Economic Forum, at Davos, Switzerland, The World Museum, Liverpool, the London Headquarters of Price Waterhouse Coopers, The SouthBank Centre, Save The Children International, Canary Wharf, Google and most recently has been on exhibition at The National Maritime Museum, Greenwich. A Table from the Sea’s Edge by Silas Birtwistle 42 A suite of furniture comprising a table and six chairs of morticed and tenoned construction made from driftwood harvested from four biodiversity hotspots around the world There is a buyer’s option on the following lot at the same price The table 234cm.; 96ins long by 143cm.; 56½ins wide A Table from the Sea’s Edge is an art project, devised by Silas Birtwistle to raise awareness of environmental issues and promote conservation of the world’s coastal and marine biodiversity as a 46

contribution to the UN International Year of Biological Diversity, 2010. The project embodies the rich biodiversity of nature by crafting a large conference table surrounded by twelve chairs, made from beautiful examples of driftwood - collected with help from local environmental groups at four key hotspots around the world. Starting in Belize in May 2009, followed by Vancouver island, September 2009, Tanzania, November 2009 and finishing in Borneo, 2010. It is a dramatic statement on the environment, uniting

different cultures and coastal communities, connecting land with sea, and symbolizing the boundary between marine and terrestrial ecosystems, making connections between man’s land-based activities and the marine and coastal environment. The piece was unveiled during the International Year of Biodiversity at the tenth meeting of the Conference of the Parties to the Convention on Biological Diversity (COP10) which took place in Nagoya, Japan on October, 2010. It provided a platform for a multitude of high-level UN debates on environmental issues,

For further information and pictures on A Table from the Sea’s Edge, with pictures of prominent people including Boris Johnson, Tony Blair and Harrison Ford sitting in the chairs please go to; www.atablefromtheseasedge. com and www.summersplaceauctions. com The successful bidder/s will also be given a copy of Silas’s book A Table from the Sea’s Edge. For a preview and further information on the project go to www.blurb.co.uk and click on bookshop. A percentage of the profit will be shared among the participating charities,

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communities and NGOs. This will be a key component of the project, creating a legacy and further developing a growing commitment of public awareness and financial stability. In the interests of practicality, Silas has now reconfigured the original table into two tables of more maneagable proportions, each of which will be offered with six chairs. The buyer of the first lot, will have the option of acquiring the second table and chairs at the same price and will also acquire the centre section of the original table, giving the option of either having one long table, 540cms; 212ins long and twelve chairs, or two suites of a table, each 234cms; 96ins long and six chairs. £10,000-15,000 43 The accompanying suite of furniture comprising a table and six chairs the table 234cm.; 96ins long by 143cm.; 56½ins wide With a buyer’s option to purchase both lots £10,000-15,000 Centre section of table

Two tables together with centre section 47

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44 s A bronze stag by Christian Maas signed Christian Maas and with gilt foundry stamp and rectangular registration stamp ‘Christian Maas, 1951 (born 1951) SculptorFonder D’Apres Francais Pompon 1853 to 1933’ £8000-12,000

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45 David Meredith, Born 1973 Peregrine Bronze Signed and Numbered 2 of 8 183cm.; 72ins high by 64cm.; 25ins wide David Meredith was born in Leicester, England in 1973. He was educated at the Leicester College of Art where he aspired to a job as an illustrator. However, a chance meeting with his future employer at the end-of-year exhibition led David to a career in the pewter industry. He has worked as a sculptor professionally for the past 16 years. David started as an apprentice modelmaker working in minute detail for the jewellery and giftware industry. Within two years he had become the head sculptor but he felt it was the right time to leave and pursue his own career as an artist. He continued to work for the giftware industry in a freelance capacity and sculpted for many of the leading names of the time. One of his favourite commissions was working on projects for theme parks, including a fifty foot dragon for a rollercoaster ride; “it’s not everyday you get to work on something that big - I loved every moment of it!” Having travelled widely in Africa, Asia and North America, Meredith now concentrates his efforts on wildlife sculpture produced in bronze. He has spent the last six years producing a considerable body of work, where his passion for wildlife shines through. £8000-12,000

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46 An HFL (Hypersonic flying Laboratory) or “Kholod” HFL Kholod, 1991, a hypersonic flying laboratory, titanium and stainless steel. 11.9m.; 39 feet long One of the six experimental scramjets developed by C.I.A.M. (Central Institiute for Aviation Motors) and N.A.S.A. (National Aeronautics and space Administration). In development since the 1970’s the first flight of the HFL was in 2001 and it held the air speed record for an unmanned vehicle for a decade achieving a speed of Mach 6.47 or nearly 5,000mph. Scramjets are widely seen as the future of high speed flight and are the evolution of ramjets the preceding sc standing for supersonic combustion. In order for a scramjet to start working the vehicle has to be travelling at Mach 5 or more. To achieve this, the HFL was based on a Soviet SA5 missile with the addition of four solid fuel booster rockets, the scramjet being attached to the nose. The solid fuel boosters fired first for four seconds before separating from the main body, the liquid fuel SA5 then continued for another 40 seconds

approximately by which time a sufficient speed for the scramjet to work had been achieved. The scramjet burnt 17kg of hydrogen in 27.5 seconds and achieved a speed of Mach 3.6. The French aerospace research establishment (ONERA) became involved and a second flight was carried out in 1992 for Sary Shagan, Kazakhstan but it was not until NASA became involved in 1994 that the vehicle reached its potential of Mach 6.41-6.47 after a successful flight lasting 77 seconds, setting a record for the running of a scramjet. NASA carried on the development programme producing the X-43A which took the speed record from the Kholod. All the engines have been disabled or removed so this is a static display of original components. The fuel tanks have also been cleaned so no traces of fuel remain. This particular piece was never flown which is why it is in such good condition. Provenance: From the collection of the famous scientist Alexander Roudakov who was himself involved in amongst other programmes the development of the HFL. £35,000-50,000

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For ease of transport, this lot also includes the four wooden crates which hold the booster rockets which unbolt from the main body. Also included are bespoke wooden frames for the wings and a steel transport case for the rocket body. In its present configuration, the HFL has two steel display cradles, however it could be mounted to stand upright and is also suitable for display outdoors.

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47 A rare ISAYEV liquid fuel engine Russian, 1957 now adapted as a glass topped table 115cm.; 45ins high This liquid bi-propellant rocket motor is thought to have been developed for a high altitude surface to air missile, similar to the one used to shoot down the supposedly invulnerable U-2 spy plane piloted by Gary Powers on May 1st 1960. Very few of these engines have survived particularly in such good unused condition. Engines such as this could produce 6000 Hp and were single use, being destroyed by the high temperatures they created. This Russian built rocket motor was designed by the celebrated rocket scientist Alexei Isayev (1908-1971). Isayev rose to prominence during the Second World War designing a rocket powered plane which achieved 615m.p.h. a (un)official speed record for the time. At the end of the War he was sent to acquire German technology and in 1947 was created head of OKB-2 part of the Scientific research institute of the Ministry of Aviation. His specialty was small scale liquid fuelled rockets and his engines powered the rockets carrying the first artificial satellites, the first unmanned probes to the Moon and Venus and the worldâ&#x20AC;&#x2122;s first manned spacecraft, the Vostok. At the same time as working on space programmes Isayev was involved in surface to air missile designs and air to sea missiles, his best known design the R-11 (Scud) is still in use today. Provenance: From the collection of the famous scientist Alexander Roudakov who was himself involved in amongst other programmes the development of the HFL. ÂŁ2500-4000

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48 A Nickel Iron Meteorite from the Nanton Fall, Guangxi, China 20cm.; 8ins, 7.3kg The Nantan meteorite was recorded as falling in 1516 making it the earliest known recorded meteorite.

ÂŁ1500-2500

A Nickel Iron Meteorite from the Campo di Cielo fall, Argentina 26cm.; 10ins, 13.5kg The Campo di Cielo meteorite fell to earth between 4,000 and 5,000 years ago, it is believed to be one of the largest meteorites to collide with Earth and the crater field extends to an area of roughly 60 km sq. The largest piece found weighs 37 tons. The metal was known to the indigenous peoples of the area and was first recorded in 1576 by the Spanish. ÂŁ2500-4000

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50 A large Asteroceras ammonite half section

Lyme Regis, Lower Jurassic, approximately 190mya 65cm.; 26ins

These iconic fossils from the home of paleontology are rarely found today and the large size of this specimen and well

preserved chambers mark it out as a particularly good example. ÂŁ2200-4000

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51 An Araucaria (monkey puzzle) fossil wood slice

Arizona, Triassic, approximately 240mya 62cm.; 24ins wide ÂŁ1200-1800

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52 An unusually large Stylenus Nebrascensis (Freshwater Turtle) specimen South Dakota, U.S.A., Oligocene, approximately 35mya 57cm.; 22ins long ÂŁ4000-6000

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53 A rare fragmentary limb bone from a Tyrannosaurus Rex discovered in 2011 in Garfield County, Montana, USA, Upper Cretaceous approx.. 65m.y.a. 47cm.; 18Â˝ins long ÂŁ2500-4000

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54 A massive Lapis Lazuli specimen Afghanistan 83kg 54cm.; 21ins high by 54cm.; 21ins wide by 18cm.; 7ins deep ÂŁ8000-12,000

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Obverse

Reverse 55

Afghanistan

Afghani Lapis Lazuli often has iron pyrite inclusions but to find a piece with this amount is exceptional.

38cm.; 15ins high, 10.5kg

ÂŁ1500-2500

An unusual Lapis Lazuli specimen For images of the mines and footnote please refer to lot 409

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56 Max Ludby, R.I., R.B.A. (1858-1943) Bee Skeps and Cabbages Signed and dated 1884 Watercolour 58cm.; 23ins by 45cm.; 18in Max Ludby was a landscape and genre painter, he studied in

Antwerp, exhibiting at Leading London Galleries and Royal Academy from 1879. Elected R.B.A. 1886 and Royal Institute in 1891. He lived and worked in Cornwall in the 1880s and recorded as painting in St Ives and connections with Newlyn. £300-500

57 Herbert Cecil Drane (British 1862 - 1932) The Garden Bonnets Farm, Capel Surrey Signed Oil on canvas 49½cm.; 19½ins by 38cm.; 15ins £300-500

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58 English Provincial School, Circa 1840 ‘Puppy Love’ Signed F Pitcher Oil on canvas

74cm.; 29¼ins by 61cm.; 24½ins £400-600

Oil on canvas

William Robertson Smith Stott (British exb 19051934)

49½cm.; 19½ins by 59cm.; 23ins

The Garden at the Old House

Exhibited at the Royal Academy 1926 no. 460 £3000-5000

Signed and dated /95 61

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Eugene Chigot (French 1860-1927)

Herbert Cecil Drane (British 1862 - 1932)

The Garden Path

The Garden Crossways Farm, Abinger Surrey

Signed

Signed and dated 1886

Oil on canvas

52½cm.; 20¾ins by 71cm.; 28ins

39cm.; 15ins by 55cm.; 21¾ins

£800-1200

£300-500

60 Georgina M de L’Aubiniere (British 1860-1920)

63 Henriette ‘Henny’ Koster Panduro 1863-1930

A Walk In The Garden

The Kitchen Garden

Signed and dated 1895

Signed with initials and dated 1908

Oil on board

Oil on canvas

43cm.; 17ins by 34cm.; 13½ins

75cm.; 29ins by 58cm.; 23ins

£800-1200

Noted for her marine pictures, Henriette was regarded as leading female Danish artist of her time. £500-700

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unframed

Sydney Morse-Brown (British born 1903) ROI, RWA, NEAC

Ronald William “Josh” Kirby (British 1928-2001)

The Terrace, Signed

Signed and inscribed with title on a label on the reverse

Ronald William “Josh” Kirby trained at Liverpool City school of art 1942-9. He began his career producing film posters, moving on to book and cover art for magazines. Some of his best known work includes the first cover for Ian Fleming’s

Oil on canvas 45cm.; 17¾ins by 61cm.; 24ins £300-500

The Deserted Garden

Watercolour with body colour 31cm.; 12¼ins by 43cm.; 17ins

Moonraker and for Monty Python’s Life of Brian. His work is probably most familiar for his cover illustrations for Terry Pratchett’s Disc world series. This is an early work from the late 1940’s. £300-500

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66 Elizabeth Sorrell R.W.S (British 1916-1991) Nicotiana Signed and dated ‘69 Watercolour 52cm.; 20½ins by 34½cm.; 13¾ins Exhibited London, Royal Watercolour Society Autumn Exhibition 1969 Chelmsford Museum and Art Gallery, Sorrell Family Retrospective Exhibition 1975. This watercolour is accompanied by four letters from the artist discussing the original 1969 commission and the subsequent loan of the picture to the Chelmsford Exhibition of 1975. £1200-1800

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GLOSSARY OF TERMS

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

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

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

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

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

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

(ii)

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

(iii)

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

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

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

(ii)

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

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

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

purchase (for example, the Use Tax payable on import of purchased items to certain states of the USA). Buyers should obtain their own advice in this regard. Artist’s Resale Right Purchase of lots marked with the following symbol s will be subject to payment of the Artist’s Resale Right, at a percentage of the hammer price calculated as follows: Portion of the hammer price (in €) Royalty Rate From 0 to 50,000 4% From 50,000.01 to 200,000 3% From 200,000.01 to 350,000 1% From 350,000.01 to 500,000 0.5% Exceeding 500,000 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to a maximum royalty payable of €12,500 for any single work each time it is sold. The maximum royalty payable of €12,500 applies to works sold for €2 million and above. Calculation of the artist’s resale right will be based on the Pounds Sterling / Euro reference exchange rate quoted on the date of the sale by the European Central Bank. Property with a ´ symbol. Some of these items require specialist dismantling and may not be available for immediate collection after the sale. Intending purchasers should check the status of these lots before the sale. 3. Before the Auction Pre-sale Estimates Pre-sale estimates are intended as a guide for prospective buyers but all lots can realise prices above or below the pre-sale estimates. Seller’s confidential reserves are set no higher than the low pre-sale estimates, except in the rare circumstance in which the reserve has been set in a foreign currency and the exchange rate has fluctuated. It is advisable to consult us nearer the time of sale as estimates can be subject to revision. The estimates printed in the auction catalogue do not include the buyer’s premium or VAT. Provenance In certain circumstances, Summers Place Auctions Ltd may print in the catalogue the history of ownership of a work of art if such information contributes to scholarship or is otherwise well known and assists in distinguishing the work of art. However, the identity of the seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded to accommodate a seller's request for confidentiality or because the identity of prior owners is unknown given the age of the work of art. 67

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

details with us beforehand. A bidding form may be downloaded from www.summersplaceauctions.com website. A bidding form is also printed in the back of the catalogue. This service is confidential. Lots will always be bought as cheaply as is consistent with other bids, the reserves and other commission bids. To avoid confusion, the sale date, lot number and a brief description should be filled in and signed. Commission bids by email without a signature will not be accepted. In the event of identical bids, the earliest received will take precedence. Always indicate a top limit, i.e. the highest price you would bid if you were attending the auction. Don’t forget that buyers premium and any VAT applicable will also be added onto your bid if you are successful. “Buy” and unlimited bids will not be accepted. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues. To ensure a satisfactory service please ensure that we receive your bids at least 24 hours beforehand. The fax number for absentee bids is 00 44 (0)1403 331340. Telephone bids If you cannot attend the auction, it is usually possible to bid on the telephone on lots with a minimum low estimate of £1,000. You will need to have registered your details with us 5 days before the auction. As the number of telephones is limited, it is necessary to make arrangements on which lots you wish to bid on, at least 24 hours before the sale. We also suggest that you leave a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues. Sealed bids For further information see pages 72 & 73. Sale by private treaty Summers Place Auctions shall, from time to time, be offering some lots for sale by Private Treaty in our architectural portfolio. These will usually comprise larger pieces of an architectural nature, which will require a longer period of planning and consultation than an auction can provide. Additionally if you are looking for a specific piece please let us know and we will use our worldwide network of trade and private clients to help source the most suitable item for you. Please contact us for further information. Payment Payment is due in sterling immediately after the sale and before purchases can be released. Payments in person can be made in the saleroom on the day of the auction and thereafter. Payments may also be made by post, card transactions by telephone or electronic transfer to our bank. Cash will not be accepted. Summers Place Auctions Ltd welcome the following methods of payment:

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

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

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

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

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

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

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

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

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

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

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

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Sealed Bid – How it works

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

No of Sales

Rest of World

Garden & Nat. History Sep 2015*

£15 n

£20 n

Evolution (Nat. History) Nov 2015

£15 n

£20 n

All of above

£25 n

£35 n

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

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

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

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

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

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Sealed bid auction lots 200-457 All sealed bids must be with us, at the latest, by 5pm BST on the 24th June since the bids will be opened on the 25th June. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. For further information on sealed bids and how they work see page 72.

200 A pair of substantial Edwardian carved Portland stone finials early 20th century 157cm.; 62ins high ÂŁ2000-3000 201 A pair of carved limestone finials French, mid 19th century 58cm.; 23ins high ÂŁ1200-1800 202 A pair of substantial carved stone gate pier balls 19th century on associated granite socles 74cm.; 29ins high by 56cm.; 22ins diameter ÂŁ500-800

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203 A pair of Victorian cast and wrought iron gates late 19th century stamped C Downing, Barnsley 156cm.; 61½ins high by 340cm.; 134ins wide overall £1000-1500 204 A pair of composition stone gate pier ball finials late 19th century 43cm.; 17ins high £250-400

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205 A pair of wrought iron estate gates 2nd half 19th century 131cm.; 52ins high by 328cm.; 129ins wide ÂŁ1500-2500 206 A pair of composition stone gatepier balls early 20th century 74cm.; 29ins high ÂŁ500-800

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207

208

209

A copper and wrought iron weathervane

A rare lead finial

mid 19th century

A pair of large composition stone gatepier pineapples

260cm.; 102½ins high

late 20th century

£800-1200

91cm.; 36ins high £1000-1500

early 20th century 92cm.; 36ins high £1200-1800

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210

211

A pair of composition stone gatepier pineapple finials

A pair of carved stone gatepier pineapple finials

2nd half 20th century

19th century

43cm.; 17ins high

on later composition stone bases

ÂŁ400-600

66cm.; 26ins high

212 An unusual sheet copper and cast iron weathervane mid 20th century 124cm.; 49ins high ÂŁ1000-1500

ÂŁ1500-1800

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213

214

A wrought iron and copper weathervane

A pair of composition stone gatepier balls

circa 1880

1st half 20th century

on later wooden dove cote base

43cm.; 17ins diameter ÂŁ250-400

287cm.; 113ins high ÂŁ1200-1800

215 A similar pair of red composition stone gatepier balls mid 20th century 38cm.; 15ins ÂŁ250-400

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216 A set of four carved white marble columns Italian, circa 1900 two bases missing 275cm.; 108ins high ÂŁ2000-4000 217 A set of twelve composition stone columns 2nd half 20th century 254cm.; 100ins high ÂŁ4000-6000

216 one of a set of four

217 two of a set of twelve

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218 A monumental carved Portland stone Royal Coat of Arms 1950’s 168cm.; 66ins square £1500-2500 219 A pair of rare Austin and Seeley composition stone three quarter relief plaques mid 19th century 54cm.; 21ins high £400-600

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220 A pair of carved Vosges stone lions head architectural fittings possibly 17th century the larger 53cm.; 21ins high £2000-3000 221 A similar Vosges stone lions head architectural fitting possibly 17th century 48cm.; 19ins high £1000-1500 222 Two Victorian carved stone plaques

221

220

one dated 1857, the other with armorial leopards heads the larger 71cm.; 28ins high £300-500

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224 A carved white marble architectural frieze in sections 2nd half 18th century 40cm.; 16ins high by approximately 670cm.; 22ft £800-1200 225 A collection of carved stone and marble architectural fragments

223 Two Victorian carved limestone architectural elements of lion’s heads late 19th century mouths now drilled as fountains the larger 59cm.; 23ins high by 80cm.; 31½ins long £800-1200

including a wall plaque dated 1834, a mill stone and wheel, a carved stone niche top, two 18th century carved stone urn tops, two paw carved gate pier bases and the frieze from an 18th century Rococo stone fireplace the millstone 115cm.; 45ins diameter £500-800

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226

229

Two Victorian carved limestone architectural gargoyle figures

A Gothic style carved limestone architectural corner piece

mid 19th century

19th century

28cm.; 11ins high by 112cm.; 44ins long including rebate

36cm.; 14ins high by 64cm.; 25ins deep by 61cm.; 24ins wide

£400-600

Reputedly removed from the Palace of Westminster. This probably dates from the Gothic revival work of Wyatt and the Houses of Parliament around 1805 and was probably removed at the time of the fire of 1834 and the subsequent rebuilding by Sir Charles Barry.

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

£1500-2500

£300-500 228 No Lot

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230 A substantial rectangular carved stone trough 80cm.; 31½ins high by 200cm.; 78½ins long by 102cm.; 40ins deep £4000-6000 231 Two substantial carved limestone staddlestones the larger 86cm.; 35ins high £1000-1500

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232

233

A rectangular carved stone trough

A set of seven tapering composition stone bollards

54cm.; 21ins high by 145cm.; 57ins long by 89cm.; 35ins deep £3000-5000

2nd half 20th century 53cm.; 21ins high £250-400 234 A cast iron circular trough late 19th century stamped Ransomes & Sims, Ipswich 99cm.; 39ins diameter £600-1000

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237 Two carved limestone quern stones 18th century or earlier the larger 61cm.; 24ins high £1500-2500 238 An unusual carved Istrian stone trough Italian, 19th century

235 235 † A carved granite rectangular trough 55cm.; 21½ins high by 175cm.; 69ins long by 84cm.; 33ins deep £1200-1800 236 A pair of carved sandstone gatepier bases early 19th century 236

236

87cm.; 34ins high, together with two other carved limestone bases, the larger 87cm.; 34ins high £400-600

237 86

94cm.; 37ins high by 232cm.; 91ins long by 115cm.; 45ins wide £3000-5000

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238

239 239

240

An unusual carved limestone quern stone

A pair of carved marble chimney piece jambs

18th century or earlier

French, 19th century

68cm.; 27ins high

124cm.; 49ins high

ÂŁ1500-2500

ÂŁ1200-1800

240 87

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241 An unusual cast iron fireback plaque possibly Swedish, 19th century 81cm.; 32ins high by 114cm.; 45ins wide ÂŁ1500-2500

242 A cast iron anchor early 20th century 180cm.; 71ins high, the fluke 114cm.; 45ins wide ÂŁ800-1200 88

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243

244

An Art Nouveau stove enamelled cast iron panel

A bronze bell

Continental, circa 1900 with stylised floral motifs and pierced decoration 114cm.; 45ins by 30cm.; 12ins

Bronze Stamped E. Biron, A Paris 1889 70cm.; 27½ins high by 57cm.; 22½ins diameter £2000-4000

together with a similar panel, 96cm.; 38ins by 30cm.; 12ins (2) £120-180

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245 A pair of sheet copper hexagonal lanterns Venetian, 19th century on later oak stands the lanterns 104cm.; 41ins high, overall height 252cm.; 99ins high ÂŁ1200-1800 246 A rare and unusual estate made wrought iron manager 19th century 178cm.; 70ins high by 160cm.; 63ins square ÂŁ1200-1800

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247 An early Victorian cast iron stick stand mid 19th century the base stamped W Bullock 64cm.; 25ins high £200-400 248 A pair of unusual wrought iron rounded rectangular treillage frames modern 110cm.; 43ins high by 120cm.; 47½ins long £300-500 249 A Carron Foundry cast iron stick stand Scottish, circa 1880 with lift out tray bearing diamond registration stamp 77cm.; 30ins high Similar but not identical stick stands are illustrated in the late 19th century Carron Foundry catalogue. £250-400

250 A cast and wrought iron weathervane late 19th century 190cm.; 75ins high £400-600 91

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253 251 †

252

After Thorwaldsen: A set of four circular lead plaques representing the Seasons

A Georgian wrought iron boot scraper

2nd half 20th century 68cm.; 27ins diameter £2000-4000

English, circa 1800 twist supports with simple foliate terminal, set to stone base 44cm.; 18ins by 39cm.;16ins £200-300

252

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253 A pair of Kenrick Foundry cast iron boot scrapers

254

circa 1840 on associated stone bases 44cm.; 17½ins high by 65cm.; 25½ins long 255

£800-1200 254 A cast iron bootscraper

255

mid 19th century

A pair of substantial cast iron bootscrapers

24cm.; 9½ins high by 36cm.; 14ins long £150-250

19th century on associated limestone bases

256 A Kendrick foundry cast iron bootscraper

256

mid 19th century

57cm.; 22ins high by 51cm.; 20ins long

36cm.; 14ins high by 38cm.; 15ins long

£600-1000

£300-500

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257

259

An unusually large glazed cast iron handlight

A collection of hand thrown terracotta flower pots

early 20th century

English, late 19th/early 20th century

66cm.; 26ins high by 61cm.; 24ins square £400-600 258 A heavy copper watering can French, circa 1910 with associated rose 46cm.; 18ins high £150-200

including Sanky 13ins diameter, Sanky and others 10ins diameter,(5) Oswald Twistle and other 9ins diameter (2), 8ins diameter (5), 7ins diameter (2), 5ins diameter (5), generally good condition (20) £150-200 260 A 19th century copper watering can French, circa 1880 with associated rose 40cm.; 16ins high £150-200

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263 A Victorian terracotta sea kale forcing pot circa 1875 inscribed detail to rim and with maker A G Harris, Fareham Common Pottery 261

262

A near pair of painted wood fire screen dummy boards

A Victorian cast iron framed handlight

early 20th century 80cm.; 31½ins high £600-1000

circa 1890 with fitted glazed panels, together with two handlight pyramid tops, sizes vary

together with a further 19th century forcing pot and a cut down rhubarb forcing pot 39cm.; 15½ins high £150-200

£200-400

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266

267

An Edwardian swing water barrow on iron two wheeled frame

A Victorian style wheelbarrow with decorative cast iron wheel

circa 1910

264

265

A Fernden Tennis Court Co Ltd enamelled advertising sign

‘How to Plant’, a World War 2 period poster

English, circa 1935 together with a John Ewell Ltd enamelled sign This company supplying lawn mowers circa 1920 £120-180

circa 1945 issued by the Ministry of Agriculture & Fisheries with instructions on growing basic vegetables 50cm.; 20ins wide with later frame £100-200

together with collection of antique and vintage gardening implements including hose reel, knap sprayers, collection of gardening sprayers and syringes, lawn sprinklers and watering cans, etc (33)

early 20th century

£300-500

£350-550

together with a varied collection of antique and vintage gardening implements including averruncutor, turf lifters, shears, rakes,spades, forks, hoes, watering cans, etc (36)

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269

268 268 An Edwardian F H Ayres ‘Wimbledon’ croquet set English, circa 1905 comprising four ash mallets, two markers, eight iron hoops, and further accessories including boxed coloured indicating discs contained in original storage box with remains of period label depicting Edwardian figures at play £250-400 269 An F H Ayres croquet set circa 1925 comprising four mallets, balls, hoops and boxed clips, contained in original box with label, together with four

vintage deck chairs dating from circa 1910 (canvas worn), and garden parasol £200-400 270 A Webb’s seed packet counter display box English, circa 1935 with tired tinplate compartments for seed packets, the lid with label giving details of arrangement and presentation, part green painted, the unpainted lid made up from a variety of overseas woods, 67cm.; 27ins wide, together with a Toogoods Seeds enamelled advertising sign, circa 1920 £120-180

270

271

271 An Edwardian game of Golfstacle English, circa 1910 comprising a range of tinplate obstacles including bridge, tunnel and hoops, in original storage box, together with two putters and balls, and a clock golf numeral set, plus eight wooden skittles This game was patented by William Senhouse Clarke in 1907. It is to be played like golf or croquet. A highly popular game for Garden Parties of the time. £150-250 97

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272

274

Four Toogood Championship Shields

A scarce Royal Horticultural Society Associate of Honour lapel badge

circa 1909-1913 Hallmarked silver embossed plaques on velvet backed stands 16cm.; 6ins wide £200-400 273 A vintage Sussex trug together with a collection of antique and vintage gardening hand tools including trowels, weeding forks, daisy grubbers, dibbers, secateurs, watering cans, etc (41) £300-500

hallmarked 9ct gold and enamel in leather case of issue (the number of this award may not exceed 100 at any one time) together with an RHS long service medal in case of issue and a group of nine RHS and other medals in silver gilt, silver and bronze £120-180

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275 A scarce set of three Thornycroft bronze Horticultural prize plaques circa 1919-1921 designed by Hamo Thornycroft RA with his facsimile signature in relief, commissioned by Toogood’s Seeds. These attractive plaques each depicting a female figure in gardening attitude 29cm.; 11ins by 17cm.; 7ins £700-900 276 A pair of vintage Spalding wooden grass court tennis posts London, circa 1930 with brass winder and pulley mechanism, cast iron feet and ground plates, together with a pair of Victorian painted wood tennis posts by Gardiner with embossed plaque ‘ Gardiners Simplex Club, Registered July 21st 1882, Hoddesdon, Herts, and a vintage clock golf set with box £200-400

277 A vintage galvanised trug together with a collection of antique and vintage gardening hand tools including secateurs, saws, lines, daisy grubbers, weeding forks, dibbers, etc (41) £300-500 99

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280 A ‘Wikeham’ patent weed eradicator 278

English, circa 1910

A scarce Cowen’s No 2 patent walking stick slasher

the brass barrelled cane incorporating sprung needle injector to release poison to weed, with original screw cap and applied brass ‘The Wikeham’ plate

English, circa 1880 the part leather covered wood handle concealing slashing blade stamped Cowen’s Patent and bird motif, brass ferrule to stick

85cm.; 33ins long £150-250

90cm.; 3ft long overall £200-300

281 A set of nine Showground or ‘Pub’ skittles English, circa 1900 279 A Thomas Green & Sons Silens Messor lawn mower circa 1905 chain driven together with original grass box £150-250

100

crudely made and painted, together with two wooden balls sizes vary, approx 39cm.; 15½ins high This ancient pastime was originally played with nine pins £100-200

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282 A Dubois ladies ‘out of reach’ flower/fruit gather French, circa 1910 trigger operated cutting and retrieving blades, fitted pollinating brush to handle

285

98cm.; 39ins long, together with an A C Harris patent gatherer, circa 1925

English, circa 1935

A scarce ‘Little Wonder’ hedge clipper a remarkable, somewhat intimidating implement for use by one man for side cuts up to 4ft in one operation, and a one or two man machine for top cuts, together with two Astor garden shears circa 1935

£250-350

Original cost £6-18-6d. Not a great success and therefore comparatively rare £300-500

283 A collection of seventeen Haws watering cans English, circa 1910-1960 graduated sizes for specific usage, including scarce weed killer can, professional greenhouse cans, and for indoor use. Copper, brass, galvanised and japanned finishes, condition varies (17)

284 A scarce Victorian handbarrow circa 1900

Haws was established in 1886 and remain leading manufacturers of watering cans used worldwide

presented on later legs and together with a collection of antique and vintage gardening implements including, loppers, averruncutors,turf lifters, rakes, hoes, forks, spades, shears, watering cans, etc (36)

£200-300

£250-400

circa 1960

together with a child’s wheelbarrow, a pair of Daddy’s Helper shears, watering can, and further children’s gardening items

with grass box and

£150-250

286 A child’s Webb’s Miniature lawn mower

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287 A wrought iron lantern arch circa 1900 incorporating an earlier copper mounted lantern restored 376cm.; 148ins high by 419cm.; 165ins wide overall; internal measurements 333cm.; 131ins by 343cm.; 135ins ÂŁ3000-5000

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288 An unusual and rare Japanese style tea house early 20th century constructed of red pine with brick and composition stone infills and windows, beneath a lead flashed pagoda roof, the panelled interior fitted with shutters. Provenance: Cowbridge House, Near Malmesbury, Wiltshire. In the 1850s Samuel Brooke had the house formerly called Cowbridge Mill redesigned and rebuilt by the architect John Shaw with an elaborate Italianate garden. Brooke was a member of the Brooke of Brooke Bond Tea family. The estate was subsequently bought in 1899 by the grandly named Baldomero Hyacinth de Bertodano y Lopez, Marques del Moral, a partner in a firm of London solicitors, Hudson Matthews, Lopez and Coupland, and it was he who was almost certainly responsible for the construction of the teahouse. Japanese Gardens have intrigued and stimulated the West since the Portuguese and Spanish first visited Japan in the mid 16th Century. In 1639, however Japan expelled all foreigners and apart from a 103

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architect William Burges. In 1893 his book Landscape Gardening in Japan was published in England and swiftly became the seminal book on garden design. In two volumes, copiously illustrated, it includes detailed sketches of the various forms of garden ornament including granite lanterns together with photographs of gardens in Japan. In 1910 the Japan-British Exhibition opened in London, held at the White City ground near Shepherds Bush and included two Japanese Gardens spread over 10,000 square yards. Amongst the exhibitors was The Yokohama nursery Company Ltd who displayed over 2000 plants and a collection of lanterns. Dozens of Japanese gardeners came to England for the exhibition, bringing with them plants, ornaments and buildings and many of them stayed on afterwards to create Japanese gardens including those at Tully House in County Kildare, Ireland and Tatton Park in Cheshire which after falling into decay was restored to its former glory.

small amount of trade with the Dutch East India Company, Japan remained in its self imposed isolation for over 200 years until an American commodore, Matthew Perry, forced consular relations in 1854. This was swiftly followed by treaties with Britain, Russia and Holland. The opening of the Japanese ports gave rich, curious and intrepid Europeans and Americans the chance to travel. They returned home with stories, photographs and souvenirs of art styles and culture which was startlingly different from what they had seen before. The Universal Exhibition in London in 1862 followed by the Exposition Universelle in Paris in 1867 saw an explosion of interest in all things Japanese. Prints by Hiroshige and others caused great excitement amongst artists and intellectuals. Claude Monet had his own copy of Hiroshige’s Wisteria Blooms over Water at Kameido amongst a collection of ukiyo-e prints, and the famous bridge over the lily pond in his garden at Giverny is unquestionably Japanese in style. The most influential writer on Japanese gardens was undoubtedly Josiah Conder, who first went to Japan in 1876, having previously worked for the great Victorian

104

Other notable Japanese gardens include Compton Acres in Poole, Dorset which included a pavilion, summer house, lanterns, bronze cranes a torii arch, similar in style to the one in this sale and a waterfall tumbling into a large pool with sets of stepping stones. The whole cost the owner, T.W. Simpson some £220,000 in 1914, the equivalent of £3 million in 2000. Amongst the English retailers in the early 20th century selling Japanese garden ornament were Carters of London who offered solid granite lanterns ‘direct from Japan from 8 to 25 guineas and weighing up to one ton’. Also Liberty’s, who prided themselves on their response to new and exotic styles and markets, in their 1910 catalogue, illustrated Japanese granite lanterns on the same page as terracotta planters designed by Archibald Knox. Literature: Japanese Gardens in Britain by Amanda Herries, Shire books 2001 Garden Styles by David Joyce, Pyramid books, 1989. The above lot is being offered for sale in situ near Cirencester, Gloucestershire and can be viewed by appointment. For ease of transport, the lower portion of the teahouse comes apart with the simple removal of wooden dowels in the frame. £30,000-50,000

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289

290

A washing copper

A square copper planter

19th century

modern

49cm.; 19ins high by 114cm.; 45ins diameter

the planter 61cm.; 24ins high by 89cm.; 35ins square

£600-1000

£1000-1500

291

292

293

An unusual wrought iron plant stand

A near set of three rectangular cast iron planters French, late 19th century

A pair of unusual Toleware plant stands

34cm.; 13½ins high by 72.; 28½ins long

French, late 19th century

£400-600

89cm.; 35ins high

French, late 19th century 96cm.; 38ins high by 76cm.; 30ins diameter

£300-500

£400-600

105

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296

297

294

A pair of rare Royal Pottery Weston-SuperMare terracotta urns

A pair of Doulton stoneware urns

A Compton terracotta pot

circa 1880

early 20th century

stamped John Matthews, Royal Pottery, Weston-SuperMare

stamped Doulton and Co Ltd., Lambeth

with large circular maker’s stamp 40cm.; 15½ins high, together with an Italian terracotta pot, with maker’s stamp, 40cm.; 16ins high and another terracotta pot, 46cm.; 18ins high £1200-1800

61cm.; 24ins high, together with another glazed stoneware urn, early 20th century, 53cm.; 21ins high

circa 1880

61cm.; 24ins high £250-400

£250-400

295 An unusual pair of terracotta planters possibly Scandinavian, mid 20th century 49cm.; 19ins high £400-600

106

298 A pair of stoneware basketweave planters early 20th century 34cm.; 13½ins high £500-800

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299 A harlequin set of four terracotta basketweave planters early 20th century average height 41cm.; 16ins £600-1000

300

301

A pair of terracotta urns

A pair of glazed earthenware urns on pedestals by Preston

circa 1910

circa 1870

one stamped Hathern Station Brick & Terra Cotta Co Ltd, Loughborough

one stamped Preston Grange

46cm.; 18ins high £250-400

107cm.; 42ins high £400-600

107

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302

304

A pair of Stiff & Sons stoneware urns

A pair of Pulhams stoneware urns

late 19th century

circa 1870

stamped J Stiff & Sons, Lambeth

stamped Pulhams Terra Cotta Broxbourne

60cm.; 24ins high by 78cm.; 30½ins wide

55cm.; 22ins high by 66cm.; 26ins diameter

£500-800

£1200-1800

303 A glazed earthenware vase d’Anduze late 19th/early 20th century with maker’s stamp Boisset R anduze 81cm.; 32ins high £500-800

108

305 A set of six composition stone urns 2nd half 20th century 66cm.; 26ins high £600-1000

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306

308

A pair of carved white marble urns

A Blashfield stoneware urn

Italian, late 19th century

circa 1870

74cm.; 29ins high

stamped J. M. Blashfield, Stamford, 1870

£4000-6000

71cm.; 28ins high £600-1000

307

309

A pair of marble urn bodies

A pair of carved white marble urns

19th century

late 19th century

socles missing

27cm.; 10½ins high by 47cm.; 18½ins wide

45cm.; 18ins high

£700-1000

£500-800 109

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311 A pair of Versailles planters with wooden liners modern 78cm.; 31ins high by 64cm.; 25ins square £1000-1500

310 A carved limestone tazza urn on pedestal modern 107cm.; 42ins high £800-1200

312 A pair of enamelled cast iron planters French, late 19th century 30cm.; 12ins high by 58cm.; 23ins long £400-600

110

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315

316

A pair of rare cast iron urns

Two pairs of composition stone tapering cylindrical planters

mid 19th century

2nd half 20th century

66cm.; 26ins high

the base stamped Briggs BAB

£500-800

60cm.; 23½ins high

the larger 53cm.; 21ins high by 64cm.; 25ins diameter; the smaller 43cm.; 17ins high by 50cm.; 19½ins diameter

313 An unusual cast iron urn French, 2nd half 19th century

£1000-1500

£400-600

314 † A D-shaped lead planter mid 20th century the front bearing the date 1738 46cm.; 18ins high by 135cm.; 53ins wide by 81cm.; 24ins deep £300-500

317 An unusual cast iron urn 2nd half 19th century 53cm.; 21ins high by 74cm.; 29ins wide £1500-2000 111

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318

319

320

A cast iron and copper mounted armillary sundial

A white marble sundial after a design by Batty Langley

A pair of substantial carved granite and white marble pedestals

modern

late 18th/early 19th century

on 19th century cast iron pedestal and stone base

the bronze plate calibrated with hours, minutes and a sunburst

116cm.; 46ins high

164cm.; 65ins high, base diameter 76cm.; 30ins

145cm.; 57ins high

ÂŁ1200-1800

112

ÂŁ500-800

ÂŁ600-1000

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321 A carved Portland stone sundial early 20th century with 6in square brass dial 92cm.; 36ins high £500-800 322 A carved limestone composite order capital pedestal early 19th century 33cm.; 13ins high by 43cm.; 17ins square £250-400

323 A stoneware sundial circa 1870 century with later brass dial inscribed Silas Higgon fecit 1997 127cm.; 50ins high £1000-1500

113

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327 325 A three-tier cascade fountain made-up incorporating 19th century carved stone troughs with a later lead grotesque animal head spout, 150cm.; 59ins high by 220cm.; 86ins wide by 80cm.; 31½ins deep 326

324

£3000-5000

324 †

326

A rare Austin and Seeley composition stone and lead fountain

A small carved limestone wellhead with wrought iron overthrow

the mid 19th century composition stone base with later lead scallop bowl

late 20th century

140cm.; 55ins high by 97cm.; 38ins diameter

£1000-1500

£1500-2500

327

160cm.; 63ins high, diameter of wellhead 50cm.; 19½ins

A cast iron lion mask wall fountain 19th century mouth plumbed for water 30cm.; 12ins high £600-800 326 114

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328 A square carved limestone wellhead French, 18th/19th century with replaced wrought iron overthrow 220cm.; 87ins high by 98cm.; 38½ins square £3000-5000

conch shell plumbed for water 150cm.; 59ins high £1000-1500 330 A white marble urn/fountain Italian, late 19th century

329

mounted on brèche marble plinth

A composition stone fountain

70cm.; 27½ins high by 70cm.; 27½ins diameter

French, early 20th century

£1800-2500 115

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331 A rare and impressive Val d’Osne cast iron fountain late 19th century 300cm.; 118ins high by 124cm.; 49ins wide The Val d’Osne foundry was established by J.P.Andre in 1835 and based at the Val d’Osne, in the Haute-Marne region of France. Over the coming decades the company took over rival firms such as Barbezat, J.J. Ducel and Durenne, becoming far and away the largest manufacturer of cast iron in France. The company exhibited at the Great Exhibitions of 1851 and 1862 as well as the Chicago Great Exhibition of 1893. In 1889 the Societe Anonyme des Hauts Fourneaux and Fonderes du Val d’Osne published a mammoth 3 volume catalogue of engravings illustrating thousands of cast iron pieces across a huge spectrum, from railings and lamp posts to sculpture urns and fountains, in which this fountain is illustrated on plate 542. £18,000-25,000

Detail of underside of bowl

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332 A pair of wrought iron demi-lune seats modern 175cm.; 69ins wide ÂŁ1500-2500 333 A strapwork wrought iron tree seat modern 182cm.; 72ins diameter ÂŁ1500-2500

117

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336 An unusual hardwood rocking chair mid 20th century £400-600 334 An Arras wrought iron seat French, circa 1900 the back with brass makers plaque 162cm.; 62ins long £800-1200

335

337

early 19th century

An unusual carved wood chair made up of Oar elements

186cm.; 73ins wide

early 20th century

£900-1200

200cm; 78ins high

A Regency reeded wrought iron seat

£300-500 118

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338

340

A pair of Lutyens style hardwood seats

An Arras style wrought iron seat

2nd half 20th century

early 20th century

166cm.; 65ins long

200cm.; 79ins long

£1000-1500

£400-600

339 A wrought iron games seat mid 19th century 204cm.; 80½ins long £1000-1500

341 A Regency reeded wrought iron seat early 19th century 190cm.; 75ins wide £900-1200

119

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342 A Coalbrookdale Lily of the Valley pattern cast iron seat circa 1870 stamped CB Dale & Co. and with diamond registration stamps 187cm.; 74ins wide £2500-4000 343 An unusual cast iron seat 1st half 20th century 137cm.; 54ins wide £800-1200 344 An unusual Victorian cast iron table circa 1870 66cm.; 26ins diameter £300-500

120

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345

347

An unusual cast iron grotto table

A pair of Coalbrookdale style Fern and Blackberry pattern cast iron seats

2nd half 19th century 66cm.; 26ins high by 52cm.; 20½ins wide £300-500

mid 20th century 112cm.; 44ins wide £800-1200

346 A Coalbrookdale style cast iron plant stand

348

mid 20th century

An unusual cast iron table

114cm.; 45ins high

circa 1860

£400-600

with slate top 61cm.; 24ins high by 167cm.; 56ins long £1200-1800

121

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349

351

A spun aluminium sofa

A suite of spun aluminium furniture

American, 1960s

with cushion

comprising two chairs with cushions and a table

122cm.; 48ins wide

the table 145cm.; 57ins long

£600-1000

£800-1200

352 350 A carved marble table 1950s 200cm.; 75ins long £1800-2500 122

Holey Bench Cut and Painted Steel 72cm.; 28½ins high by 200cm.; 79ins wide by 70cm.; 27½ins deep £400-600

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353 Double King Root Throne Unique 240cm.; 94½ins high by 210cm.; 82½ins wide £1500-2500

355 † Garden Armchair Stainless steel 98cm.; 33½ins high by 88cm.; 34½ins deep £2000-3000 354 Root Throne Teak 201cm.; 79ins high by 134cm.; 52¾ins wide £1200-1800

356 Magnificient Carved Teak Bench 240cm.; 94½ins wide £2000-3000

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357

358

359

A carved Portland stone figure of a classical maiden

A similar carved Portland stone figure of a girl in Elizabethan dress holding a model castle

A composition stone figure of a mermaid

circa 1900 176cm.; 69ins high ÂŁ800-1200

124

183cm.; 72ins high ÂŁ800-1200

French, early 20th century on pedestal, scallop shell plumbed for water 183cm.; 72ins high ÂŁ2000-3000

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360

361

362

After the Antique: A carved sandstone figure of a classical maiden

A carved white marble figure of Plenty

A stoneware classical figure

Italian, 2nd half 18th century

circa 1870

18th century

147cm.; 58ins high

£1000-1500

140cm.; 55ins high

£3000-5000

115cm.; 45ins high

£1500-2500

125

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363 An over-lifesize composition stone classical figure of a Roman Senator on pedestal 2nd half 20th century overall 310cm.; 122ins high ÂŁ4000-6000 364 A similar composition stone Roman Senator on pedestal 2nd half 20th century overall 310cm.; 122ins high ÂŁ4000-6000

126

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365 Laurent-Honoré Marqueste: A carved white marble of Galatea late 19th century titled and signed Marquest 83cm.; 32ins high Marqueste was born in Toulouse in 1848 and died in Paris in 1920. He was a pupil of Jouffroy and Falguière and won the Prix de Rome in 1871. He first exhibited at the Paris Salon in 1874 and subsequently won numerous medals including Silver Medal in 1878 at the Exposition Universelle and was awarded the Légion d’honneur in 1884. From Margueste’s original terracotta sketch in the Musée des Augustins and his plaster model exhibited at the Salon des Artistes Francais in 1884, it is clear that he intended to incorporate the figure of Pygmalion in the composition. However the following year he displayed the completed marble of Galatea alone, with only the sculptor’s tools and a rose at her feet to suggest his presence. She is shown in the act of transfiguration, awakening from the confines of the marble, having received the kiss of life from Pygmalion. When Carl Jacobsen of the Carlsberg brewery saw the statue in 1901, he ordered a second copy, which had to differ in a few details from the original version, now the property of the French state (it was purchased by the Musée du Luxembourg and is now in Châteaubriant). The Galatea was also produced in biscuit de Sèvres and a marble statuette was exhibited at the French exhibition of 1888 in Copenhagen, organised by Jacobsen. Marqueste is the sculptor of the famous Perseus Slaying Medusa of 1875, now in Villeurbanne, received to ecstatic acclaim by the critics of the 1876 Salon and winner of the First Class medal. Jacobsen also obtained permission for a copy in 1902, which like the Galatea is now in the Carlsberg Glyptotek. For more information on the Carlsberg collection, see the Royal Academy exhibition Masterpieces from the Ny Carlsberg Glyptotek, Copenhagen 18 September- 10th December 2004. RELATED LITERATURE: Fonsmark no. 96, pp.216-17; Musee d’Orsay p.276 £1000-1500 127

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366 A pair of monumental composition stone reclining dogs on sectional pedestals modern each with iron collar 200cm.; 78½ins high by 183cm.; 72ins long by 95cm.; 37½ins wide £3000-5000 367 † After Joseph Gott: A pair of lead reclining greyhounds early 20th century on later Portland stone bases 58cm.; 23ins high by 122cm.; 48ins long £1500-2500

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368 A pair of carved gritstone eagles late 19th/early 20th century 94cm.; 37ins high by 104cm.; 41ins wide ÂŁ2000-4000 369 A pair of marble sphinxes late 20th century 83cm.; 33ins long ÂŁ1000-1500

129

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370

372

A pair of terracotta caryatids

After Gayrard: A terracotta model of a Lurcher

Continental, 19th century restored 172cm.; 67½ins high £3000-5000 371 An unusual set of three Victorian carved sandstone Liver birds mid 19th century

early 20th century 33cm.; 13ins high by 66cm.; 26ins long After an original in bronze by Paul Joseph Gayrard, 1807-1855, this model was first exhibited in 1848 £1000-1500 373

79cm.; 31ins high

An unusual composition stone Salamander

£1200-1800

French, early 20th century 70cm.; 27½ins long £300-500

130

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374

375

376

A Durenne Foundry cast iron lion

A pair of unusual stoneware seated hounds

A rare composition stone figure of a cat

circa 1860

late 19th century

mid 20th century

the base with maker’s stamp A Durenne, Paris

56cm.; 22ins high, with later ebonised wood and brass lamp fittings

56cm.; 22ins high

67cm.; 26ins high £1200-1800

£400-600

£800-1200

131

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377 A composition stone figure of the River God French, early 20th century 107cm.; 42ins high by 148cm.; 58ins long £2000-4000 378 A composition stone bust of a Roman Centurion mid 20th century 89cm.; 35ins high £700-1000 379 A pair of terracotta classical torsos French, 19th century the larger 92cm.; 36ins high £1200-1800

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380 A Lefcoware glazed stoneware figure of a boy early 20th century 43cm.; 17ins high £400-600 381 In the manner of Mary Spencer Watson: An unusual carved Purbeck stone figure of Bacchus mid 20th century 130cm.; 51ins high, together with Anon, 2nd half 20th century, Portland stone 117cm.; 46ins high by 93cm.; 36½ins diameter

380

382

381

383

£500-800 382 Spencer: A carved white marble group of a boy and a kid circa 1860 indistinctly signed Spencer **** 91cm.; 36ins £3000-5000 383 A Victorian carved white marble bust of a girl 2nd half 19th century on associated composition stone base 60cm.; 24ins high £300-500

133

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384 A lead figure of a child representing Autumn early 20th century on composition stone pedestal 101cm.; 40ins high £400-600

134

385

386

A bronze circus elephant

An unusual bronze stand

modern on marble base

Japanese, Meiji Period, 1868-1912

45cm.; 17½ins high

variegated patination

£1000-1500

153cm.; 60ins high £800-1200

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387

388

389

Crocodile

An unusual lead figure of a monkey

A carved stone dog

mid green-brown variegated patination

early 20th century

front legs lacking

65cm.; 25ins high

104cm.; 41ins high

178cm.; 70ins long

£500-800

£300-500

last quarter 20th century

circa 1870

£1200-1800

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390 After Oscar Lenz: A bronze figure of Echo modern weathered green patination 176cm.; 69ins high ÂŁ4000-6000

136

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391 John Tweed: Awakening Bronze signed John Tweed 58cm.; 23ins high This group was exhibited at the Royal Academy in 1929. John Tweed (1869-1933) was born in Glasgow and trained in the London studio of Hamo Thornycroft, while also attending the Royal Academy Schools. In June 1893 he went to Paris in the hope of studying with Rodin, but he found the four-year commitment that Rodin demanded of his pupils more than he could undertake. On returning to London, he became associated with Alfred Stevens and other exponents of the New Sculpture movement. In 1895 he married Edith Clinton, secretary to the Women’s Suffrage Society. Later, he carried out a number of largescale public commissions, including monuments for British leaders such as Sir Robert Clive and Earl Kitchener. In 1901 he received the controversial commission to complete Alfred Steven’s work on the Wellington Memorial. Over the years he maintained his friendship and admiration for Rodin, and championed his work in Britain. His home at Cheyne Walk was made famous by the regular visits from 1901 to 1914 of Rodin and he was largely responsible for negotiating the loan of Rodin’s sculptures to the V&A in 1914, and shortly afterwards the gift. An exhibition of Tweed’s work The Empire Sculptor, Rodin’s Friend was held at the Sir John Madejski Art Gallery, Reading Museum, Reading in 2013 £3000-5000

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392 A high relief fibreglass wall plaque “Man in the Moon” modern Designed by Andy Hillman for a Vogue photographic shoot for Vogue magazine by Tim Walker 313cm.; 123ins high Hillman Studio is a creative set design studio based in central London established by Andy Hillman in 2005. The studio produces set design, art direction, prop and costume making for a variety of different mediums. From fashion editorial & advertising shoots to shop windows, retail display, runway shows and exhibition design. The studio has collaborated to produce work for publications such as British, American, Japanese, Russian, Chinese, Teen and Casa Vogues, Vanity Fair, GQ, W, Citizen K, Dazed & Confused, Lula and Another Magazine. Born in England in 1970, Walker’s interest in photography began at the Condé Nast library in London where he worked on the Cecil Beaton archive for a year before

138

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university. After a threeyear BA Honors degree in Photography at Exeter College of Art, Walker was awarded third prize as The Independent Young Photographer Of The Year. Upon graduation in 1994, Walker worked as a freelance photographic assistant in London before moving to New York City as a full time assistant to Richard Avedon. When he returned to England, he initially concentrated on portrait and documentary work for British newspapers. At the age of 25 he shot his first fashion story for Vogue, and has photographed for the British, Italian, and American editions, as well as W Magazine and LOVE Magazine ever since. £1200-1800

393 Anon: Sleeping man 1980’s Bronze with indistinct inscription 75cm.; 30ins high by 112cm.; 44ins long £300-500 394 Guido Lodigiani “Chiamato all vita” (Called to life) Vicenza stone Signed Guido Lodigiani 1988 155cm.; 59ins high by 75cm.; 29½ by 75cm.; 29½ This lot is sold with a photograph signed by the sculptor. It was exhibited at the Villa Gabrielli in an exhibition in 1988 entitled “II materiale e la forma”. £300-500

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396 Haliday Avray Wilson, Born 1967 Warrior Bronze 65cm.; 25½ins high by 75cm.; 29½ins wide by 25cm.; 10ins deep

From an edition of 5

Born in London, but now residing in France, Halliday was trained in fine art at Oxford and Florence. Awarded a Medal of Honour for his contribution to the arts in France, in part due to his monument ‘Victoire’, a controversial 30 foot high work commemorating the French Resistance. Other pieces include a large scale abstraction of a racehorse in steel for the Wetherby Racing Group UK, and works in bronze for the French National Collection of Equestrian Art. Sculpting for over twenty years Wilson’s work enjoys an international clientele of discerning collectors and works of all scales have been shipped throughout Europe and the US.

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

£6000-8000

395 Wendy George Connected Bronze

£4000-6000

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397 Tony Evans, Born Liverpool 1964 Equus Copper Unique 119cm.; 47ins long £2500-3500 398 Patricia Peeters, Born 1964 End Dance Bronze Signed and numbered from an edition of 150 138cm.; 54½ins long Fascinated with the visual arts, especially figurative works, Peeters studied at the Academy of Modern Art in Turnhout, Belgium. She has also studied evening classes and further specialised in fashion design and model drawing at the Academy of Fine Arts in Kortrijk and the Academy SaintLucas in Ghent. She is a former ballet dancer, and her works are evocative of the style, grace and poise of this discipline. £2000-3000

141

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399 Isaac Kahn Fleur Edition No 35 of 99 44cm.; 17½ins high 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. £800-1200 400 Gill Brown Swans Entwined Bronze Signed G.B., A.P 58cm.; 23ins high by 28cm.; 11ins wide by 26cm.; 10ins deep £2000-3000

142

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401 Quentin Clemence, Born 1956 The Gardener Bronze, variegated greenbrown patination 51cm, 20ins high Born in Glastonbury, England in 1956, Clemence was brought up in London, studied fine art at Goldsmiths’ College, with a special interest in performance art and installations. He moved to Ireland and then to southern Europe working for many years with a small circus and as a puppeteer. Since 1986 he has lived and worked in a steep valley at the base of the mountain of Montserrat near Barcelona. In 2002 he was awarded the Sabastia Guasch prize (FAD, Barcelona) for his contribution to the opera Lucrecia Borja by Carlos Santos for the inauguration of the Teatre Lluire in Barcelona. In the summer of 2002 he exhibited his automata in the Caixa Forum Museum as part of the 20th anniversary of the art gallery Sala Montcada. The same summer he was invited to exhibit for the inauguration of the surrealism exhibition in

402 the Kunstsammlung Nordrhein-Westfalen Museum in Dusseldorf.

Rachael Talbot The Judge

In 2002 facing increasing demand for his work he put aside performance and puppetry to dedicate more time to sculpture.

Bronze

£2000-3000

£4000-6000

Signed, edition 4 of 25 40cm.; 15¾ins high by 18cm.; 7ins wide by 12cm.; 5ins deep

143

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403 Adrian Montford, Born 1923 Bhudda’s Sermon of the Flower Bronze Signed, number 1 from an edition of 3 184cm.; 72½ins high by 91cm.; 36ins wide Montford is the son of the famous RA sculptor Paul Montford (1868-1938) who designed the National War Memorial of Victoria, Melbourne, decorated Battersea Town Hall, the façade of the V&A and the Kelvingrove Bridge in Glasgow. Adrian emigrated to Australia with his family, returning to England following the death of his father. He studied at the Royal Academy Schools, winning a 1st Landseer prize and silver medal for a composition is sculpture, then the St Martins College of Art and Design where he was a contemporary of Barry Flanagan, and Sir Anthony Caro amongst others. Bhudda’s Sermon of the Flower won the Prix de Rome in 1954, and was exhibited in the Royal Academy, and is based on the legend that Bhudda was asked to give a sermon, so he silently held up a lotus flower, and silently transmitted direct wisdom to his disciples. £25,000-35,000 144

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404 Alex Davies, Born 1970 Kneeling Figure Bronze Signed and Numbered 1 from an edition of 9 50cm.; 19½ins high by 25cm.; 10ins wide by 20cm.; 8ins deep After studying at Farnham and Plymouth Art Schools Alex set up a blacksmithing business,

specializing in designing and making furniture, fixings and sculpture for a number of high profile restaurants, retailers and businesses. He also became involved with an art foundry that shared the studios where he worked, before spending some time at the Frink School and a few months working at Bronze Age in South Africa. A spell as foundry manager

with Morris Singer with responsibility for many of the UK’s monumental bronzes helped prepare him to set up his own foundry, from where he has worked on a number of high profile castings (The Bulls at Blagdon Hall) and restorations (The Green Horse, Windsor Great Park).

405 Swanhildur Ladyship Bronze, variegated green patination Signed and numbered 2 of 7 52cm.; 20½ins high £3000-5000

£3000-4000

145

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406 Andrew Flint Nocturne Stoneware Unique 151cm.; 59½ins high by 53cm.; 21ins wide by 43cm.; 17ins deep £1200-1800 407 Andrew Flint Reflection Stoneware Unique 138cm.; 54½ins high by 45cm.; 17¾ins wide by 40cm.; 15¾ins deep £1200-1800

146

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408 Andrew Flint Obsidian Stoneware Unique 145cm.; 57ins high by 40cm.; 15Âžins wide by 36cm.; 14ins deep Andrew Flint is a British designer Maker, whose thirtyyear career spans Product Design, the Applied Arts and Sculpture. While much of Andrews past work could be described as sculptural, it is only in the last few years that he has started designing and making work that is purely sculptural. Flint has designed products that have been used in luxury boats, hotels, and private residences throughout the world, and he has lectured and demonstrated in three major Universities to a range of art and design students. It is no surprise then that Andrew has managed to rapidly gain a strong reputation for his distinctive hand-built ceramic forms. Each piece is built by hand from clay using the coiling method and then individually fired to stoneware temperatures. The work has to dry thoroughly before being fired and a single form may take months to complete. The number of pieces Andrew produces is quite small and the style is always gradually evolving, always pushing the boundaries of what he can achieve. ÂŁ1200-1800 147

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409 A Lapis Lazuli 43cm.; 17ins high by 31cm.; 12ins wide, 17kg £2000-3000 The striking blue colour of Lapis Lazuli has been admired and coveted since the earliest days of civilization. The ancient Egyptians amongst others prized it. Throughout antiquity it was considered more valuable than gold and its use as jewelry or crushed and used as a pigment were signs if extreme wealth. The ancient Egyptians used it as a pigment notably in their renditions of the night sky on tomb roofs as famously seen in Tutankhamuns tomb and inlaid on his funeral mask. By the Middle Ages it had reached Europe and was used to produce “Ultramarine” the most expensive of paint colours. Wealthy patrons would supply it to artists and prescribe exactly how much of the painting should be blue demonstrating to everyone their power and wealth Lapis Lazuli is found in a very small area of Badakhshan in Afghanistan and the vein has been continuously quarried for over 3,000 years. These pictures kindly supplied by the vendors father show the famous Sar-I Sang mine, how the Lapis is extracted by hand and the inhospitable nature of the terrain it has to be carried out of. In fact the mining techniques used today are the same as used in ancient times as are the ways of carrying it out which is why large specimens are very rare. The fact that the seam was discovered and the enormous amount of energy and time to get anything out from the area explains why it has always and will remain highly prized.

148

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411

410 410 A group of four mineral specimen bowls comprising Chinese Flourite, 14cm.; 5½ins wide, Madagascan Quartz, 15cm.; 6ins wide, Madagascan Chalcedony, 23cm.; 9ins wide and Peruvian Mangano Calcite, 17cm.; 7ins wide £600-1000 411 A Quartz bowl

412

Madagascar 23cm.; 9ins wide

A Green Jasper Stromatolite fossil bowl

£450-650

Madagascar 36cm.; 14ins wide £1200-1800

149

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415

413

416 413

415

A Scolecite specimen

A specimen of Nail head calcite crystals with quartz on green fluorite

Poona, India 23cm.; 9ins wide £450-650

Morocco 25cm.; 10ins wide £550-850

414 An unusual double terminated Calcite crystal specimen Bristol, UK 414

24cm.; 9½ins wide £650-950

150

416 A Pyrite crystal sphere China 20cm.; 8ins wide £800-1200

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418

417 417

418

419

An Azurite, Malachite, Hematite on Quartz Crystal specimen

A Stilbite specimen Poona, India

An Apophyllite and stilbite

37cm.; 15ins wide

Poona, India

£900-1200

26cm.;18cms wide

Morocco 31cm.; 12ins wide

£550-850

£1000-1500

419

151

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422 420

422

A Polychrome Jasper freeform

Two quartz points

Madagascar 23cm.; 9ins high £550-850 420 421 A Celestite specimen Madagascar 18cm.; 7ins wide £400-600

421

152

Brazil the larger 22cm.; 9in high £450-650

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423 423 Three geodes comprising, Quartz and Crystal Heamatite Mexico average size 12cm.; 5ins diameter ÂŁ250-400 424 A large Agate and Amethyst slice Brazil on metal stand the specimen 53cm.; 21ins wide ÂŁ800-1300

424

153

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425

427

425

427

An Obsidian sphere

A collection of seven mineral spheres

Mexico £450-650

including Calcite, Ocean Jasper and Quartz the largest 10cm.; 4ins diameter

426

£400-600

An Amethyst sphere

428

Brazil

An unusually figured fossil wood slice

18cm.; 7ins diameter

20cm.; 8ins diameter £450-650

Madagascar, Triassic, approximately 240mya 48cm.; 19ins maximum £500-800

426

154

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429

428

429

430

A near pair of Stromatolite fossil slices

A Cleonicercas sp. ammonite montage

Madagascar

made up from sections of Lower Cretaceous Madagascan ammonites, approximately 110mya

the larger 40cm. 16ins high Stromatolites have provided the earliest known evidence of life on earth and have been dated back to 3.5 billion years ago. They are produced by microorganisms particularly cyanobacteria and performed a similar function to the calcium carbonate structures made by coral polyps.

28cm.; 11ins diameter ÂŁ400-600

430

ÂŁ650-950 155

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431

432

An Icthyosaur head and foreparts

A Crinoid (Sea Lily) plaque

Holzmaden, Germany, early Jurassic

Holzmaden, Germany, Jurassic

48cm.; 19ins high by 90cm.; 35½ins wide

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

£5000-8000

£800-1200

433 433 An Audiloceras heteromorph ammonite

432

Volga River, Russia, Upper Jurassic, approximately 140mya 36cm.; 14ins wide £650-950

156

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434

434 An Ammonite Holzmaden, Germany, early Jurassic with applied Holzmaden Icthyosaur vertebrae 50cm.; 19½ins high by 70cm wide.; 27½ins wide

435

A Crinoid (Sea Lily) plaque Holzmaden, Germany, Jurassic 44cm.; 17ins high by 34cm.; 13½ins wide £2000-3000

£2000-3000 436 A massive ammonite with a smaller ammonite (Pseudolioceras lithense) Holzmaden, Germany, early Jurassic 80cm.; 31½ins high by 86cm.; 34ins wide

436

£1500-2500

157

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439 437

440

438 437

438

A large Mioplosus

A decorative plaque containing three partial Paradoxides trilobite specimens

Green River, Wyoming, Eocene framed 58cm.; 23ins high by 73cm.; 28½ins wide; specimen 42cm.; 16½ins wide

Morocco, Lower Cambrian, approximately 520mya

£1000-1500

£400-600

158

79cm.; 31ins maximum

439

440

A Keichousaurus Hui specimen

A sea scorpion plaque (Eurypterus remipes)

Guizhou, China, Triassic, approximately 230mya

Herkimer County, New York, USA, Silurian

the specimen 25cm.; 10ins long

the plaque 18cm.; 7ins high by 12cm.; 4¾ins, the specimen 14cm.; 5½ins long

£650-950

£250-400

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441

442

A Perisphinctes ammonite sp.

A Phylloceras sp. ammonite

Madagascar, Middle Jurassic, approximately 150mya

44cm.; 17ins maximum

43cm.; 17ins maximum

£700-900

£650-850

442

443 Two Cadocera ammonites Volga River, Russia, Upper Jurassic, approximately 140mya

443

11cm.; 4ins maximum £500-800

159

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446

444

446

A pair of hummingbirds in velvet wall frame

A decorative butterfly display in circular mahogany frame

Continental, circa 1900 40cm.; 16ins high by 35cm.; 14ins wide

circa 1890

£400-600

£250-400

445 A display of three hummingbirds and an orchid in oval glass dome wall frame Continental, circa 1900 445

72cm.; 28½ins by 62cm.; 24½ins wide £600-1000

160

40cm.; 16ins diameter

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448

447

448

A hummingbird and feather fan

A snow bunting and feather fan with ivory handle

French, late 19th century containing two hummingbird breast badges with dyed feathers in later mahogany wall case 48cm.; 19ins high by 36cm.; 14ins wide £500-800

French, circa 1900 in later wall display case 47cm.; 18½ins high by 40cm.; 15½ins wide £350-500

449 449

70cm.; 28ins wide

A giant golden king crab

This specimen is of unusually large size

Pacific Ocean, 20th century

£700-900 161

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452

450 Full mount Peacock with fanned tail

450

modern 170cm.; 67ins £800-1200 451 An Osprey probably by Shaw of Shrewsbury circa 1850 in later glass dome 77cm.; 30ins high £500-800 452 A wall mounted Sparrowhawk by Murray of Carnforth early 20th century label to interior of case 451

453

45cm.; 17½ins by 62cm.; 24¼ins £300-500

162

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454 455

453 An autonomen music box French, circa 1880 mechanism working containing two tanagers 38cm.; 15ins high

456

£800-1200 454 A possible record Lion skull (Panthera leo) mentioned in the Rowland Ward archive as being the largest skull known to them An002 42cm.; 16½ins high

455

456

A very rare carved whale bone skull with human teeth

A silver topped ebonised malacca walking cane

10cm.; 4ins high

with applied whales tooth handle, London marks for 1905

£300-500

92cm.; 36ins high

mid 19th century

£80-120

£500-700 163

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457 A Georgian mahogany 22 drawer double rank collectorâ&#x20AC;&#x2122;s cabinet 19th Century each drawer containing Tropical Butterflies and Moths, all in excellent condition 94cm.; 37ins high by 84cm.; 33ins wide ÂŁ2000-3000

164

p165-166 bidding form live_Layout 1 20/05/2015 13:43 Page 165

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode

SALE NUMBER GS049

Tel

Mobile

SALE DATE 23RD JUNE 2015

Fax

GARDEN & NATURAL HISTORY

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

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

Lot No.

Lot Description

Commision Bid (excluding premium & VAT)

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

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

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

ONLY)

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

p165-166 bidding form live_Layout 1 20/05/2015 13:43 Page 166

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

166

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

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

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

p167-168 bidding form sealed_Layout 1 20/05/2015 13:43 Page 167

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode

SALE NUMBER GE050

BIDS TO BE RECEIVED BY 5PM 24TH JUNE 2015

GARDEN & NATURAL HISTORY

Tel

Mobile

Fax

SEALED BID AUCTION BIDDING FORM

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

Lot No.

Lot Description

Sealed bid Sterling price (excluding premium & VAT)

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

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

ONLY)

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

p167-168 bidding form sealed_Layout 1 21/05/2015 16:14 Page 168

GUIDE FOR ABSENTEE BIDDERS SEALED BID AUCTION LOTS 200-457 All sealed bids must be with us, at the latest, by 24th June 5.00pm BST since the bids will be opened on the 25th June. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. Sealed bids, when placed by telephone, are accepted only at the callerâ&#x20AC;&#x2122;s risk and must be confirmed by letter or fax to the Bid Department on +44 (0)1403 331 340. Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods. All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue. We reserve the right to seek identification of the source of funds received. In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain

168

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

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

Cover_Layout 1 21/05/2015 11:19 Page 1

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

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