Garden & Natural History Auction, 13th & 14th October 2015

Garden & Natural History 13 & 14 October 2015

Summers Place Auctions Ltd

Garden & Natural History Live Auction

SPECIALISTS AND AUCTION ENQUIRIES

Sale No GS052

Tuesday 13 October 2015 at 1.30 pm

Viewing

James Rylands MRICS

Rupert van der Werff MRICS

Specialist

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 11th to Monday 12th October 2015 and on the day of the sale 10 am to 4 pm or by appointment

Sealed Bid Auction

Sale No GE053

Bids opened on Thursday 15th October 2015 Bids should be with us by 5pm BST 14th October 2015

Viewing Sunday 11th to Wednesday 14th October 10 am to 4 pm Cost of catalogue £10 at the gallery; £15 by mail; £20 overseas

Front cover lot 95 Bidding online available at The saleroom.com with additional fee of 3%.

Back cover lot 436

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

Fax: +44(0)1403 331340

IMPORTANT CONDITIONS RELATING TO THIS SALE C.I.T.E.S. All the relevant lots in this sale have been carefully vetted, mindful of current C.I.T.E.S. regulations, concerning the sale of endangered species. We are happy to provide advice on any lots, to overseas buyers concerning export restrictions. However, it is ultimately the buyers 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 substantial carved stone trough 80cm.; 31ins high by 210cm.; 83ins long by 100cm.; 39ins deep ÂŁ5000-8000

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2 A carved stone statue of Virgin and child Southern French, 13th century 130cm.; 51ins high ÂŁ4000-6000

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3 A carved white marble figure of Poseidon Italian, 16th century bearing the signature P. Torregiano 157cm.; 62ins high The generally considered opinion is that this figure is a period 16th century example but that the signature was added at a later time. ÂŁ8000-12,000

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4 A composition stone Baroque style torso of Poseidon modern mouth plumbed for water 220cm.; 86½ins high by 175cm.; 69ins wide by 100cm.; 39½ins deep £6000-8000

5 A pair of carved sandstone figures of a river god and goddess mid 19th century on associated pedestals overall height 112cm.; 44ins £4000-6000

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6 After Raffaele Monti Ft, 1851: A monumental composition stone figure of a girl entitled ‘Love’ signed R. Monti Ft, 1851 210cm.; 83ins high Raffaele Monti (1818-1881) was an Italian sculptor, author and poet born in Milan. He studied under his father, the noted sculptor Gaetano Matteo Monti in the Imperial Academy. He was invited to Vienna while aged only 20 where he received extensive patronage, he subsequently returned to Milan in 1840. In 1846 Monti travelled to England for the year, and later settled there.

Monti exhibited at the Royal Academy, and soon earned recognition as a leading sculptor with his piece for the 6th Duke of Devonshire, the “Veiled Vestal” a figure with illusionistic veil, a specialism of his. A bust based on this work, cast in Parian porcelain

by Copeland titled “The Bride”, but often known as “The Veiled Bride”, was issued in 1861 by the Crystal Palace Art Union. This bust became one of the most popular Parian busts ever produced. £4000-6000

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7 A carved white marble figure of a boy in shepherd’s dress 102cm.; 40ins high £1500-2500

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8 A carved white marble bust of Diana Northern European, 18th century 79cm.; 31ins high ÂŁ3000-5000

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9 A carved white marble bust of a man Northern Italian, 18th century 74cm.; 29ins high, on associated composition stone pedestal 26cm.; 10ins high, overall height 100cm.; 39ins ÂŁ1500-2500

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10 A carved white marble head 17th century or earlier 29cm.; 11½ins £1500-2500

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11 A carved white marble pedestal Italian, circa 1900 carved with young Pan musicians 130cm.; 51ins high ÂŁ6000-10,000

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12 After the Antique: A bronze figure of a seated Mercury Italian, circa 1900 on carved limestone base, weathered green patina 127cm.; 50ins high by 122cm.; 48ins long The seated Mercury was discovered on 3rd August 1758 at Herculaneum in the Peristyle of the Villa dei Papiri and kept in the royal palace of Portica.

Although it was possibly among the antiquities removed to Palermo in December 1798 to escape the French, it was recorded at Portici again in 1816. In 1943 it was removed to Monte Cassino to escape the Germans, who, however, captured it and took it to Germany. In transit it was damaged and the head had to be extensively restored after its return to Naples in 1947.

It was probably the most celebrated work of art discovered at Herculaneum and Pompeii in the 18th Century and was reproduced in a number of mediums. £4000-6000

13 After Theodore Kalide A lead fountain group of a boy and swan 125cm.; 49ins high by 120cm.; 47ins wide by 115cm.; 45½ins deep

The original by Professor Theodor Kalide (18011864) was commissioned by the King of Prussia and cast in spelter by the Geiss Company of Berlin. It was exhibited in the 1851 Great Exhibition at Crystal

Palace and another example can be seen in the Italian garden of Osborne House, Isle of Wight. £5000-8000

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14 A pair of rare Austin and Seeley composition stone Warwick vases 2nd half 19th century handles missing 72cm.; 28ins high by 87cm.; 34ins diameter 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 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”.

The marble original of these urns was discovered in 1771. It was purchased by Sir William Hamilton and sold after restoration to the Earl of Warwick, who for a long time forbade casts to be made of it. Eventually bronze and cast iron replicas were made and it was copied on a reduced scale in silver, bronze and terracotta by artists using the prints by Piranese. It is perhaps the most famous antique vase after the Medici and Borghese urns. By repute, it headed a list of art treasures compiled

by Napoleon Bonaparte, to be appropriated after the conquest of Great Britain. £2000-4000

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15 A rare and large Sienna marble Grand Tour tazza 1st half 19th century 43cm.; 17ins high by 47cm.; 18½ins wide £6000-9000

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16 A pair of carved white marble urns Italian, 2nd half 19th century 107cm.; 42ins high ÂŁ4000-6000

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17 A carved white marble bath Italian, 18th century with later applied lion masks and later block feet 64cm.; 24ins high by 173cm.; 68ins long A similar marble bath with lion masks and wrythen decoration stands in the courtyard of the Villa d’Este outside Rome. Built by Cardinal Ippolito II d’Este (1509-72) son of Lucrezia Borgia and nephew of Pope Alexander VI. The gardens built on the steep terraces of the hillside beneath the Villa were ideal for a series of gravity fed fountains and pools. £3000-5000

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18 A carved white marble wall cistern Northern Continental, 1st half 18th century 46cm.; 18ins high by 112cm.; 44ins long by 58cm.; 23ins deep ÂŁ3000-5000

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19 A carved white marble bowl on stand Italian, circa 1900 102cm.; 40ins high by 56cm.; 22ins wide ÂŁ1500-2500

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20 A carved white marble dolphin wall fountain Italian, circa 1900 163cm.; 64ins high by 60cm.; 24ins wide ÂŁ3000-5000

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21 A carved white marble seat Italian, circa 1900 205cm.; 80½ins wide Unusually, despite its age this seat appears never been mortared together and still retains all of its original fitting lugs £6000-10,000

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22 A rare Macauley and Wade foundry Seasons pattern cast iron seat last quarter 19th century with later replaced wooden seat, with diamond registration stamp 190cm.; 75ins wide The original design 238947 by Morgan, Macauley and Wade the Bath Works, Rotherham South Yorkshire was registered on 17th February 1870 (see engraving) ÂŁ4000-6000 25

23 A Coalbrookdale Nasturtium pattern cast iron seat fully stamped CBdale and with diamond registration stamp, mark and number 183cm.; 72ins wide This design, number 1958629 was registered and patented at the Public Records Office by Coalbrookdale on the 1st of March 1866 and is seat number 44 in their 1875 catalogue of castings.

Unusually, this seat incorporates an extra stretcher arch connecting the front and back legs. This device was very occasionally used when the oval panel above incorporated a town coat of arms made as individual commissions. ÂŁ4000-6000

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24 A Coalbrookdale Nasturtium pattern cast iron seat last quarter 19th century fully stamped 186cm.; 73ins wide This design, number 1958629 was registered and patented at the Public Records Office by Coalbrookdale on the 1st of March 1866 and is seat number 44 in their 1875 catalogue of castings. (see engraving) ÂŁ3000-5000

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25 A Coalbrookdale Fern and Blackberry pattern cast iron seat circa 1870 well marked with pattern number 29 and registration number CBDale & Co 152cm.; 60ins long ÂŁ1200-1800

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26 A rare small Coalbrookdale Fern and Blackberry pattern cast iron seat last quarter 19th century fully stamped 115cm.; 45ins wide The original design, number 113617, was registered and patented at the Public Records Office on the 30th of April 1858 by Coalbrookdale and is seat number 29A in the castings catalogue of 1875, Section III page 254. (see engraving) ÂŁ1000-1500

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

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28 A rare Falkirk Foundry Cockleshell pattern cast iron seat 2nd half 19th century the back stamped Falkirk 303A with diamond registration stamp number 201cm.; 79ins long Workers from the nearby Carron foundry established the Falkirk foundry in 1819. The foundry was close to the Carron Company and Andrew McLaren and company on the Firth of Forth on the east coast of Scotland. They maintained warehouses and retailing premises on Upper Thames Street in London to which the seats and other cast iron products could be transported by sea and then up the river Thames. Falkirk published a catalogue with Carron in 1900 in which it offered decorative iron ranging from benches and urns to hallstands. This model is illustrated in the garden seats section as plate 303A. (see engraving) ÂŁ4000-6000

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29 An unusual Regency reeded wrought iron seat early 19th century 158cm.; 62ins wide ÂŁ1500-2500

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30 An unusual wrought iron seat possibly Scottish, mid 19th century 153cm.; 60ins long ÂŁ1200-1800 33

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31 An impressive set of twelve carved bath stone urns early 20th century 116cm.; 46ins high ÂŁ20,000-40,000

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32

170cm.; 67ins high

A rare pair of substantial Austin and Seeley composition stone finials

See footnote to lot 14

mid 19th century with later galvanised metal tops

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These and the following pair of finials are being offered as individual lots, however the winning bidder of the first pair will

be given the option of purchasing the second pair at the same price. ÂŁ3000-5000

33 A similar pair of substantial Austin and Seeley composition stone finials ÂŁ3000-5000

34 † A monumental carved sandstone bowl on stand modern 100cm.; 39½ins high, bowl 200cm.; 79ins diameter £4000-6000

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35 A pair of rare composition stone Ho Ho birds late 19th/early 20th century the male 100cm.; 30ins high These rare models would almost certainly have been made from a casting taken from carved stone originals which would have probably formed a pair of gatepier armorial birds flanking an entranceway or drive to a substantial country house.

Rather than being identical, they appear to be a cock and hen since the male bird is considerably bulkier. ÂŁ2000-4000

36 An over lifesize composition stone figure of a Retriever 2nd half 19th century 70cm.; 28ins high by 145cm.; 57ins long ÂŁ2000-4000 37 A pair of unusual composition stone gatepier Falcons Northern European, 1st half 20th century 71cm.; 28ins high ÂŁ1500-2500

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38 An extremely large Georgian sundial plate inscribed made by Dudley Adam Charing Cross London indistinctly dated 178* and with engraved armorial the dial 61cms; 24ins diameter, 74cms; 29ins diameter overall The arms appear to be that of Thomas Neville of Borrismore House, Country Kilkenny Ireland, whose coat of arms recorded as a bulls head beneath a Ducal coronet with the motto Ne vile velis (don't wish anything bad) Dudley Adams is recorded as working between 1788 and 1817 and operating from 53 Charing Cross London between 1788 and 1796. He is recorded as making a number of scientific instruments including barometers microscopes as well as sundials. Unusually, this particularly plate also incorporates a bronze surround and may well have originally incorporating a rotating mechanism.

Literature: Directory of British Scientific Instruments Makers 1550-1851 by Gloria Clifton, published

by The National Maritime Museum, 1996, p2 ÂŁ1500-2500 40

39 A rare and unusual Charles I sundial the slate plate dated 1642 with armorials, with an 18th century bronze gnomon with armorial shield and indistinct inscribed platitudes on associated Bath stone baluster and base the dial 38cm.; 15ins; 138cm.; 54ins high overall ÂŁ2000-4000

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40 An unusual carved sandstone sundial North of England, mid 19th century the top in the form of an ionic capital carved with numerals and with bronze gnomon 142cm.; 56ins high £1500-2500 41 A rare Compton Pottery Peacock terracotta sundial late 19th/early 20th century with small makers mark and 6ins bronze dial 130cm.; 51ins high The Compton Potters Art Guild was started by Mary Watts, the wife of G.F. Watts the Victorian allegorical painter. In 1895 work began on the Watts Mortuary Chapel. Designed by Mary Watts, it was to be built from local clay by the villagers of Compton, near Godalming, Surrey.

Mr and Mrs Watts were dedicated supporters of the growing Home Arts and Industries Association, a voluntary movement launched

by Earl Brownlow in 1885 to revive the dying art of handicraft among the working classes.

The idea was that young uneducated artisans should have their eyes opened to the wonders of art. They would be rescued from idleness, gambling and drinking – so the notion randuring long winter evenings. Uplifted and taught how to use their hands with skill they would acquire a hobby to be proud of and develop this hitherto unknown talent, where possible to professional standards. The Pottery Art Guild continued from strength to strength, winning medals at the Royal Botanical Society and the Home Arts’ highest award, the gold cross.

The Peacock sundial was one of the earliest pieces produced by the pottery in 1898.

Modelled by Thomas Steadman, his intention 42

was to represent the three steps of the sun; for the morning a cockerel; an early Christian symbol for watchfulness, for noon a peacock; Buddhist and Brahmin symbol of immortality, and for the evening, an owl symbolising truth and wisdom.

Exotic terracotta garden pottery, designed by both Archibald Knox, who was Liberty’s chief designer and Mary Watts of the Compton Pottery were offered for sale in Liberty and Co’s Yuletide Gifts catalogue of 1903-4 in which this model sundial was described as the Owl sundial.

Literature: Archibald Knox and Mary Seton Watts, Modern Celtic Art Garden Pottery, by Veronica Franklin Gould, in which this sundial model is illustrated on page 15 £3000-5000 43

42 A pair of unusually large Compton Pottery Floreat or Heart pattern planters early 20th century 49cm.; 19½ins high by 60cm.; 24ins diameter

This pattern planter is illustrated in Archibald Knox and Mary Seton Watts, Modern Celtic Art Garden Pottery, by Veronica Franklin Gould on pages 20 and 38 where it is variously described as the Floreat pot, on account of the inscription around the rim, largely obscured by weathering on these examples, and the Heart pot. ÂŁ3000-5000

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43 A pair of Liberty’s terracotta Penda pattern planters, designed by Archibald Knox early 20th century stamped designed and manufactured by Liberty and Co 50cm.; 20ins high by 56cm.; 22ins wide Liberty and Co., the famous Regent Street retailers offered a range of terracotta garden ornament from the early years of the 20th Century to shortly after the First World War. Archibald Knox, their most famous designer was born in the Isle of Man of Scottish parenthood. His designs were synonymous with British Art Nouveau and he is regarded as being a prominent influence in the Arts and Crafts movement. In addition to metalwork, jewellery, carpets, wallpaper and fabrics for Liberty & Co, Knox designed also terracotta garden ornament.

included pieces by Mary Seton Watts Compton pottery.

See previous lot. The Penda pattern planter designed in 1905 is illustrated in Archibald Knox and Mary Seton Watts, Modern Celtic Art Garden Pottery, by Veronica Franklin Gould on page 35.

Liberty and Co’s Yuletide Gifts catalogue of 1903-4 also

£3500-5000 45

44 A Handyside foundry cast iron fountain/planter 2nd half 19th century 112cm.; 44ins high by 84cm.; 33ins diameter (see engraving) Andrew Handyside started 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, and a fountain.

At the time, the foundry was described as being “from the magnitude of its operations is second to none in England”.

In 1873 it was incorporated as a Limited Company. They produced two catalogues, one circa 1850 and another in 1874. £1500-2500

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45 After the Antique: A cast iron Barbezat foundry figure of Hippomene circa 1860 stamped Barbezat and Co Val d’Osne 122cm.; 48ins high, on associated stone plinth overall 166cm.; 73ins high This model of Hippomene was sculpted in marble by Guillaume Coustou and together with the companion figure of Atalanta, was placed on pedestals on an island in the Bassin de Carpes at Chateau Marly. During the French revolution they were transferred to the Tuileries gardens in Paris. Both are now housed in the Louvre.

Atalanta was an athletic huntress and any potential suitor was challenged to a race and the penalty for the loser was death. She remained unbeaten until Hippomene challenged her. During the race he dropped three golden apples given to him by Venus and Atalanta could not resist stopping to pick them up, thereby losing the race.

The firm of Barbezat & Cie was formed in 1855. It succeeded an earlier atelier, that of J.P.V. Andre which won a prestigious council medal at the 1851 Great Exhibition. By 1858 Barbezat had brought out a substantial catalogue, entitled Barbezat & Cie Ancienne Maison Andre, Hauts Fourneaux &c. Fonderies du Val d’Osne

in which this cast iron group is illustrated on plate 592 (see engraving). This illustrates a whole range of ornaments as well as architectural fixtures. In 1867 Barbezat & Cie changed its name to Huoille & Cie and then some three years later to Societe Anonyme ….du Val d’Osne.

Literature: Antique Garden Ornament by John Davis, Antique Collectors Club, 1991, p. 275-279 £3000-5000

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46 A pair of rare Walter Macfarlane & Co. cast iron planters circa 1870 fully stamped Walter Macfarlane & Co. Glasgow No. 1092 9½ x 11½ with zinc liners 59cm.; 23ins high by 105cm.; 41½ins long Walter Macfarlane and Co, also known as the Saracen Foundry, was the most important manufacturer of ornamental ironwork in Scotland. Founded in Glasgow

by Walter Macfarlane I (1817-85), the firm opened its first premises in 1850, in Saracen Lane, behind the Saracen Head Inn, in the Gallowgate. They specialized in the production of drinking fountains, bandstands, lamp standards, pre-fabricated buildings and architectural crestings and ornament. £2000-3000

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47 A rare Val d’Osne foundry cast iron planter French, circa 1860 33cm.; 13ins high by 17cm.; 23ins long £1000-2000 Engraving from Val d’Osne catalogue 49

48 A Coalbrookdale cast iron hall stand 2nd half 19th century with diamond registration, model number and registration number stamps, hanging top and bottom bars missing 193cm.; 76ins high This hall stand is illustrated is the 1875 Coalbrookdale catalogue section 11, page 224, No 114 ÂŁ800-1200

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49 A Coalbrookdale cast iron hall stand 2nd half 19th century with diamond registration stamps 195cm.; 77ins high This hall stand is illustrated in the 1875 Coalbrookdale catalogue section II, page 223 No 119. ÂŁ1000-1500 51

50 A rare Coalbrookdale cast iron double stick stand circa 1870 with later zinc drip trays 177cm.; 70ins long An identical stick stand is illustrated in the 1875 Coalbrookdale Catalogue, section II, number 244C. ÂŁ1000-1500

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51 A Viking pattern cast iron pub table with mahogany top circa 1900 61cm.; 24ins diameter ÂŁ250-400 52 A Gaskill and Chambers Britannia pattern cast iron pub table with mahogany top late 19th century stamped Gaskill and Chambers, Blackfriars Road, SE 64cm.; 25ins diameter ÂŁ250-400

53 A rare WG Grace cast iron pub table late 19th century with mahogany top 60cm.; 24ins diameter ÂŁ300-500

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54 A substantial copper cheese vat French, 19th century 79cm.; 31ins high by 174cm.; 68½ins diameter £3000-5000

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55 A rare Restoration bell dated 1671 43cm.; 17ins high Reputedly from Preseli, West Wales. £1500-2500

56 A Victorian bell dated 1888 and with makers name Taylor & Co., Loughborough

57 A Georgian bell dated 1723, I.W.

with iron ringing fixture

38cm.; 15ins high

the bell 26cm.; 10ins high

Reputedly from a church in Bodwin Moor.

£800-1200

£800-1200

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58 An extremely rare cast iron, slate and glazed octagonal terrarium circa 1860 the slate bed drilled and applied with bronze taps 116cm.; 46ins high by 74cm.; 29ins wide The first terrarium was developed by botanist Nathaniel Bagshaw Ward in 1842. Ward had an interest in observing insect behaviour and accidentally left one of the jars unattended. A fern spore in the jar grew, germinated into a plant, and the terrarium was born. The trend quickly spread in the Victorian Era amongst the English. Instead of the terrarium, it was known as the Wardian Case. The story goes that Ward hired carpenters to build his Wardian Cases to export native British plants to Sydney, Australia.

After months of travel, the plants arrived well and thriving. Likewise, plants from Australia were sent to London using the same method and Ward received his Australian plants in perfect condition. His experiment indicated that plants can be sealed in glass without ventilation and continue thriving. ÂŁ2500-4000

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59 A rare set of three chestnut tree trunk beehives with Lauze stone tops French, early 20th century average height 61cm.; 24ins high by 73cm.; 28½ins long Beehives of this sort were common in the Archeche region of southern France. The picture shows RucherTronc d’Arrigas (tree trunk beehives), located at the foot of the Cevennes Mountains, in the hamlet of Arrigas, near Le Vigan, are part of the local heritage.

Made from chestnut tree trunks, this type of beehive is a natural refuge for the black bees of the Cevennes. £2000-4000 57

58

60 s John Robinson (1935 to 2007) Lucy

61 s

Bronze

John Robinson (1935 to 2007)

Unique

Leap Frog

55cm.; 21½ins high by 60cm.; 24ins wide by 130cm.; 51ins long

Bronze

Robinson was born in London in May 1935, to an Australian father and English mother. During the war, he was evacuated to Australia where he attended Melbourne Grammar School, and on his return to England he attended Rugby School where he won prizes for geometry and sculpture.

140cm.; 55ins high by 90cm.; 35½ins wide by 80cm.; 31½ins deep

Limited edition shown at 1983 Royal Academy

£4000-6000

After a period of time in Australia, he returned to England to sculpt in earnest, opening a gallery in London, which introduced him to several collectors, and his subsequent exhibitions were successful in introducing him to a wider audience.

In 1992 he was made an honorary fellow of the University of Wales in recognition of the value of his sculpture. £3000-4000

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62 Sean Crampton Girl with two Geese, 1963 Bronze Signed SC Edition 2 of 10 68cm.; 26½ins high by 22cm.; 8½ins wide by 18cm.; 7ins deep Sean Crampton was an artist of enormous achievement.

He first studied sculpture during the 1930’s in Birmingham and The Central College of Art. He became Professeur de Sculpture at the Anglo-French Art Centre in Saint John’s Wood, London, where he became involved with the French School of Sculpture.

Sean had seventeen one-man shows in London’s West End, and for more than forty years was also a member of the Royal Society of British Sculptors, including a five year period as President. He was a winner of the society’s Silver Medal and Otto Beit Medal, and was also a member of the Royal Society of Arts and a member of the Art Workers Guild.

He enjoyed working with religious themes throughout his career and his major works can be found in many churches and civic centres.

A copy of the book, Sean Crampton, Sculptor: Nothing is Profane, 2000, is included in this lot £2000-3000

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63 Sean Crampton Horses Bronze Signed SC Edition 3 of 12 25cm.; 10ins high by 52cm.; 20½ins wide by 13cm.; 5ins deep A copy of the book, Sean Crampton, Sculptor: Nothing is Profane, 2000, is included in this lot £2000-3000

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64 Romano Costi, (1940 - 2014) La Pensatrice (The Thinker) Bronze Signed 85cm.; 33½ins high by 129cm.; 51ins wide by 45cm.; 18ins deep; base 100cm.; 39½ins high by 110cm.; 43½ins wide by 61cm.; 24ins deep £8000-12,000 65 Romano Costi (1940 - 2014) Tuffatrice (Woman Diver) Bronze 194cm.; 76½ins high by 130cm.; 51ins wide by 82cm.; 32ins deep Romano Costi graduated from Carmini, an Art high school in Venice. Since the sixties, Costi has been a well know sculptor, exhibiting his bronze works in various Italian cities including Venice, Rome, Portorontondo, Bergamo and Milan. £8000-12,000

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66 s Peter Thursby (1930 - 2011) Helter Skelter 1994 Bronze, Edition of 5 (The original is now in N.Y. USA) 166cm.; 65½ins high by 110cm.; 43½ins wide at base; top 50cm.; 20ins wide Thursby was born in Salisbury and educated at Bishop Wordsworth’s College, Salisbury.

Following his National Service in the Army, he studied at St Paul’s College, Cheltenham and at the West of England and Exeter Colleges of Art. He exhibited widely throughout the West Country, and had a retrospective at the Royal Albert Memorial Museum, Exeter in 2000.

A hardback copy of the book Peter Thursby by Vivienne Mary Light and Simon Olding, 2006 is included in this lot. £10,000-15,000

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67 s Peter Thursby Pipe Block III Aluminium and stainless steel rods 60cm.; 23½ins high by 34cm.; 13½ins wide by 20cm.; 8ins deep A hardback copy of the book Peter Thursby by Vivienne Mary Light and Simon Olding, 2006 is included in this lot. £4000-6000

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68 s Thomas Bayliss Huxley Jones, (British, 1908-1969) Seated Female Bronze 90cm.; 35½ins high by 80cm.; 31½ins wide by 28cm.; 11ins deep Huxley-Jones studied at the Wolverhampton School of Art and then at the Royal School of Art where he was also later a tutor.

For many years he was principal of the School of Sculpture at Gray's School of Art in Aberdeen and tutor at Mid Essex Technical College and School of Art in Chelmsford.

He exhibited with the Royal Academy, the New English Art Club, and the Royal Scottish Academy.

Huxley-Jones was elected a fellow of the Royal Society of British Sculptors in 1945 and received numerous awards for his work including the Prix de Rome Scholarship. In 1963 he was awarded the Otto Beit medal for sculpture of outstanding merit for his statue of Mother and Child.

Huxley-Jones completed a large volume of public work, including 'Helios' at the old BBC Television Centre, London, in Chelmsford Cathedral, outside Hornsey Library and in London's Hyde Park. Aberdeen and Wolverhampton Art Galleries also hold his work. £6000-8000

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69 s Jonathan Wylder, Born 1957 Ballerina Bronze Signed J.Wylder, 5 of 9, 1998 39cm.; 15½ins high by 70cm.; 27½ins wide by 18cm.; 7ins deep

Jonathan Wylder was born in Salisbury, Wiltshire in 1957. He held his first one man show in Salisbury City Library in 1973 where Sir Cecil Beaton was his first patron.

He is especially inspired by dance which is reflected in his sculptural work with dancers from a variety of ballet companies, including; Fiona Chadwick, former principal with the Royal Ballet. £3000-5000

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70 Sam Flintham A carved limestone three quarter section classical torso Modern 120cm.; 47ins high by 66cm.; 25ins wide by 40cm.; 16ins deep This work is based on one of the figures in the Pergamon altar constructed in the 2nd century BC in the City of Pergamon, Asia Minor. The base is decorated with a frieze in high relief showing the battle between the Giants and the Olympian gods known as the Gigantomachy.

In 1878, the German engineer Carl Humann began official excavations on the acropolis of Pergamon, an effort that lasted until 1886. The excavation was undertaken in order to rescue the altar friezes and expose the foundation of the edifice. Later, other ancient structures on the acropolis were brought to light. Upon negotiating with the Turkish government (a participant in the excavation), it was agreed that all frieze fragments found at the time would become the property of the Berlin museums, where the original now stands in the Berlin Collection of Classical Antiquities.

Samuel Flintham is a stone sculptor and designer working out of the West of England.

He trained in Historic Carving at the City & Guilds of London Art School and in Conservation & Masonry in Bath. He has worked on various sculpture and design projects throughout the UK both public and private, including designs and carvings for St George’s Chapel, Windsor Castle; No.1 Royal Crescent, Bath; Kennington Park, London; Woodchester Mansion, Gloucestershire, Bath Riverside Development and Samuel Pepys Garden on Seething Lane, London. His work encompasses statuary, portraits, garden and architectural pieces. £4000-6000 68

71 s Ralph Brown Queen, Seated Bronze From an edition of 9 50cm.; 20ins high by 24cm.; 9½ins wide by 22cm.; 8½ins deep Ralph Brown was born in Yorkshire in 1928 and died in 2013.

Photographs of all Brown's work can be viewed in the book "Social, Savage, Sensual. The sculpture of Ralph Brown" published in 2009 to mark his 80th birthday.

He studied at Leeds and Hammersmith Art Schools and at the Royal College of Art. He was a part-time tutor at the RCA Sculpture School from 1958 for many years.

He first exhibited in London in 1953 and showed work widely since then, with solo and group exhibitions in the UK, Continental Europe and the USA. Ralph Brown sculptures are in public collections in many countries and in private collections around the world.

He was elected to the Royal Academy of Arts in 1968 and became a Royal Academician in 1972 £6000-8000 69

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Rococo Gardens, Painswick, Gloucestershire

Richard Cresswell

Art In The Garden, Broomhill Art Hotel, Devon

Herefordshire Cattle

NHS Institute for Innovation and Improvement, work on loan

Stainless and mild steel Bull, 165cm.; 65ins high by 177cm.; 69½ins wide; Cow, 130cm.; 51ins high by 200cm.; 79ins wide; Calf 48cm.; 19ins high by 66cm.; 26ins wide Cresswell has a background in design and engineering, prior to his decision to take a career break and study art at Warwick College of Art and Birmingham City University.

Warwickshire Open Studio Delamore Arts, Ivybridge, Devon

Showborough House outdoor sculpture event, (2010, 1st prize) The London Group Open Exhibition, Mennier Gallery (2009 awarded John Jones overall winner) BCU Degree Show Alumni 1 Warwickshire College, Leamington.

Out to Lunch Warwickshire College, Leamington Newnham Paddox Sculpture Park, Leicestershire. Work on display ÂŁ4000-6000

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73 Curtis Jere Abstract Sheet copper on steel base Signed C. Jere, 2002 Overall height 259cm; 102ins high ÂŁ3000-5000

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74 A rare OKB-2 liquid fuel second stage rocket engine late 1950’s 104cm.; 41ins high Designed by the studio of Alexei Mikhailovich Isayev and built by the Soviet aircraft design bureau (OKB).

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

Provenance: Ex Professor Roudakov Air and Space Collection. £3000-5000

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75 A 315 horse power Radial engine glass topped coffee table the engine 1950’s Czech and later adapted into a coffee table 66cms.; 26ins high by 110cm.; 43½ins diameter overall Air cooled radial engines similar to this were first developed by 1907, replacing the earlier and less reliable water cooled engines. It took over a decade before their benefits were fully adopted by the aircraft industry and by 1922 the US Navy was only purchasing aircraft with air cooled radial engines. They dominated aircraft design until eventually giving way to the more powerful and faster Jet engine. £7500-10,000 73

76 A rare, early torpedo guidance gyroscope, by the Whitehead Torpedo Works cast bronze and steel, in original mahogany case, with Admiralty mark and serial number 817 suggesting a date of 1896-7 16cm.; 6ins high by 19cm.; 7½ins wide

Robert Whitehead was a British engineer who was instrumental in the development of the torpedo. He worked for the Austro-Hungarian Navy before establishing his British works. The idea of a torpedo was first thought of in the early 19th Century and was developed by Captain Luppis of the Austrian marine artillery as a boat packed with explosives, it was Whitehead who first designed an underwater torpedo and he had established working models by 1866 either powered by compressed air or steam engine.

The lack of accuracy effectively limited the torpedo’s range as their guidance was by pendulum and hydrostat control and it wasn’t until Ludwig Obry used a gyroscope that they became much more precise. Whitehead bought Obry’s patent in 1896 and the very low serial number of this piece suggests it was from the first years of production as most navies had adopted Whiteheads torpedos, usually under license after his famed dinner in 1878 where representatives of 18 navies were invited to tender for business at his Rijeka headquarters. £2000-3000

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77 A PAP remote control submarine early 1980’s on later stand 122cm.; 48ins high by 269cm.; 106ins long Provenance: Ex Royal Navy The PAP is a remotely controlled mine disposal system originally designed by the French company ECA (Etudes et Constructions Aeronautiques). More than 500 PAP submersibles have been ordered by over 20 Navies across the world. £4000-6000

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78 A rare Lavochkin V-751 experimental flying laboratory 1960 titanium, stainless steel and aluminium 10.9 metres long This is a two stage rocket with an initial solid fuel rocket booster which burned for four seconds and a second stage liquid fuel engine that burnt for a further 22 seconds.

This enabled the craft to reach altitudes of 66,000 feet and speeds of Mach 3, the range could be up to 22 miles. This rocket is part of the S-75 family of rockets which were developed in the late 1950's in response to combat America's long range bombers. The S-75 and its many variants provided much of the air defence of the Soviet Union and numerous other countries which adopted it.

Perhaps its most famous moment was the shooting down of Gary Powers U-2 spy plane in 1960. ÂŁ9,000-12,000

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79 A large Lapis Lazuli specimen, freestanding Afghanistan 79cm.; 31ins high, 48.9kg £5000-8000 80 A fossilised Araucaria spp. wood slice Arizona, Triassic, approximately 220mya 47cm.; 18ins maximum £900-1200 81 A large Labradorite specimen Madagascar 38cm.; 15ins £600-800 82 A nickel iron meteorite Campo di Cielo fall, Argentina 21cm.; 8ins maximum, 7.9kg £1500-2500 83 A Victorian Blonde Turtle shell 2nd half 19th century 65cm.; 25½ins £1500-2500

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82

80

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83 79

84 H L Rolfe (1823-1881) An Anglers Catch Signed and dated 1870 Oil on canvas 34cm by 58cm 13ins by 23ins Framed ÂŁ4000-6000

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85 H L Rolfe (1823-1881) Brown Trout Signed and dated 1886 Oil on canvas 44cm by 61cm 17ins by 24ins Framed ÂŁ3000-5000 81

86 A. Roland Knight (active 1810-1840) “Children of the Thames” Signed Oil on canvas 40cm by 60cm 16ins by 24ins Framed £1200-1800

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87 A. Roland Knight (active 1810-1840) Three Trout Signed Oil on canvas 17cm by 26cm 7ins by 10ins £600-1000

88 A. Roland Knight (active 1810-1840) Otter and Salmon Signed Oil on canvas 34cm by 49cm 14ins by 19ins £700-900

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89

90

91

Thomas Whittle

John Russell

J S Kell

Fish and Crayfish

Two Brown Trout

Oil on canvas

Signed

Brown Trout on the River Bank

43cm by 67cm

Oil on canvas

17ins by 26ins

24cm by 63cm

Signed and inscribed on the back ‘to Helen Patterson from J S Kell, July 9th 1859’

Framed

9ins by 25ins

Oil on laid canvas

£1800-2500

£1500-2500

23cm by 39cm 9ins by 15ins Framed £1000-1500

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92 Attributed to Richard Ansdell RA (1815-1885) Study of Dead Game Inscribed on stretcher and fragmented label Oil on canvas 71cm by 52cm 28ins by 21ins Framed ÂŁ2000-3000

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93 s Kim Donaldson Zebra and Mirage Signed Watercolour and Gouache 44cm by 99cm 17½ins by 39ins £1000-1500

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Watercolour

Charles Jardine

26cm by 51cm

“The Deadly Game”

10ins by 20ins

Signed

Framed and with label to verso from the Bewl Fishers Club dated 1997 £300-500

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95 Raymond Ching (born 1939) ‘The Lark Ascending’ Signed and dated 2012 Oil on laid canvas 100cm by 90cm 39ins by 35ins Framed See also front cover £3000-5000

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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

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(iii)

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

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

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

(ii)

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

Summers Place Auctions Ltd has discretion to waive any of the above requirements. Summers Place Auctions Ltd may require the Buyer to obtain at the Buyer's cost the reports of two independent and recognised experts in the field, mutually acceptable to Summers Place Auctions Ltd and the Buyer.

Summers Place Auctions Ltd shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event Summers Place Auctions Ltd decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports.

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

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

Property with a † symbol These items will be sold under the normal UK VAT rules and VAT will be charged at 20% on both the hammer price and buyer’s premium.

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

It is assumed that items sold to buyers whose address is outside the EU, will be exported from the EU. The property will be invoiced under the normal VAT rules (see ‘Property with a † symbol above).

Property sold with a ‡ or Ω symbol These items have been imported from outside the EU to be sold at auction under temporary importation. When Summers Place Auctions Ltd release such property to buyers in the UK, the buyer will become the importer and must pay Summers Place Auctions Ltd import VAT at the following rates on the hammer price: ‡ @ 5% Ω @ 20% Summers Place Auctions Ltd must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at 20% on this premium, which will not be shown separately on the invoice.

VAT Refunds VAT may be cancelled or refunded on export if strict conditions are met. For advice, please contact us on 01403 331 331.

Sales and Uses Taxes Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of items following

purchase (for example, the Use Tax payable on import of purchased items to certain states of the USA). Buyers should obtain their own advice in this regard.

Artist’s Resale Right Purchase of lots marked with the following symbol s will be subject to payment of the Artist’s Resale Right, at a percentage of the hammer price calculated as follows: Portion of the hammer price (in €) Royalty Rate From 0 to 50,000 4% From 50,000.01 to 200,000 3% From 200,000.01 to 350,000 1% From 350,000.01 to 500,000 0.5% Exceeding 500,000 0.25% The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to a maximum royalty payable of €12,500 for any single work each time it is sold. The maximum royalty payable of €12,500 applies to works sold for €2 million and above. Calculation of the artist’s resale right will be based on the Pounds Sterling / Euro reference exchange rate quoted on the date of the sale by the European Central Bank.

Property with a ´ symbol.

Some of these items require specialist dismantling and may not be available for immediate collection after the sale. Intending purchasers should check the status of these lots before the sale.

3. Before the Auction Pre-sale Estimates Pre-sale estimates are intended as a guide for prospective buyers but all lots can realise prices above or below the pre-sale estimates. Seller’s confidential reserves are set no higher than the low pre-sale estimates, except in the rare circumstance in which the reserve has been set in a foreign currency and the exchange rate has fluctuated.

It is advisable to consult us nearer the time of sale as estimates can be subject to revision. The estimates printed in the auction catalogue do not include the buyer’s premium or VAT. Provenance In certain circumstances, Summers Place Auctions Ltd may print in the catalogue the history of ownership of a work of art if such information contributes to scholarship or is otherwise well known and assists in distinguishing the work of art.

However, the identity of the seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded to accommodate a seller's request for confidentiality or because the identity of prior owners is unknown given the age of the work of art.

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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

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details with us beforehand. A bidding form may be downloaded from www.summersplaceauctions.com website. A bidding form is also printed in the back of the catalogue. This service is confidential. Lots will always be bought as cheaply as is consistent with other bids, the reserves and other commission bids. To avoid confusion, the sale date, lot number and a brief description should be filled in and signed. Commission bids by email without a signature will not be accepted. In the event of identical bids, the earliest received will take precedence. Always indicate a top limit, i.e. the highest price you would bid if you were attending the auction. Don’t forget that buyers premium and any VAT applicable will also be added onto your bid if you are successful. “Buy” and unlimited bids will not be accepted.

Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues. To ensure a satisfactory service please ensure that we receive your bids at least 24 hours beforehand. The fax number for absentee bids is 00 44 (0)1403 331340.

Telephone bids If you cannot attend the auction, it is usually possible to bid on the telephone on lots with a minimum low estimate of £1,000.

You will need to have registered your details with us 5 days before the auction. As the number of telephones is limited, it is necessary to make arrangements on which lots you wish to bid on, at least 24 hours before the sale. We also suggest that you leave a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues.

Sealed bids For further information see pages 96, 97 & 236.

Sale by private treaty Summers Place Auctions shall, from time to time, be offering some lots for sale by Private Treaty in our architectural portfolio. These will usually comprise larger pieces of an architectural nature, which will require a longer period of planning and consultation than an auction can provide.

Additionally if you are looking for a specific piece please let us know and we will use our worldwide network of trade and private clients to help source the most suitable item for you.

Please contact us for further information.

Payment Payment is due in sterling immediately after the sale and before purchases can be released. Payments in person can be made in the saleroom on the day of the auction and thereafter.

Payments may also be made by post, card transactions by telephone or electronic transfer to our bank. Cash will not be accepted. Summers Place Auctions Ltd welcome the following methods of payment:

Credit/Debit Card We are pleased to accept major credit cards (regrettably we are unable to accept American Express or Diners Club card payments), for which a surcharge will be made of 3% + VAT of the transaction total. This is to cover the charge made to us by our bank. There is no charge for payments made by debit card.

Sterling Banker’s Draft or Building Society Cheque and Electronic or Wire Transfer Drawn on a recognised UK bank or building society. Wire Transfers can be made directly to our Bank, NatWest, Billingshurst Branch, 57 High Street, Billingshurst, West Sussex RH14 9FJ. A/C 66025206, sort code 60 02 31. IBAN GB79 NWBK 6002 3166 0252 06. BIC NWBK GB 2L. Please contact us for further details.

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

Collection and Storage On receipt of cleared funds, lots can be collected from the Walled Garden, Stane Street, Billingshurst, West Sussex, RH14 9AB by appointment. If you are unable to collect your purchases yourself we would be delighted to obtain shipping quotes on your behalf. If Lots have not been collected within 35 days of the auction date then storage charges may be applied at a rate of £20 per Lot per week. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, Summers Place Auctions accept no responsibility for any damage which may occur, even in the event of Summers Place Auction staff assisting carriers during collection.

Summers Place Auctions also reserves the right to charge storage fees of £10 per lot, per week, for any pieces left at Summers Place over a longer period than six months irrespective of whether they have been entered into sale or not.

Shipping We are happy to arrange shipping quotations and have extensive experience in working in conjunction with leading domestic and international shippers. There is no charge for arranging quotations.

CONDITIONS OF BUSINESS FOR BUYERS 1. INTRODUCTION (a) The contractual relationship of Summers Place Auctions Ltd and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from Summers Place Auctions Ltd (iii) Summers Place Auctions Ltd ‘s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer's announcement. (b) As auctioneer, Summers Place Auctions Ltd acts as agent for the Seller. Occasionally, Summers Place Auctions Ltd may own or have a financial interest in a lot.

2. DEFINITIONS "Bidder" is any person making, attempting or considering making a bid, including Buyers; "Buyer" is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; "Seller" is the person offering a lot for sale, including their agent, or executors; “"Buyer’s Expenses" are any costs or expenses due to Summers Place Auctions Ltd from the Buyer; "Buyer’s Premium" is the commission payable by the Buyer on the Hammer Price or winning sealed bid price at the rates set out in the Guide for Prospective Buyers; "Hammer Price" is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; "Purchase Price" is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; "Reserve Price" (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot.

The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable.

3. EXAMINATION OF LOTS (a) Summers Place Auctions Ltd knowledge of lots is partly dependent on information provided by the Seller and Summers Place Auctions Ltd is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of Summers Place Auctions Ltd opinion and not representations of fact. Estimates

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

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

Telephone bidding may be recorded.

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

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

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

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7. CONDUCT OF THE AUCTION (a) The auctioneer has discretion to refuse bids, withdraw or reoffer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer's hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business.

8. PAYMENT AND COLLECTION (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the "Payment Date"). (b) Title in a lot will not pass to the Buyer until Summers Place Auctions Ltd has received the Purchase Price in cleared funds.

Summers Place Auctions Ltd will not release a lot to a Buyer before payment. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 35 working days of the auction. Purchased lots are at the Buyer's risk from the fall of the hammer. (e) All packing and handling of lots is at the Buyer's risk.

Summers Place Auctions Ltd will not be liable for any acts or omissions of third party removers or shippers.

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

(b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i).

12. MISCELLANEOUS (a) All images of lots, catalogue descriptions and all other materials produced by Summers Place Auctions Ltd are the copyright of Summers Place Auctions Ltd. (b) These Conditions of Business are not assignable by any Buyer without Summers Place Auctions Ltd’s prior written consent, but are binding on Bidders' successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of Summers Place Auctions Ltd.

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

11. DATA PROTECTION (a) Summers Place Auctions Ltd will use information supplied

by Bidders or otherwise obtained lawfully by Summers Place Auctions Ltd for the provision of auction related services, client administration, marketing and as otherwise required by law.

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SUBSCRIPTIONS

Sealed Bid – How it works

To subscribe to Garden, Design & Natural History catalogues and/or the Evolution catalogue please complete the box below with your debit/credit card and contact details. Upon lapse of the subscription we will be in contact to determine if you wish to renew your subscription.

Catalogues are printed approximately 4-5 weeks prior to the sale date and are mailed to subscribers immediately.

Live/Sealed Bid sale £10 if collected from Summers Place Auctions Gallery Please tick appropriate box and return to Summers Place Auctions Ltd Sales

Date

No of Sales

Price

GS16 April, June, October 2016

3

£40 n

EV16 November 2016

1

£15 n

2016

4

£50 n

2016

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

Address ..................................................................... ............……………………………………………………

First you require a catalogue. Once you have the catalogue, you need to register your interest in bidding. This can be done quickly and simply by presenting one of our viewing staff with some photographic ID (a modern driver’s license or passport is ideal) or by scanning a copy and emailing it to us. We will take a copy of the ID and a registration form can be completed.

Next give us your bid(s). This can be done by filling in the bidding slip found in your catalogue. If you are sending your bidding slip to Summers Place Auctions by post, please mark the envelope “Sealed Bid” so that we know it contains a sealed bid and do not open it accidentally. Bids may also be sent by e-mail. If you choose to send the bid electronically, please e-mail sealedbids@summersplaceauctions.com . This is a closed mailbox and will not be opened before the advertised time. However, we strongly recommend that if you have not viewed the sale in person, that you ask for condition reports on any lots you are thinking of leaving bids on.

Sealed bid auctions differ from established auctions in that the bid left is the bid that will be exercised in full. Therefore, if you decide to leave a bid of, say, £900 on the lot estimated at £800-£1000 and there is no higher bid, (where two identical bids are received, the earliest received bid will take precedence), £900 will secure the lot subject to buyer’s premium and VAT on the premium.

We will contact you if you have been the successful bidder to inform you of the lot or lots that you have purchased, so that you can make payment and make arrangements for delivery. We have had many years of experience dealing with both UK carriers and international shippers and are happy to obtain quotations and facilitate transport and shipping of single lots and multiple purchases to anywhere in the world.

Bids will be opened on Thursday 15th October and sales results will appear on the Summers Place Auctions website. Please be mindful that we will have to process a large number of bids, which does take time. However, we will endeavour to get this accomplished as quickly as possible and will expect to have the results of the sale posted by the end of the day.

If you have never bid in a sealed bid sale before, here are some things to be aware of as regards leaving bids for this auction: Every lot in the sale has a fixed reserve, (the minimum price for which the lot can be sold) and this is never above the low estimate, it can be slightly below, but in the vast majority of cases it is the low estimate.

The highest bid (as long as it is on or above the reserve) will be the winning bid. This is the “hammer price” that the lot will be sold for.

............……………………………………………………

Email..........………………………………………………

Tel No……………......................................................

Credit/debit card type..............................................

You should consider leaving a bid of an odd amount in pounds, for example, rather than bidding £1,000, try say £1,004, as many lots have been bought for the sake of the odd £1!

You can tailor your bid in ways that are impossible to do in a live auction. For example, if you really like three lots, but only need one, and the piece you like the most is later in the sale, simply mark your order of preference. As long as your instructions are clear, having looked at any other bids left on the lots, we will do our best to comply with your preferences.

Card no ....................................................................

In the event of two identical highest bids, the earliest bid received with take precedence.

Expiry date ....................Issue Number ……………..

3 digit security number on reverse of card ............

Amount to be debited..............................................

Signature .................................................................

96

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

All lots that have additional VAT are clearly marked in the catalogue with a †.

Sealed bid auction lots 200-588 All sealed bids must be with us, at the latest, by 5pm BST on the 14th October since the bids will be opened on the 15th October. 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 96.

200

201

A Victorian cast iron entranceway

A wrought iron kissing gate

circa 1870 comprising a pair of gates each gate 216cm.; 85ins high by 424cm.; 168ins wide; flanked by four uprights 208cm.; 82ins high, and single pedestrian gate 193cm.; 76ins high by 76cm.; 30ins wide; one pedestrian gate missing

2nd half 19th century with later hanging post 103cm.; 40½ins diameter £600-1000

ÂŁ8000-10,000

97

with later hanging posts not shown

with later hanging posts not shown 202 A pair of Victorian cast iron gates with later uprights with diamond registration kite marks for 1864 together with patent lock mechanism and key 124cm.; 49ins high, each pair of gates 160cm.; 63ins wide ÂŁ600-1200 203 A similar pair of gates with later posts ÂŁ600-1200

with later hanging posts not shown

204 A similar pair of gates with later posts ÂŁ600-1200

98

205 A pair of Victorian cast iron gate posts circa 1880 stamped J Priest and Son Ltd, Bristol 147cm.; 58ins high £200-400 206 A wrought iron estate gate mid 19th century 125cm.; 49ins high by 185cm.; 73ins long £400-600 207 A pair of Edwardian wrought iron gates early 20th century 145cm.; 57ins high by 365cm.; 144ins wide £600-1000

99

208 A pair of wrought iron gates circa 1880 300cm.; 118ins high by 346cm.; 136ins wide ÂŁ1000-1500 209 A pair of wrought and cast iron gates French, late 19th century 251cm.; 91ins high by 167cm.; 66ins wide 312cm.; 123 wide overall including side panels ÂŁ1000-1500

100

210 A wrought iron entranceway incorporating a pair of gates late 20th century the opening 280cm.; 110ins high by 224cm.; 88ins wide overall 320cm.; 126ins high by 260cm.; 102ins wide Reputedly made for Longleat Estate, Wiltshire ÂŁ1500-2500

101

211 An impressive wrought iron entranceway late 19th/early 20th century now set on York stone blocks ironwork 292cm.; 115ins high by 136cm.; 53½ins wide £2500-4000

102

212

213

A wrought iron gazebo

A late Georgian reeded wrought iron rose arch

1st half 20th century with later lower section 386cm.; 152ins high by 305cm.; 120ins diameter £2000-3000

early 19th century now set on slate base with boot scraper 236cm.; 93ins high by 168cm.; 65ins wide £600-1000 214 A wrought iron rose arch modern 269cm.; 106ins high by 158cm.; 62ins wide £400-600 103

215 James Doran-Webb A unique carved stone and wrought iron rotunda, with a Perspex roof lining surmounted by a monumental driftwood Wyvern 520cm.; 204½ins high by 430cm.; 169ins wide by 330cm.; 130ins deep The Wyvern is constructed on a steel armature which is anchored to the rotunda for stability. Draughtsman construction plans and quotations for erection are available.

This lot is being offered for sale in situ in Surrey.

Viewing by appointment.

Born in England, but educated in Switzerland, Italy and the US, James spends much of his time now in the Philippines which he first visited in 1989. James spent his early childhood in Devon. He attended St. Andrews Prep.

In 1990 he set up a company designing and making a range of wooden objects to sell in Europe and the USA, boxes and picture frames encrusted in shells and marble, large papier mache animals and pieces of fine furniture made from wood salvaged from old demolished hardwood houses.

104

He has subsequently built up a small network of driftwood gatherers which provides much needed cash to impoverished provincial villages. For every kilo of driftwood that James buys he plants a seedling on denuded hills in North and South Cebu. He has started a program called 80,000 trees (www.80000trees.com) which aims to plant 80,000 trees over the course of the next 5 years and build relationships with the tenants and claimants of the land and DENR (Department of Environment and Natural Resources. James has amassed an extensive collection of driftwood, varying in size and form from small pieces to large natural sculptures, each piece hewn by natural forces into a myriad of individual shapes. The wood is found along the shorelines and riverbeds of the archipelago and is from a number of indigenous species, all dense enough to withstand years and years of exposure to both extreme tropical climate and intense frosts.

James started to design driftwood furniture in the early 2000’s and it was

while playing with the various natural forms that he was drawn to experiment with his first driftwood animal sculpture. His large supply of wood has made it possible for him to find the pieces which most lend themselves to the natural form and shape needed to give his animals the movement and reality he strives to obtain in

every piece he creates.

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

James exhibits at the Chelsea Flower Show, London each May where, in 2013, he was awarded

the Director General’s Award for the best trade stand. He also holds a solo exhibition in the autumn, hosted by the Eton Contemporary Fine Art Gallery. His largest public work to date is a series of 3 galloping life size thoroughbreds that are now racing through the Flower Dome of Gardens by the bay in Singapore. £120,000-180,000

105

216

217

A pair of large pink granite columns

A pair of pink Breccia marble tapering columns

2nd half 19th century

Italian, 18th/19th century

white marble Corinthian capitals and bases

206.5cm.; 81¼ins high

259.5cm by 102ins high, the capitals 53.5cm.; 21ins wide

£1500-2500

£2000-3000

106

218

219

A pair of Languedoc marble columns

A pair of Languedoc marble columns

French, 17th/18th century

French, 17th/18th century

each with moulded base

each with moulded top and base

356cm.; 140½ins high

336.5cm.; 132½ins high

£1500-2500

£1500-2500

107

221 An ebonised and green Scagliola column pedestal early 19th century diameter 30cm.; 12ins by 130cm.; 51ins high £600-1000

220 A pair of Italian Verde Antico marble columns 19th century 202cm.; 79½ins high by 35cm.; 13¾ins diameter £1200-1800

108

222

223

Two Solomonic pedestals

A set of four polychrome wood Solomonic columns

probably Italian, 18th/19th century one in rouge marble on a stepped plinth, the other cream marble on stepped veined marble plinth 175cm.; 69ins high and 155cm.; 61ins high ÂŁ1000-1500

Italian, 18th/19th century decorated to simulate marble, on giltwood bases one base missing 224cm.; 88½ins high £1500-2500

109

224 A set of five travertine marble columns Italian, possibly 16th or 17th century

226

each with square base and capital

A pair of oak pedestal column lamps

163.5cm.; 46½ins high

Northern European, 20th century

£2000-4000 225 A set of five Ketton stone architectural keystones circa 1860 each one 51cm.; 20ins high £600-1000

110

198cm.; 78ins high £500-800

227

228

A set of ten Victorian cast iron bollards

A pair of cast iron pier lamps and copper lanterns

mid 19th century together with a lengths of chain 175cm.; 69ins high including rebated base ÂŁ1000-1500

2nd half 19th century with diamond registration stamp 295cm.; 116ins ÂŁ4000-6000

111

229 A carved ironstone Amorini architectural element 19th century 38cm.; 15ins high by 114cm.; 45ins long Provenance: Reputedly removed from the ruins of the Volta Tower Finedon, Northamptonshire, which was built in 1865 by William Harcourt Isham MackworthDolben of Finedon Hall to commemorate the death of his eldest son, Lieutenant Commander William Digby Dolben, who drowned off the west coast of Africa on 1 September 1863, aged 24. The tower was circular and about 100 feet high and was a well-known local landmark until it collapsed on 16 November 1951 after standing for 86 years. At the time, John Edgar Northen and his wife Florence lived there. Mr Northen was outside at the time of its collapse and survived but Mrs Northen (65) was inside and killed by the tower’s collapse.

This one carved stone amorini, originally situated close to the top of the tower, is reputedly the only piece of decorative carving to survive the collapse. The tower is commemorated in Finedon’s town sign. The buyer of this lot will also receive an original 1907 postcard of the Volta Tower. £300-500 112

230 A pair of rare Austin and Seeley composition stone three quarter relief plaques mid 19th century 54cm.; 21ins high £300-500

231 Two Victorian carved limestone architectural gargoyle figures mid 19th century 28cm.; 11ins high by 112cm.; 44ins long including rebate £250-400 232 A group of four rare carved limestone olive press rollers France, 18th century or earlier the tallest 105cm.; 41ins £1000-1500 233 A pair of carved Vosges stone lions head architectural fittings possibly 17th century the larger 53cm.; 21ins high £1000-1500 234 A similar Vosges stone lions head architectural fitting possibly 17th century 48cm.; 19ins high £500-800

113

235

237

A set of three carved stone column pedestals

A collection of architectural stoneware elements

19th century 130cm.; 51ins high ÂŁ600-1000 236 A carved white marble architectural frieze in sections 2nd half 18th century 40cm.; 16ins high by approximately 670cm.; 22ft ÂŁ400-600

114

circa 1870 including an arch with keystone, together with a length of running frieze ÂŁ300-500

239 A pair of carved sandstone gatepier bases early 19th century 238 A carved white marble architectural niche Italian, 19th century with later carved stone figure of a Saint 70cm.; 27½ins high by 41cm.; 16ins wide by 20cm.; 8ins deep

87cm.; 34ins high, together with two other carved limestone bases, the larger 87cm.; 34ins high ÂŁ400-600

ÂŁ500-800

115

240

240

244

Wrought iron lawn edging in nine sections

A Puginesque Gothic wrought iron screen

mid 20th century

mid 19th century

approximately 16.5 metres.; 54 feet long

comprising five arches supported on spiral columns linked by trailing scrollwork

£300-500 241 A rare and unusual estate made wrought iron manger 19th century 178cm.; 70ins high by 160cm.; 63ins square £1000-1500 242 241

An unusual wrought iron shop sign bracket surmounted by a dragon 2nd half 19th century 130cm.; 51ins long £500-800 243 A pair of wrought iron treillage frames

242

modern 110cm.; 43ins high by 120cm.; 47ins long £300-500

116

187cm.; 73½ins wide £200-400 245 A collection of six cast iron hoppers including a pair dated 1939 67cm.; 26ins high by 76cm.; 30ins wide £400-600 246 A rare galvanised iron wine bottle frame on revolving iron stand French late 19th century 170cm.; 67ins high £500-800

243

244

245

246 117

247

248

A wrought iron and copper weathervane

A zinc and wrought iron weathervane of a fisherman

circa 1880 on later wooden dovecote base

2nd half 20th century

287cm.; 113ins high

102cm.; 40ins high by 65cm.; 25½ins long

£800-1200

with corner wall fitting

£600-1000

118

249 A washing copper 19th century 49cm.; 19ins high by 114cm.; 45ins diameter £400-600 250 A pair of Victorian stoneware chimney pots late 19th century 117cm.; 46ins high £250-400 251 A Georgian cast iron Carronade late 18th/early 19th century on later 19th century wooden and iron carriage barrel length 130cm.; 51ins, bore 10cm.; 4ins £600-1000

119

253 252

A painted hardwood canoe

An unusual pond yacht lugger

2nd half 20th century

late 19th century

330cm.; 130ins long by 50cm.; 20ins wide by 70cm.; 27½ins deep

on later wooden stand

£600-1000

194cm.; 76ins high by 168cm.; 66ins long £800-1200

120

254 A carved wood half block model of a ship’s hull 2nd half 19th century 36cm.; 14ins high by 140cm.; 55ins long £700-1000

255 A naively carved painted pine and zinc mounted ship’s hull 1st half 20th century 28cm.; 11ins high by 93cm.; 37ins long £350-500

121

256

257

A collection of bells

A similar collection of bells

including hand bells, hanging bells and crotal cow bells

£300-500

£300-500 258

259

A late Georgian bell

A collection of three various bells

early 19th century 30cm.; 12ins high Reputedly from a school in Shrewsbury £500-800

18th/19th century the largest 30cm.; 12ins high £300-500

122

260 A collection of bells £300-500 262 A collection of three bells including a Muster bell from R.A.F. Credenhill on wooden bracket the bell 28cm.; 11ins high, together with an Ecclesiastical altar bell and another bell £300-500

263 A Victorian bell mid 19th century 261

38cm.; 15ins high

A collection of three bells

Reputedly from Shrewsbury Boy’s School

the largest reputedly from St Austin’s Church, Stafford and with maker’s mark Millers, the bell 25cm.; 10ins high, together with another bell reputedly from The Royal Naval Dockyard, Barbados, 14cm.; 5½ins high, and another bell

£500-800

£300-500

123

264

266

A pair of Coalbrookdale Fern and Blackberry pattern cast iron seats

A Val d’Osne foundry cast iron Gothic seat

early 20th century

circa 1860 193cm.; 76ins wide

112cm.; 44ins wide

£1200-1800

£1000-1500

124

265

267

An Andrew McLaren & Co. cast iron seat late 19th century

A similar Andrew McLaren & Co. pattern cast iron seat

183cm.; 72ins wide

last quarter 19th century

£400-600

with diamond registration stamps

This design no 281316 was registered and patented by Andrew McLaren, 174 Upper Thames Street, London at the Public Records Office 24th March 1874 (see engraving)

168cm.; 66ins wide

£400-600

268 A Fern and Blackberry pattern cast iron seat 1st half 20th century 118cm.; 46ins wide, together with a pair of Victorian style chairs, 2nd half 20th century £500-800

269 An unusually long Coalbrookdale Fern and Blackberry pattern cast iron seat 190cm.; 74½ins wide

Office on the 30th of April 1858 by Coalbrookdale and is seat number 29A in the castings catalogue of 1875, Section III page 254. (see engraving)

The original design, number 113617, was

£1200-1800

last quarter 19th century

270 A Coalbrookdale Serpent and Grape pattern cast iron seat

registered and patented at the Public Records

2nd half 19th century 160cm.; 63ins long £400-600

271 A rare Victorian cast iron Jubilee seat the ends with Royal coat

of Arms and portrait plaque of Queen Victoria inscribed Royal Jubilee 1887 190cm.; 75ins wide £300-500 125

272

274

A rare suite of Fern and Blackberry pattern aluminium furniture comprising seat and two chairs

Three teak steamer chairs

the seat Dutch mid 20th century, with indistinct makers stamp

20th century £150-250

122cm.; 48ins long, together with a Victorian cast iron table, circa 1870, with later plywood top, 122cm.; 48ins long £1200-1800

273

275

A large wrought iron Arras seat

A Regency reeded wrought iron seat

French, early 20th century

early 19th century

250cm.; 98ins wide

190cm.; 75ins wide

£800-1200

£600-1000

126

276 A pair of strapwork wrought iron demi-lune seats modern 175cm.; 69ins wide £1500-2500

277

278

A Regency reeded wrought iron seat

A strapwork wrought iron tree seat

early 19th century

modern

186cm.; 73ins wide

182cm.; 72ins diameter

£600-1000

£1500-2500 127

279 A pair of slightly curved white and brêche marble benches made-up using 19th century components 200cm.; 79ins wide £1000-1500

281 † A pair of carved stone stools French, late 19th/early 20th century 50cm.; 20ins high £250-400

280 A carved Istrian marble curved bench circa 1900 repairs 240cm.; 96ins long £600-1000 128

282 A pair of carved Rosso Verona marble bench supports Italian, circa 1900

285

40cm.; 16ins high

A pair of carved limestone benches

£500-800

modern 140cm.; 55ins long £1200-1800

283

284

A composition stone table last quarter 20th century

A carved limestone seat with oval inset lead plaque

137cm.; 54ins diameter

modern

£500-800

183cm.; 72ins long £2000-3000 129

286

288

A Faux Bois composition stone suite

A carved teak seat

French, mid 20th century

1st half 20th century

comprising table and four chairs

with foot rest

table 122cm.; 48ins diameter

187cm.; 73ins wide

£1200-1800

Reputedly removed from The Royal Hospital,

Chelsea where similar examples may be seen.

Half the sale proceeds including vendor’s commission will be donated to The Royal Hospital, Chelsea. £800-1200

287

289

A marble and oak table

A very rare bleached oak garden chair

modern

18th/19th century

210cm.; 83ins long by 90cm.; 36ins wide

stick backed with arms on three legs

£1500-2500

£250-400

130

290 A set of four hickory wood rustic chairs 3rd quarter 20th century two bearing maker’s plaque Flatrock Furniture Inc, Waldron Indiana £400-600 291 A similar set of four chairs two bearing maker’s plaques

290

291

£400-600 292 A similar set of four chairs one bearing marker’s plaque £400-600 293 A pair of matching hickory armchairs lacking maker’s plaques £250-400

292

293

131

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 294 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 132

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,

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. £6,000-10,000 295 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 £6,000-10,000 Centre section of table

Two tables together with centre section 133

297 A late Victorian cast iron pub table decorated with classical heads with mahogany top 61cm.; 24ins £250-400 298 A Victorian cast iron Victory pub table circa 1900 with later planished copper top 60cm.; 24ins diameter 298

297

296 A rare Edward VII cast iron table early 20th century with later mahogany top 120cm.; 47ins long £400-600

296

134

£300-500

299 An unusual cast iron circular table circa 1880 76cm.; 30ins diameter £600-1000

300 A Victorian cast iron table circa 1880 the under tier stamped Chufton, Birmingham and with inset marble top 55cm.; 22ins diameter £300-500

301 A Victorian cast iron table circa 1860 with later mahogany top 106cm.; 42ins long £300-500

135

302 A wrought iron and brass mounted baker’s rack French, circa 1900

with indistinct Parisian maker’s stamp

303

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

last quarter 19th century

£1200-1800

A cast iron table 62cm.; 24½ins diameter £600-1000

304 A glazed earthenware mortuary table with bronze drain 1st half 20th century 74cm.; 29ins high by 183cm.; 72ins long £600-1000

136

305 A composition console table modern in the form of a Romanesque wellhead section

307

72cm.; 28ins high by 106cm.; 42ins long by 53cm.; 21ins deep

French, late 19th century

£300-500

A wrought iron and Brêche marble console table 145cm.; 57ins wide £1000-1500

306 A rare Arras wrought iron four tier plant stand early 20th century 82cm.; 32ins high by 188cm.; 74ins long £1000-1500

137

310 A Coalbrookdale style cast iron plant stand mid 20th century 308 A pair of unusual demilune cast iron plant stands circa 1870

with indistinct diamond registration stamp 109cm.; 43ins high by 107cm.; 42ins wide

114cm.; 45ins high £400-600

311

311 An unusual cast iron stick stand

£1000-1500

possibly Continental, circa 1960 70cm.; 27½ins high £200-400

312 A Victorian cast iron stick stand circa 1860 309 A pair of wrought iron plant stands

French, 1st half 20th century

81cm.; 31ins high by 43cm.; 17ins wide

127cm.; 50ins long £250-400

138

with diamond registration stamp

312

£300-500

314 A rare Coalbrookdale cast iron Victoria and Albert stick stand mid 19th century stamped CBDale & Co and with registration number 76cm.; 30ins high by 56cm.; 22ins wide This stick stand is illustrated in the 1875 Coalbrookdale catalogue section II page 232 No. 230 (see engraving) ÂŁ500-800

313 A rare Coalbrookdale Fern pattern cast iron stick stand circa 1870 the back stamped C B Dale 56cm.; 22ins high A similar stick stand is illustrated in the 1875 Coalbrookdale Catalogue, section 2, number 222 (see engraving) ÂŁ500-800

139

315 A pair of Kenrick foundry cast iron boot scrapers 3rd quarter 19th century

317

30cm.; 12ins high by 36cm.; 14ins long

A pair of rare cast iron boot scrapers

(see engraving)

mid 19th century

£500-700

stamped Smith 28cm.; 11ins high by 35cm.; 14ins wide This pattern appears in the mid 19th century Kenrick Foundry catalogue, however this pair are stamped Smith and letter ‘G’ suggesting Sun Foundry, Glasgow £500-800

316 A pair of substantial cast iron bootscrapers 19th century on associated limestone bases 57cm.; 22ins high by 51cm.; 20ins long £300-500 140

318 A Carron Foundry cast iron stick stand Scottish, circa 1880 with lift out tray bearing diamond registration stamp 77cm.; 30ins high by 38cm.; 15ins wide Similar but not identical stick stands are illustrated in the late 19th century Carron Foundry catalogue £300-500

319 An unusual cast and wrought iron boot scraper Victorian with later adjustable inset mud brushes 28cm.; 11ins high by 38cm.; 15ins long £200-400

321 A Coalbrookdale cast iron bootscraper with diamond registration number and stamp 43cm.; 17ins long (see engraving) This bootscraper is illustrated in the 1875 Coalbookdale catalogue section II no.30 £250-400 320

322

A rare Parmiters foundry cast iron bootscraper with later mat brushes

A wrought iron bootscraper on stone base

2nd half 19th century

2nd half 19th century

stamped Parmiters major patent Tisbury No. 1 32cm.; 13ins high by 50cm.; 20ins wide

125cm.; 49ins high by 60cm.; 23½ins wide by 25cm.; 9¾ins deep

£250-400

£500-800 141

323

324

325

A copper and carved limestone armillary sundial

A carved limestone and copper armillary on pedestal

modern

A copper armillary on carved limestone column and pedestal base

153cm.; 60ins high

modern

with stepped base

ÂŁ1500-2500

370cm.; 146ins high

218cm.; 86ins high by 130cm.; 51ins wide overall

ÂŁ2000-3000

modern

ÂŁ3000-5000 142

326

327

328

A white marble sundial after a design by Batty Langley

An unusual stoneware sundial pedestal

A carved Hamstone sundial

modern

circa 1870

the bronze plate calibrated with hours, minutes and a sunburst

with 11in octagonal bronze dial indistinctly inscribed

145cm.; 57ins high

with associated 12ins bronze dial inscribed Winkworth Engraver Chester latitude 53/17

ÂŁ300-500

117cm.; 46ins high

19th century

ÂŁ1500-2500

ÂŁ1200-1800

143

329

330

331

A Victorian carved stone sundial

A cast iron and copper mounted armillary sundial

A Georgian sundial

circa 1860

modern

the octagonal 12ins bronze plate signed Thomas Hogben, Fecit 1768

with the 11in slate plate calibrated for latitude 54 degrees, 35 degrees North and with masonic insignia and bronze gnomon

on 19th century cast iron pedestal and stone base

on 19th century Portland stone pedestal

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

129cm.; 51ins high overall

132cm.; 52ins high overall

ÂŁ1000-1500

ÂŁ1200-1800

144

ÂŁ1000-1500

332 A rare carved white marble fountain French, 18th/19th century 107cm.; 42ins high by 102cm.; 40ins wide by 76cm.; 30ins deep £6000-10,000 333 A zinc fountain figure of a boy possibly Fiske Foundry, American, late 19th century 70cm.; 27½ins high £300-500

334 A composition stone fountain French, early 20th century conch shell plumbed for water 150cm.; 59ins high £600-1000 145

335

337

A carved limestone wall basin

A carved stone fountain mask

French, 19th century

French, 19th century

84cm.; 33ins high by 150cm.; 59ins wide

mouth drilled for water

£2000-3000

99cm.; 39ins high by 71cm.; 28ins long £1200-1800

336 An unusual Celtic style stoneware birdbath late 19th century indistinctly stamped Breev Stourbridge 56cm.; 22ins high by 37cm.; 14½ins square £400-600

146

338

339

A rectangular carved stone trough

A D-shaped carved sandstone trough

54cm.; 21ins high by 237cm.; 93ins long by 70cm.; 28ins wide

35cm.; 14ins high by 77cm.; 30ins wide by 66cm.; 26ins deep

£3000-5000

£250-400

340 Two pairs of composition stone gatepier balls 1st half 20th century and mid 20th century 43cm.; 17ins diameter and 38cm.; 15ins diameter £300-500

147

341

341

343

A particularly large carved limestone trough

Two pairs of carved limestone staddlestones

70cm.; 27½ins high by 236cm.; 93ins long by 110cm.; 43ins deep

the larger 80cm.; 32ins high

£2000-4000 342

342 A carved stone rectangular trough 44cm.; 17½ins high by 160cm.; 63ins long by 81cm.; 32ins deep £1000-1500

Staddlestones were used from medieval times onwards as supporting bases for granaries, hayricks and game larders.

The staddlestones lifted the granaries above the ground thereby protecting the stored grain from vermin and water seepage.

In Middle English staddle or stadle is stathel, from Old English stathol, a foundation, support or trunk of a tree. £500-800

343 148

344 A large carved limestone trough 76cm.; 30ins high by 231cm.; 91ins long by 110cm.; 43ins deep £2500-4000 345 An unusual carved limestone quern stone 18th century or earlier 68cm.; 27ins high £1000-1500 346 A graduated collection of eight marble mortars

347 Two carved limestone quern stones

17th-19th century

18th century or earlier

including one stone example

the larger 61cm.; 24ins high

the largest 32cm.; 12½ins high by 69cm.; 27ins wide; the smallest 23cm.; 8½ins high by 35cm.; 13½ins wide

£1000-1500

£2000-3000 149

348 A pair of carved stone finials on plinths Northern European dated 1891 125cm.; 49ins high ÂŁ500-800 349 A similar pair of carved stone finials on plinths 152cm.; 60ins high ÂŁ600-1000

348

349

350 A rare and unusual carved sandstone planter/cistern North Country, mid 19th century 44cm.; 17ins high by 72cm.; 28ins long This very unusual piece is carved with Celtic style heads together with rustic arches suggesting an early to mid Victorian date when railways were being built in the North of England. ÂŁ1000-1500

150

351 A large Victorian carved stone urn 2nd half 19th century 94cm.; 37ins high £500-800 352 A Georgian carved Portland stone cistern late 18th/early 19th century on later stand 73cm.; 29ins high by 73cm.; 29ins wide £700-1000 353 A near pair of carved Portland stone urns

351

352

circa 1900 90cm.; 35½ins high £1000-1500

354 A pair of carved stone urns Northern European, late 19th century 53cm.; 21ins high £250-400 353 151

355

357

A pair of large composition stone urns on pedestals

A pair of Georgian carved Bathstone stone basket planters on stands

20th century 242cm.; 95ins high overall

late 18th/early 19th century

£1500-2500

117cm.; 46ins high £2000-3000

356 Two pairs of composition stone tapering cylindrical planters 2nd half 20th century the larger 53cm.; 21ins high by 64cm.; 25ins diameter; the smaller 43cm.; 17ins high by 50cm.; 19½ins diameter £200-300 152

358 A carved white marble bowl on stand Italian, late 19th century 134cm.; 53ins high by 74cm.; 29ins diameter £3000-5000

360 A carved white marble urn Italian, circa 1900 106cm.; 42ins high by 80cm.; 31½ins diameter £4000-6000

359 A pair of composition stone basketweave planters 2nd half 20th century 49cm.; 19ins high, together with a pair of late Victorian stoneware charcoal water filters 84cm.; 33ins high £400-600

153

361

363

A near pair of Blashfield stoneware urns on pedestals

A pair of terracotta vase Anduze

profusely stamped on urns and pedestals J M Blashfield, Stamford, 1870

modern

84cm.; 33ins high by 56cm.; 22ins diameter

82cm.; 32ins high

£1200-1800

£700-1000

each with maker’s stamp on outside and on inside

364

A pair of terracotta urns

A terracotta rustic tree trunk strawberry planter

20th century

late 19th century

50cm.; 19½ins high by 52cm.; 20½ins diameter

91cm.; 36ins high

£200-400

£300-500

362

154

365 A pair of large terracotta storage jars 20th century

367

132cm.; 52ins high

A pair of terracotta urns

£1500-2500

early 20th century stamped Somerset Trading Co Ltd, Bridgewater

366 A collection of four terracotta pots including two hand thrown examples

84cm.; 33ins high £1000-1500

the earliest possibly 18th century and a later pair of smaller examples with laurel branch decoration the tallest 46cm.; 18ins; the pair 30cm.; 12ins high £400-600

368 A pair of Pulhams stoneware urns circa 1870 stamped Pulhams Terra Cotta Broxbourne 55cm.; 22ins high by 66cm.; 26ins diameter £800-1200

155

369 A pair of unusual cast iron urns French, late 19th century 76cm.; 30ins high ÂŁ1000-1500

370 An unusual cast iron urn on pedestal French, 2nd half 19th century 120cm.; 47ins high overall ÂŁ600-1000

371 A pair of Handyside foundry cast iron planters on stands 2nd half 19th century 52cm.; 22ins high by 66cm.; 26ins diameter ÂŁ600-1000

156

373 A pair of cast iron urns 20th century 64cm.; 25ins high £300-500

372 A rare Coalbrookdale cast iron urn on stand 2nd half 19th century 107cm.; 42ins high A similar urn on stand is illustrated in the 1875 Coalbrookdale catalogue section III page 323 no.7 (see engraving) £1500-2500

374 A pair of cast iron urn base planters late 19th century with possibly associated socles 65cm.; 25ins high by 71cm.; 28ins diameter £500-800 157

375

376 378

375

377

A patinated copper planter

A pair of large cast iron buckets

late 20th century

late 19th/early 20th century

66cm.; 26ins long

152cm.; 60ins high overall by 114cm.; 45ins diameter

£400-600

£800-1200 376 A cast iron basketweave planter

378

20th century

A rare Swedish cast iron urn

35cm.; 88ins wide

2nd half 19th century

£200-400

the base stamped J & G.G Bolinder, Stockholm 84cm.; 33ins high

377 158

£1200-1800

382 † A carved sandstone panel in two sections Indian, 19th century 380 †

50cm.; 20ins high by 132cm.; 52ins wide

A carved stone Buddha head

£500-800

Indian, 20th century 64cm.; 25ins high £500-800 379 An unusual bronze stand Japanese, Meiji Period, 1868-1912 variegated patination

383 †

153cm.; 60ins high

A bronze Urli

£600-1000

Indian, 19th century 106cm.; 42ins diameter £1000-1500 384 381 † A carved marble Lingum fountain

A pair of carved stone dogs of Fo

Indian, 20th century

South-East Asian, 2nd half 20th century

74cm.; 29ins high

48cm.; 19ins high

£400-600

£400-600

159

385 An over-lifesize composition stone classical figure of a Roman Senator on pedestal 2nd half 20th century overall 310cm.; 122ins high ÂŁ2000-3000 386 A similar composition stone Roman Senator on pedestal 2nd half 20th century overall 310cm.; 122ins high ÂŁ2000-3000

160

387

388

A large white and Belgian fossil marble bust of the Emperor Galba

A composition stone figure of Diana de Gabes

20th century

with inset makers plaque Pierres Moulees BlatonAubert, rue du Pavilliom 4, Schaerbeck

83cm.; 33ins high by 87cm.; 34ins wide ÂŁ800-1200

Belgium, early 20th century

damages 178cm.; 70ins high ÂŁ1200-1800

161

Each of the following five figures are being offered as individual lots, however for clients wishing to purchase all five, a single bid should be entered and if the bid exceeds the total of the highest bids entered for the individual lots, then that will be the winning bid.

389

390

391

A carved limestone figure in 18th century dress on pedestal

A carved limestone figure in 18th century dress on pedestal

A carved limestone figure in 18th century dress on pedestal

Italian, last quarter 20th century

Italian, last quarter 20th century

Italian, last quarter 20th century

220cm.; 87ins high

220cm.; 87ins high

220cm.; 87ins high

ÂŁ2000-4000

ÂŁ2000-4000

ÂŁ2000-4000

162

392

393

394

A carved limestone figure in 18th century dress on pedestal

A carved limestone figure in 18th century dress on pedestal

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

Italian, last quarter 20th century

Italian, last quarter 20th century

2nd half 20th century

220cm.; 87ins high

220cm.; 87ins high

on associated pedestal

ÂŁ2000-4000

ÂŁ2000-4000

198cm.; 78ins high ÂŁ1500-2500 163

395

397

398

395

396

397

A carved white marble group of mother and child

A pair of terracotta busts of Apollo and Diana on pedestals

Italian, late 19th century

Attributed to Doulton: A stoneware figure probably modelled by H. Simeon

90cm.; 35½ins high

circa 1930

indistinctly signed

£1000-1500

50cm.; 19½ins high

176cm.; 69ins high

A similar model is illustrated in the 1928 Doulton catalogue

£1000-1500

£350-550

398

Italian, 2nd half 20th century

A carved Portland stone figure of a girl in Elizabethan dress holding a model castle 183cm.; 72ins high 396 164

£500-800

402 A carved white marble figure of a seated girl last quarter 19th century 92cm.; 36ins high £600-1000

399

modern

A pair of large composition stone Mastiffs on pedestals with bronze collars

the dogs 109cm.; 43ins high; 200cm.; 79ins overall £4000-6000 400

401

A composition stone figure of a mermaid French, early 20th century

A composition stone figure of a seated young faun

on pedestal, scallop shell plumbed for water

2nd half 20th century

183cm.; 72ins high

seated on associated rockwork base

£2000-3000

74cm.; 29ins high £500-800

165

403 After Thorwaldson: A set of four lead plaques representing the Seasons mid 20th century 70cm.; 27½ins diameter, together with four wooden stands £1000-1500

404 A bronze figure of a boy bagpipe player circa 1900 variegated green patination

166

405 An unusual lead figure of a seated youth mid 20th century

34cm.; 13ins high

28cm.; 11ins high

£800-1200

£400-600

406 ‥ Attributed to the Bromsgrove Guild: A lead fountain group early 20th century plumbed for water 58cm.; 23ins high by 97cm.; 38ins wide £3000-5000

167

407 ‡ 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 are copies of the crouching lions carved in 1792 for the Monumental tomb of the Pope Clemente XIII in the Vatican, Rome. £6000-10,000

408 Two lead frogs early 20th century 28cm.; 11ins by 40cm.; 16ins long £1000-1500

168

409 A pair of terracotta lions French, 19th century 86cm.; 34ins high £1500-2500

411 After Pompon A bronze owl Modern

412

410

49cm.; 19ins high

Two bronze crocodiles

This model is after a wooden owl carved by the well-known French animalier sculptor François Pompon executed around 1910.

A carved Portland stone torso of a lion

modern each 14cm.; 5½ins high by 77cm.; 30½ins wide by 48cm.; 19ins deep £1200-1800

Literature: See Animals in Bronze by Christopher Payne, 1986 published by The Antiques Collector’s Club, p. 110 £500-800

circa 1900 now mounted on associated white and grey veined marble column pedestal 176cm.; 69ins high overall £3000-5000

169

415 A carved gritstone group of eagles modern 150cm.; 59ins high £500-800 413 A pair of cast iron eagles 2nd half 20th century 117cm.; 46ins high by 76cm.; 30ins wide £2000-3000

414 A composition stone reclining fawn modern 75cm.; 30ins high by 100cm.; 39ins long £500-800 170

417 Jaroslav Susta A painted papier mâchè and chipboard table Signed and dated 91 124cm.; 49ins long £1000-1500 416 Jaroslav Susta A painted fibreglass and papier mâchè chair 1990s with mirrored base Jaroslav Susta was a Czech designer involved in the Atica movement which held its first exhibition in Prague in 1987. Highly controversial, critics disliked the ways in which the one-off, handmade works rejected all notions of straightforward functionalism through their embrace of the rich variety of materials and expressive forms. £1000-1500

418 John Cox (1941 - 2014) Web table Bronze 85cm.; 33½ins high by 75cm.; 29½ins wide by 151cm.; 59½ins long £2000-3000 171

419

420

Root Throne

Root Throne

Teak

Teak

185cm.; 73ins high by 290cm.; 114ins wide by 85cm.; 33½ins deep

160cm.; 63ins high by 220cm.; 86½ins wide by 65cm.; 25½ins deep

£1200-1800

£1200-1800

421 A flock of 12 wrought iron sheep modern 50cm.; 19½ins high £1200-1800

172

422 Abby Martin Mycellium Minor Iron and marble resin Largest 82cm.; 32ins high by 51cm.; 20ins wide by 52cm.; 20½ins deep £1200-1800

423

424

A collection of 21 wrought iron tulips

Abby Martin

modern 142cm.; 56ins high £1200-1800

Mycellium Major Iron and marble resin 205cm.; 80½ins high by 128cm.; 50¼ins wide by 126cm.; 49½ins deep £2000-3000

173

425 David White Opal stone Signed 152cm.; 60ins high by 68cm.; 27ins wide by 30cm.; 12ins deep David White was born 1987 in the rural district of Gunguwe in Chiweshe Zimbabwe. After spending two years at Sam Kuvenguhwa studio learning the basic of stone sculpting, he left to start his own home studio where he developed his own distinctive style and soon making carving his full time occupation.

David’s sculptures have sold to collectors and galleries in Zimbabwe, South Africa, United Kingdom, U.S., Germany, Holland, Belgium, New Zealand and Canada. £4000-6000

174

426 Sylvester Samanyanga Receiving Blessings Signed 45cm.; 17½ins high by 34cm.; 13½ins wide by 12cm.; 5ins deep Born on 27 June 1986 in Guruve, Sylvester Samanyanga developed an interest in art while in primary school. He started by moulding clay animals

and clay pots. As is the case with many Zimbabwean sculptors Sylvester did not attend any formal art school he just apprenticed with a senior artist, Ignatius Zhuwakiyi.

He has participated in several group exhibitions in Zimbabwe, Canada, USA, Germany, Holland and France. £800-1200

427 Liberty Tshuma Mixed Feeling Springstone Signed 235cm.; 92½ins high by 104cm.; 41ins wide by 60cm.; 24ins deep

Liberty Tshuma was born 1982 in Zvishavane, Zimbabwe. He joined the Chitungwiza Art Centre in 2003 and his sculptures have found homes in the USA, Holland and Germany. £6000-8000

175

429

Signed

Timothy Rukodzi

26cm.; 10ins high by 45cm.; 17½ins wide by 25cm.; 10ins deep

Hippopotamus Opal stone

£600-800

428

Signed

430

Signed

Sylvester Samanyanga

103cm.; 40½ins high by 52cm.; 20½ins wide by 46cm.; 18ins deep

Success Kagore

23cm.; 9ins high by 41cm.; 16ins wide by 48cm.; 19ins deep

In pursuit of happiness Springstone

176

£3000-5000

Frog Leopard Rock

£800-1200

431 Walter Mariga Torso of Elegance Opal stone Signed Unique 128cm.; 50½ins high by 56cm.; 22ins wide by 70cm.; 27½ins deep Walter Mariga was born in 1973 in Nyanga, Zimbabwe. His father, Joram Mariga (now deceased) is often described as “The Father” of Shona sculpture.

Walter began exhibiting his work internationally through the Chapungu sculpture park at the age of 21. In 1994 he was chosen to participate in a sculpting symposium organized by the Japanese government in Zimbabwe and he work alongside Japan’s sculptor Masaji Asaga, sculpting in black granite.

Walters works has been exhibited in galleries in the UK, the U.S., Germany, Holland, Australia, Japan and Canada. £4000-6000

177

432 Ade Grant Modulus Powder coated GRP sculpture Edition of 9 400cm.; 157½ins high approx by 110cm.; 43¼ins wide by 110cm., 43¼ins deep £10,000-15,000

433 Danu, born France 1952 Lascive Powder coated heavy gauge steel Signed and numbered 9 of an edition of 80 180cm.; 71ins high £1200-1800

178

434 Danu, born France 1952 Kouros Powder coated heavy gauge steel Signed and numbered 9 of an edition of 80 195cm.; 77ins high Danu was born in 1955. He lives and works in Venice, on the French Riviera.

He held his first exhibition at the Centre Culturele in Cagnes sur Mer when he was 18 years old.

Exhibitions in Cannes, Paris, Deauville, Brussels, Monaco and Venice quickly followed.

In 1979 Danu was accepted as a member of “Artiste Independent” and “Artistes Francais”

435 Leigh Dyer Catch of the Day Galvanised steel 270cm.; 107ins high £2000-3000

£1200-1800

179

436 ▲ Sally Matthews Five Wolves Bronze each approx 80cm.; 31½ins high by 30cm.; 12ins wide by 160cm.; 63ins long Exhibited at CASS, Goodwood 2000 - 01 Sally Matthews was born in Tamworth, Staffordshire, in 1964. She studied on the Foundation Course at Loughborough College of Art and Design (1981-82), following this with a degree course in the Department of Sculpture (1983-86), from which she graduated with first-class honours. The daughter of a vet, many of her pieces feature domestic or wild animals. see also back cover £60,000-80,000

180

436 detail

181

437 Simon Verity, born 1945 Lazarus Carved limestone on associated composition stone plinth 85cm.; 33½ins high by 168cm.; 66ins long £1000-1500 438 Anon: Sleeping man 1980’s Bronze with indistinct inscription 75cm.; 30ins high by 112cm.; 44ins long £150-250

182

439 s

440

441 s

Carol Peace

Guido Lodigiani

Reece Ingram

Reach

“Chiamato all vita” (Called to life)

Happiness is a Sea of Grass and Someone to Swim With

178cm.; 70ins high by 50cm.; 19½ins wide by 80cm.; 31½ins deep

Vicenza stone

94cm.; 37ins high by 120cm.; 47ins wide

Signed Guido Lodigiani 1988

Reece studied Sculpture at Brighton Art College, graduating in 1985.

Born in 1970, Carol studied for her degree in Fine Art Sculpture at Winchester School of Art.

155cm.; 59ins high by 75cm.; 29½ins by 75cm.; 29½ins

He studied under Peter Randall Page who taught him to carve and inspired him to become a sculptor. Reece has also worked for Peter on various occasions, most recently for Peter’s solo show at the Yorkshire Sculpture Park.

Iron resin

£2000-3000

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”. £150-250

Carved Chestnut

In 1992 Reece completed an MA in Site Specific Sculpture at Wimbledon. His well-known commissions include work for the Princess Diana Memorial playground, Kensington Gardens, sculpture for the Eden Project in Cornwall as well as making 7 sheep for the Horse trials at the 2012 London Olympics which are now permanently sited in a playground in Greenwich Park. £800-1200

183

442 David Cooke Barn Owl with adjustable head Stoneware ceramic on oak and slate base 88cm.; 34½ins high by 23cm.; 9ins wide by 14cm.; 5½ins deep David Cooke has been a professional wildlife artist since graduating in 1992 from Leeds Metropolitan University with a degree in 3D Design. David has been based at Sculpture Lounge Studios in Holmfirth since 2005, and has been running ceramic workshops there with Brendan Hesmondhalgh since 2006. He regularly exhibits at some of the major UK ceramic and wildlife art shows, such as Art In Clay at Hatfield House, Potfest In The Park, Penrith and the annual Society of Wildlife Artists Exhibition at the Mall Galleries in London.

444 Brendan Hesmondhalgh Pair of whippets Stoneware

£400-600

Unique 443 Gail Dooley

65cm.; 25½ins high by 53cm.; 20¾ins wide

Albatross head

£2000-3000

Stoneware Unique 35cm.; 14ins high by 20cm.; 8ins wide by 53cm.; 21ins deep £800-1200

184

445 Turtle with Eggs 19th Century Granite

34cm.; 13½ins high by 28cm.; 11ins wide by 46cm.; 18ins long £1200-1800

447 Kim Francis Chrysalis Carrara statuary marble and stainless steel

446 Sleeping Fox Aberdeenshire Portsoy marble

16cm.; 6½ins high by 30cm.; 12ins wide by 28cm.; 11ins deep £400-600

44cm.; 17ins high by 20cm.; 8ins wide by 25cm.; 10ins deep Kim Francis was born in 1974 and studied at London’s Central St Martins College of Art,

graduating in 1998 gaining a BA (hons) degree in jewellery. Since graduating her work has grown in scale and moved from jewellery toward sculpture. Most of her stone pieces are achieved through direct carving, whilst others are modelled on clay maquettes. £3000-5000

185

448

449

448 Peter Hayes Clear Head Acrylic 63cm.; 25ins high by 29cm.; 11½ins wide by 18cm.; 7ins deep Hayes was born in Birmingham, England, where, aged 12, he was selected to attend the Moseley School of Art. In 1961 he studied at the Birmingham College of Art before travelling extensively in Africa. Over the course of several years, he worked as a ceramic artist with tribes and village potters who inspired him with the work they produced using very limited technology and tools. In

450

1982, Hayes came home and built a studio in a disused toll house on Cleveland Bridge, Bath.

The distinctive appearance of Peter Hayes’ ceramics comes from the techniques like Raku firing to which he subjects them, but also from the fact that he submerges them in the flowing river beside his studio, or sends them to Cornwall to be washed in the sea for months at a time. The water washes minerals such as copper and metal oxides into the basic white clay with which Hayes works, creating a characteristic green-blue “blush” in his sculptures along with random elements that make every piece unique. The effect is to create objects that many feel look ancient and perhaps even a little alien. Hayes’ work is generally finished by waxing and polishing. £2000-3000

186

449

452 s

Peter Hayes

Peter Thursby

Raku

Mo – Xylophonic section relief

Standing stone with copper disc, stoneware ceramic on wooden base 126cm.; 49½ins high by 48cm.; 19ins wide by 26cm.; 10ins deep

Cast aluminium 39cm.; 15½ins high by 78cm.; 30½ins wide by 8cm.; 3ins deep see footnote to lot 66

Peter Hayes

A hardback copy of the book Peter Thursby by Vivienne Mary Light and Simon Olding, 2006 is included in this lot.

Head

£2000-3000

£3000-4000 450

Stoneware ceramic on Portland stone base

452

453 s Sean Rice Fisherman

Unique

Bronze

91cm.; 36ins high by 26cm.; 10ins wide by 28cm.; 11ins deep

Unique 30cm.; 12ins high by 16cm.; 6½ins wide by 13cm.; 5ins deep

£2000-3000

Rice was born in London in 1931. He spent the war years in Brighton, where he later began art studies under the sculptor James Woodford RA. He was influenced by the sculptor Maurice Lambert, who taught Rice between 1951 and 1953 at the Royal Academy Schools in London. Lambert’s penchant for animals, birds and mythic figures undoubtedly influenced Rice’s choice of similar subject matter. Their techniques may have differed but Lambert’s

451 Guido Venturini Alessi Lingham Vase Ceramic Edition 84 of 99 and dated 2002 137cm.; 54ins high by 50cm.; 19½ins wide £800-1200

453

celebrated Pegasus – which Rice encountered at the 1951 Festival of Britain – encouraged the baroque fantasy and overflowing symbolic detail that would also come to characterise Rice’s mature work £800-1200

451 187

454 A bronze stag by Christian Maas signed Christian Maas and with gilt foundry stamp and rectangular registration stamp ‘Christian Maas, 1951 (born 1951) Sculptor-Fonder D’Apres Francais Pompon 1853 to 1933’ £6000-10,000

455 Child’s Elephant Playground Ride North American, circa 1960s Cast aluminium and refurbished steel spring 90cm.; 35½ins high by 48cm.; 19ins wide by 88cm.; 34½ins long £1000-1500

456 Child’s Horse Playground Ride North American, circa 1960s Cast aluminium and iron spring 100cm.; 39½ins high by 48cm.; 19ins wide by 88cm.; 34½ins long £1000-1500

188

457

458

459 ▲

Lucy Lyons

Manolis Tzobanakis, Greek

John Brown, Born 1931

Pole Vaulter, 20th century Bronze, on polished black slate base

Horse and Rider

Signed Lucy Lyons, 2 of 6, 1975

Signed M. Tzobanakis

and with five Olympic rings 69cm.; 27ins high by 40cm.; 16ins wide by 12cm.; 5ins deep £400-600

Bronze on marble plinth 21cm.; 8ins high by 14cm.; 5½ins wide by 7cm.; 3ins deep £400-600

Devotion Bronze resin on polished granite base on GRP stand

460

Signed J.R Brown 99, 3 of 12

Guido Deleu

51cm.; 20ins high, mounted on white fibreglass pedestal

Bronze

£800-1200

The Visitor Open 75cm.; 29½ins high by 28cm.; 11ins wide by 21cm.; 8½ins deep £2000-3000

189

461 John Mulvey Virgin and Child Bronze Signed 3 of 5, 1972 90cm.; 35½ins high by 27cm.; 10½ins wide by 21cm.; 8½ins deep Mulvey is a self-taught sculptor, born in Manchester, who spent some years as a sheet metal worker. He showed at the Expositions Annuelles des Beaux Arts in Paris, winning a bronze medal in 1974 and silver in 1976. Commissions have included Rolls Royce Ltd and the Parachute Regiment. £1200-1800

462 Ana Duncan Storm IV Bronze Signed A. Duncan, 3 of 8 27cm.; 10½ins high by 29cm.; 11½ins wide by 33cm.; 13ins deep Ana Duncan studied sculpture and bronze casting for four years at the National College of Art and Design, and now works in ceramics and bronze from her studio in Ireland.

She has completed a series of group and solo exhibitions, and her work is held in corporate and private collections both in Ireland and Europe and the USA. £3000-5000

190

463

465

Ana Duncan

Embracing Couple

Reflection

Murano Mazzega gilt flecked glass, on cylindrical base

Bronze Signed A. Duncan, 6 of 8 33cm.; 13ins high by 30cm.; 12ins wide by 16cm.; 6½ins deep £3000-5000

Signed 115cm.; 45½ins high by 18cm.; 7ins wide by 18cm.; 7ins deep £400-600

464 Bronze Figure 55cm.; 21½ins high by 60cm.; 23½ins wide by 45cm.; 17½ins deep £800-1200 191

466 Ann Vrielinck Transmit Bronze on corten steel Edition of 49 100cm.; 39½ins high by 125cm.; 49ins wide by 25cm.; 10ins deep Ann Vrielinck was born in Varsenare, Belgium in 1966. She was educated at the Academy of Fine Arts in Bruges, then obtained a higher degree in Painting from the Sint-Lucas Institute in Ghent after four years of studying with the Dan Van Severen Studio. Vrielinck subsequently completed further courses in restoration of paintings and ceramics, then obtained a teaching degree which has led her back to lecturing at the Academy of Fine Arts. Much of her work is based around ballet, dance and movement. £4000-6000

192

467 Jenny Pickford Fluidity Galvanised forged steel and blown glass 250cm.; 98ins high £1500-2500

468 ▲ Stephan Buxin Lucile Combing Her Hair Bronze Signed Buxin and dated 1983 Edition 2 of 8 152cm.; 60ins high

Stephan Buxin (19091996), was born in Liege, Belgium and was a pupil of Georges Petit in the Academy of Liège before studying at the National School of Fine Arts in Paris. His favourite subject were his own wife and children, however he also executed medals, busts and monuments.

469 Ann Vrielinck Realize Bronze Signed edition of 49 132cm.; 52ins high by 150cm.; 59ins wide by 28cm.; 11ins deep £7000-9000

Another cast of this sculpture stands in Carrier Belleuse Square, Sevres. £4000-6000

193

471 470 Barbara Hodgkins Abstract Brushed gilt bronze and marble on clear perspex base 55cm.; 21½ins high Provenance: MCL Group, Mazda Cars Head Office Barbara was born in America and has lived in Australia, the Philippines and Thailand. She has studied at Wellesley College (Massachusetts), Columbia University, the Accademia di Belle Arti (Perugia) and at Chelsea School of Art (London).

She has exhibited extensively in England, America, Asia and Europe, and won the Art and Work award for three sculptures commissioned by Mazda Cars, England. Her work is held in corporate and private collections. £1200-1500

194

A bronze Ivor Novello Award for Lionel Bart “Oliver” 1960 with applied plaque 29cm.; 11½ins high by 8cm.; 3ins wide by 7cm.; 2½ins deep £2000-3000

472 s Storm Thorgerson (1944-2013) ‘Pulse’ 2006 Perspex and printed paper on steel stand 1 of 10 183cm.; 72ins high Commissioned by EMI Records for the release of Pink Floyd’s Pulse DVD in 2006 and manufactured by Hothouse Props, this is one of only 10 ever made.

Another example autographed by David Gilmour, Richard Wright and Nick Mason, along with designer Storm Thorgerson was auctioned in aid of the homeless charity Crisis in 2006 for £16,500 Storm Thorgerson,(1944-2013) who was of Norwegian descent, was born in Potters Bar, Middlesex. He attended the Cambridgeshire High School for Boys with Pink Floyd founders Syd Barrett, who was in the year below him, and Roger Waters, who was in the year above him.

He studied English and Philosophy at the University of Leicester, graduating with a Bachelor of Arts degree with Honours, before studying Film and Television at the Royal College of Art, where he graduated with a Master of Arts degree. He was also a teenage friend of Pink Floyd guitarist David Gilmour and best man at Gilmour’s wedding to Polly Samson in 1994.

As a graphic designer he worked for some of leading rock artists of the time, including as Pink Floyd, Led Zeppelin, Black Sabbath, Peter Gabriel, Genesis, Al Stewart, The Cranberries and The Alan Parsons Project.

Perhaps Thorgerson’s most famous work was for his childhood friends, Pink Floyd. His design for The Dark Side of the Moon has been called one of the greatest album covers of all time. Following his death in 2013, Prog Magazine renamed its Grand Design Award after Thorgerson. It is now known as the Storm Thorgerson Grand Design Award and will be given to the designer of the year’s best-packaged product. Thorgerson had won the 2012 award for his continued work with Pink Floyd. £6000-10,000 Pink Floyd’s Pulse DVD covr 195

Provenance: In July 2014, 70 Gromit sculptures came together for the first time outside the UK to create an exhibition at the Elements Mall in Hong Kong. ‘The Greatest Dog Show on Earth’ in Hong Kong featured a display of 5ft and 3ft high decorated Gromit sculptures on an ornate, two-tier carousel band with a 4 metre high Gromit as the centrepiece. The sculptures were individualised by an array of artists, illustrators, fashion designers and musicians, including Nick Park, creator of Wallace & Gromit, Merlin Crossingham, Creative Director of Wallace & Gromit and fellow Aardman designers Gavin Strange and Richard Webber; along with world-renowned milliner Philip Treacy, whose hats are worn by members of the Royal family and famous Hong Kong celebrities.

At the end of the exhibition, the giant sculptures were auctioned to raise funds for Wallace & Gromit’s Grand Appeal, the Bristol Children’s Hospital Charity, and children’s art programmes in hospitals across Hong Kong.

473 † A painted composite Gromit titled Glamit on stand bearing brass plaque inscribed Gromit Unleashed Glamit by M.A.C. registered Wallis and Gromit’s grand appeal charity no.1043603 Tm. Aardman/Wallis and Gromit Ltd 2014 all rights reserved 165cm.; 65ins high by 125cm.; 49ins long

Originally, Gromit Unleashed all began with a major public arts trail in the summer of 2013, which saw 80 giant sculptures of award-winning Aardman Animations character Gromit decorate Bristol’s streets.

Each sculpture was individually decorated by famous names from the worlds of animation, art, fashion, film and music – from Cath Kidston to Sir Peter Blake; Joanna Lumley to Gerald Scarfe. After making Bristol their home for ten weeks, the Gromits went to auction in October 2013, raising over £2.3 million for Wallace & Gromit’s Grand Appeal, the Bristol Children’s Hospital Charity. Since then, Gromit Unleashed has continued to raise funds, going global with a project in Hong Kong in 2014, which is where this and the following lot were originally sold.

M.A.C Cosmetics, the professional makeup

196

company and makeup artist brand M.A.C is sold in over 70 countries around the world. One of the most influential and popular forces in contemporary cosmetics, M.A.C dedicates to develop a collection of colours, products and tools that support the needs of professional makeup artists and general consumers.

M.A.C artists are the voice, spirit and living embodiment of M.A.C products and culture. M.A.C is for all ages, all races, all sexes. Attitudinally hip, artfully irreverent, dedicated fully to the art of self-decoration and the realization of the individual, the M.A.C attitude is best expressed by our artists, seen and felt in our stores. £4000-6000 474 † A painted composite Gromit titled Intricate Relationships with similar titled brass label to the previous lot and signed Reiter 118cm.; 46½ins high by 95cm.; 37½ins long Marina Reiter was born in Moscow, Russia, surrounded by art books and national museums on classical realism and impressionism. Under the shadow of her uncle Nikolay Solomin, one of Russia’s most celebrated living realist painters. At a very early age Marina turned from her realist heritage to find her liberty and voice as an abstract artist. Marina Reiter £3000-5000

Gromits on view at auction in Hong Kong

197

476 A collection of fifteen vintage watering cans 475

English and Continental, circa 1920-50

A collection of ten vintage watering cans finished in green paint

including greenhouse and general purpose types, all different

English and Continental, circa 1920-1940

£100-200

£100-150

477 An Edwardian swing water barrow English, circa 1910 on two wheeled frame, together with a quantity of brass spraying syringes £150-200

478 A copper watering can French, early 19th century repairs 52cm.; 20½ins high £600-1000

198

479 A Cupressus Nurseries Advertising wagon board English, mid 20th century 242.5cm.; 95½ins wide, together with a smaller advertising board (2) 136cm.; 53½ins wide Note: the Cupressus Nursery was established at Hailsham Road, Polegate, Sussex in 1928 £100-200

480

481

A pair of vintage wooden grass court tennis posts

by Spalding, London

A Ransoms ‘Ajax’ 12in cut lawn mower

circa 1930 brass winder and pulley mechanism, cast iron feet and ground plates; together with two vintage racquets

English, mid 20th century

482

together with a Ransom, Sons & Jeffries Ripper mower and a JP chain driven mower (3)

An F H Ayres Wimbledon croquet set

£100-200

English, circa 1925 comprising four mallets, balls, hoops and boxed clips, contained in original storage box with label £150-200

£100-200 199

483 486

A scarce Southdown buses Booking Agent oval glass sign bevelled edge, minor chips, pierced for hanging

A rare John Hassall (18681948) political poster for Sir William Bull, MP for Hammersmith South

76cm.; 30in wide

circa 1923

£100-200

printed and published by J. Weiner Ltd., London

circa 1955

485 Horticultural advertising, L G Harris retail tinplate hanging/counter display stand

50cm.; 25ins by 75cm.; 29½ins £150-250

English, mid 20th century

484 A Victorian sailor/soldier work Royal Artillery woolwork picture with flags of Great Britain and United States circa 1890 42cm.; 16½ins square, together with a 1st Royal Sussex Regiment woolwork with floral motifs, battle honours and ‘India 1899’ (2) £120-180

37cm.; 14½ins wide, together with large Dunns seeds display board (incomplete), circa 1955, Edward Elwell counter product advertising sign, and a John Elwell enamel advertising sign, circa 1920 (4) £100-200

487 A large St. Bruno Flake tobacco advertising sign circa 1940 90cm.; 35½ins by 120cm.; 47½ins £100-200

200

488 Four pony/horse leather lawn boots English late 19th/early 20th Footnote: For use with heavy lawn mowers, so that the horses hooves wouldn’t damage the lawn £100-200 489 A set of eight unusual pine and iron mounted skittles 19th century

491 A collection of ten Victorian glass cloches 2nd half 19th century the largest 40cm.; 16ins high £1200-1800

40cm.; 16ins high £400-600

490 A scarce Edwardian Florists pine delivery box English, circa 1910 with company label ‘Balchin & Son, Hove and Brighton’ 47cm.; 18½ins wide, together with a vintage Carters seed wooden delivery box with original despatch label (2) £100-200

492 A rare Alldays 8 Onions, Triton foghorn English, circa 1900 Capt. Key’s patent bellows operated with Royal Arms transfer, in working order 87cm; 34ins long £500-800

201

493

495

493

494

A Gem Silica Chrysocolla specimen

An unusual Calcite specimen

Zaire

32cm.; 12½ins high

38cm.; 15ins maximum

£1050-1550

£250-400

494 202

496

497

495

497

A pyrite, quartz and sphalerite specimen

A Chrysocolla specimen

Peru

30cm.; 11¾ins high

15cm.; 6ins maximum

£450-650

Chile

£400-600 498 496 A Barite specimen

Two banded Calcite specimens

Morocco

Mexico

on stand

unpolished

31cm.; 12¼ins high

the larger 28cm.; 11ins maximum

£650-1050

£250-350

498 203

501

499

499

501

A large enhydro Quartz point

A Dioptase specimen

China

15cm.; 6ins

43cm.; 17ins high

£300-500

£600-1200 500 A Calcite specimen Madagascar 31cm.; 12ins maximum £300-500

500 204

probably Congo

503 502

502

503

A malachite specimen

A enhydro Quartz point

Southern Africa

China

18cm.; 7ins maximum

29cm.; 11½ins high

£300-500

£400-600 504 An Apophylite specimen Poona, India 36cm.; 14ins maximum £200-400 504 205

505

505

506

A matched pair of Lapis Lazuli specimens

A Quartz and Agate bowl

Afghanistan

32cm.; 13ins wide

each 45cm.; 18ins maximum, 25.7kg and 22kg

£900-1200

£3000-5000

506

206

Madagascar

508

507

507

508

A freestanding Labradorite specimen Madagascar

An Azurite, Malachite, Hematite on Quartz Crystal specimen

28cm.; 11ins high

Morocco

£500-800

31cm.; 12ins wide £600-1000 509 An Azurite specimen Mina Ojuela, Mupimi, Durango, Mexico 12cm.; 5ins maximum £250-400

509 207

512

510 A large Quartz point Madagascar 27cm.; 11ins high £500-800 513

510

511 A pyrite specimen with sphalerite inclusions

513

Peru

Four iron Pyrite specimens

20cm.; 8ins maximum £300-500 512 A Calcite specimen Brazil 25cm.; 10ins high £550-850 511 208

Spain and Peru the largest 18cm.; 7ins maximum £400-600

515

514

514

516

A Pyrite and Quartz specimen

A collection of three semi precious stone bowls

Peru on stand 31cm.; 12¼ins high £850-1250

comprising Brazilian chalcedony, Chinese fluorite, Madagascan quartz the largest 23cm.; 9ins

515

£400-600

A Scolescite Spray Poona, India 34cm.; 13ins wide £200-400 516 209

519 517

517

519

A fossil wood table top made up of numerous specimens

An unusual transverse wood slice

Madagascar Triassic approximately 220mya 61cm.; 24ins diameter £500-800 518

518 210

Madagascar Triassic, approximately 220mya 41cm.; 16ins maximum £600-1000 520

An Ocean Jasper sphere

A large fossil wood specimen

Madagascar

Jurassic, Madagascan

15cm.; 6ins diameter

127cm.; 50ins long

£500-800

£1500-2500

521

520

521

522

A polychrome Jasper table top made up using numerous specimens

Two pieces of fossil wood

Madagascar

Indonesian, Triassic mounted on bases

60cm.; 24ins diameter

the largest 43cm.; 17ins high

ÂŁ650-1000

ÂŁ400-600

522 211

523

525

523

525

An amethyst specimen cut as a table base

A collection of seventy mineral eggs

Brazilian

including Malachite, Blue John, banded Agate and Tigers iron

66cm.; 26ins long £800-1200 524 524

An Amethyst Geode Uruguay 31cm.; 12ins maximum £400-600

212

15cm.; 6ins, the average 6cm.; 2½ins £600-1000

527

526

526

527

528

A collection of fourteen semi precious stone eggs

An amethyst specimen cut as a table base

A Septarian stone egg

including ocean jasper, agate, polychrome jasper, fish eye jasper, landscape jasper, serpentine, blue chalcedony, crinoid jasper, fluorite, blue chalcedony, galaxy jasper and septarian stone

Brazilian

Utah, U.S.A.

43cm.; 17ins wide

20cm.; 8ins high

£300-500

£200-400

average size 10cm.; 4ins diameter

528

£700-900 213

532

529

529

530

A collection of seven semi precious stone bowls

Two pairs of fossil wood bookends

rainbow obsidian, Mexico; rose quartz, Brazil; quartz, Madagascar; fluorite, China the largest 23cm.; 9ins £500-800

the cream wood, Oregon Miocene period, 15mya, Oregon; the red wood, Arizona

531 A freestanding Agate freeform Madagascar

Triassic 220mya

25cm.; 10ins high

the larger 23cm.; 9ins, the smaller 18cm.; 7ins

£500-800

£200-300

532 Two Rhodochrosite specimens Peru the larger 16cm.; 6½ins £600-800

530

214

531

534

533

533

535

A Crinoid (Sea Lily) plaque

A Crinoid (Sea Lily) plaque

Holzmaden, Germany, Jurassic

Holzmaden, Germany, Jurassic

44cm.; 17½ins high by 43cm.; 17ins wide

46cm.; 18ins high by 35cm.; 14ins wide

£1500-2500

£800-1200

534

536

An Ichthyosaur Communis head

A Pentecrinus subangularis sp. Crinoid plaque

Holzmaden, Germany, early Jurassic restoration to tip of rostrum 53cm.; 21ins high by 57cm.; 22½ins wide £3000-5000

Holzmaden, Germany, Jurassic 65cm.; 25½ins high by 27cm.; 10½ins wide

535

536

This rare example features some fossilised wood which Crinoids were believed to attach themselves to. £1500-2500 215

537 A fossil Pecten plate Vaucluse, France, Lower Miocene period, 20 million years 55cm.; 22ins high by 52cm.; 20ins wide £900-1200

539 A Paracoroniceras lyra Ammonite Lyme Regis, Lower Jurassic on metal stand 51cm.; 20ins high £1300-1800

538 Two large mammoth femurs

Ice Age, approximately 40,000 years ago

dredged from the North Sea

the larger 99cm.; 39ins £1200-1800

216

542 A freestanding Pectin plaque Southern France, Miocene 37cm.; 14ins high £1300-1800

540

541

Two Cleoniceras ammonites applied on slate matrix

Two giant fossil shark teeth (Carcaradon megladon)

Madagascar, Lower Cretaceous

Miocene period, approximately 16mya, South Carolina, U.S.A

60cm.; 23ins

one 14.5cm.; 6ins and the other 13.5cm.; 5ins long

£600-1000

South Carolina, U.S.A

Carcaradon was the largest shark that existed. Up to 18 metres long, it had over 300 teeth in its jaws. £800-1200

217

543

545

A fossil Freshwater Turtle (Stylemis nebrascensis)

A Mammoth tooth

South Dakota

Ice Age

Oligocene period, 35mya

on metal stand

29cm.; 11½ins maximum

26cm.; 10ins overall

£700-900

£450-650

544 A Priscacara Green River, Wyoming, Eocene, 67cm.; 26½ins high by 44cm.; 17½ins wide; specimen 24cm.; 9½ins These plates are known as asphyxiation plates as the overlying predator specimen appears to be eating the lower prey fish. £500-800

218

546

547

Two Walrus tusks

A Walrus skull

Canada, modern

Canada, modern

with CITES certificate

with CITES certificate

the larger 49cm.; 19ins long

51cm.; 20ins long £1000-1500

£300-500 548 Three Leopard Tortoise shells early 20th century the largest 28cm.; 11ins long £200-300

219

549

550

A cat skeleton naturalistically mounted as if catching a bird in flight

A giant golden king crab

96cm.; 37ins high overall ÂŁ1000-1500

Pacific Ocean, 20th century 70cm.; 28ins wide This specimen is of unusually large size ÂŁ400-600

220

551 A Butterfly wing chessboard in mahogany frame 42cm.; 16½ins square £300-500

552 A pair of shell towers modern 82cm.; 32ins wide £600-800

221

555 An unusual display of sixteen Roe Deer antlers mounted with details from the season German, early 20th century 80cm.; 31ins wide £500-800

554 A mounted Eland head early 20th century 129cm.; 51ins high £800-1200

553 A collection of West African hunting trophies early 20th century £400-600

222

556 A group of eight Chamois and roe Buck and other shield mounted trophies Recent, Central European the largest 38cm.; 15ins high £200-300

558 A Gemsbok head on wooden base modern 208cm.; 82ins high overall £600-1000

557 A Chamois and Mouflon trophy each on wooden shield Recent, Central European 76cm.; 30ins wide £500-800

223

559 A Cape Buffalo trophy early 20th century 95cm.; 37ins horn width £450-650

560 A mounted Blesbok head early 20th century 82cm.; 32ins high £600-800

561 A wild Boar head mount modern 71cm.; 25ins £250-400

224

563 A brindled Gnu early 20th century 96cm.; 38ins high £600-800

562 A white tailed Gnu early 20th century 102cm.; 40ins high £600-800

564 A P Spicer & Sons shield mounted fox trophy 1935, with ivorine label and makers stamp to back of shield 31cm.; 12ins high, together with a Spicer shield mounted Regimental ram, 1st half 20th century, with fragmentary label to rear 54cm.; 21ins high £400-600 225

566 French School, 19th Century A Cut Out Embossed Lithograph of Hanging Game; together with Another of a Grey Partridge 57cm by 46cm 22ins by 18ins ÂŁ300-500

565 A Curassow on base early 20th century with label from the Peter Farrington collection, Cheshire 64cm.; 25ins high ÂŁ500-800

226

569 A miniature “Roman Dog” on velvet and gilt metal mount 19cm.; 7½ins high £400-600

567

568

A puppy in a glass half dome

Full mount Peacock with fanned tail

modern

modern

31cm.; 12ins high

170cm.; 67ins

£350-550

£500-800

227

571 A pike mounted in a bow front Cooper style glass case early 20th century 50cm.; 20ins high by 120cm.; 47ins wide £600-1000

572 A trout in a glass bow front case mounted by S F Sanders of London late 19th century 44cm.; 17ins high by 84cm.; 33ins wide £900-1200

570 Attributed to J Cooper of London: A perch in a glass bow front case early 20th century 30cm.; 12ins by 48cm.; 19ins wide £300-500

228

573 A rare and early mounted Bass in a glass case with Henry Ward label mid 19th century 38cm.; 15ins high by 84cm.; 33ins wide £700-900

574 A common Carp mounted in a bow front glass case early 20th century

by Anstiss of London with label 31cm.; 12ins high by 51cm.; 20ins wide £500-800

575 A Roach in a glass bow front case mounted by J Cooper of London 1st half 20th century 30cm.; 12ins high by 48cm.; 19ins wide £700-900

229

576

578

G. W. W.

Victorian lady and child with summerhouse

Norwich/Norfolk School

580

The Tennis Court

30cm

Dated ‘90

The Gardener and the Country House

D J Southee

12ins wide

Oil on canvas depicting a

In original frame

Oil on canvas

Signed and dated 1896

£100-150

35cm by 25cm

Watercolour

14ins by 10ins

23cm by 34cm

In gilt frame bearing label ‘W Boswell, Norwich’

9ins by 13½ins

£250-350

Watering the Garden

In glazed frame £100-150

577

Oil on canvas

579

24cm by 34cm

F. Handley

36cm by 30cm

Australian School

9½ins by 13½ins

Anne Hathaway’s Cottage and Garden with Gardener

14ins by 12ins In original gilt frame

Botanical Gardens, Melbourne

Inscribed on reverse Cup Day Nov 2nd 1915

Signed and dated 1910

£150-200

Oil on canvas

£100-150

230

581

14ins by 10ins

583

75cm by 58cm

J Matthew

In decorative frame

29ins by 23ins

Cottage and garden Signed with initials and dated 1925

Inscribed on reverse J Matthew c/o Vingoe, Hadlow

Henrietta ‘Henry’ Panduro

Oil on canvas

£100-150

The Kitchen Garden Signed with initials and dated 1908 Oil on canvas

36cm by 25cm

Noted for her marine pictures, Henrietta was regarded as a leading Danish female artist of her time. £200-400

584 Original artwork for Suttons Bulbs circa 1925 watercolour study for advertisement 25cm.; 10ins by 37cm.; 14½ins £80-120 582

published circa 1903

After Cecil Aldin

51cm by 61cm

The Talbot Hotel, Ripley, Surrey, with Edwardian motor car and huntsmen

20ins by 24ins

Chromolithograph,

In original gilt frame £150-250 231

585 s

Sepia and wash

587 s

Sepia and wash

Donald Grant

28cm by 39½cm

Donald Grant

28cm by 39½cm

Study of a Lion

11ins by 15½ins

Study of Rhinoceros

11ins by 15½ins

Signed

£300-500

Signed

£300-500

588 586

28cm by 38cm

Robert Barratt-Talbot Kelly (1896-1971)

11ins by 15ins

Heron

£200-300

Watercolour

232

Framed

After Gould Three hand coloured lithographs 38cm by 56cm 15ins by 22ins £200-300

Summers Place Auctions Ltd

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SALE NUMBER GS052

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SALE DATE 13TH OCTOBER 2015

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GARDEN & NATURAL HISTORY

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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)

3

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

GUIDE FOR ABSENTEE BIDDERS If you are unable to attend an auction in person, you may give Summers Place Auctions Bid Department instructions to bid on your behalf by completing the form overleaf.

This service is free and confidential.

Please record accurately the lot numbers, descriptions and the top hammer price you are willing to pay for each lot.

We will try to purchase the lot(s) of your choice for the lowest price possible and never for more than the top amount you indicate.

“Buy” or unlimited bids will not be accepted.

Alternative bids can be placed by using the word “OR” between lot numbers.

Bids must be placed in the same order as in the catalogue.

This form should be used for one sale only – please indicate the sale number, title and date on the form.

Please place your bids as early as possible, as in the event of identical bids the earliest received will take precedence. Wherever possible bids should be submitted at least twenty-four hours before the auction.

Where appropriate, your bids will be rounded down to the nearest amount consistent with the auctioneer’s bidding increments.

Absentee bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or fax to the Bid Department on +44 (0)1403 331 340.

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Please note that the execution of written bids is offered as an additional service for no extra charge at the bidder’s risk and is undertaken subject to Summers Place Auctions other commitments at the time of the auction; Summers Place Auctions therefore cannot accept liability for failure to place such bids, whether through negligence or otherwise.

Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods.

All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue.

We reserve the right to seek identification of the source of funds received.

In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain information about clients from third parties (e.g. credit information). If clients provide Summers Place Auctions with information that is defined by law as "sensitive", they agree that Summers Place Auctions may use it for the above purposes.

Summers Place Auctions will not use or process sensitive information for any other purpose without the client's express consent.

In order to fulfil the services clients have requested, Summers Place Auctions may disclose information to third parties (e.g. shippers). Some countries do not offer equivalent legal protection of personal information to that offered within the EU. It is Summers Place Auctions policy to require that any such third parties respect the privacy and confidentiality of our clients' information and provide the same level of protection for clients' information as provided within the EU, whether or not they are located in a country that offers equivalent legal protection of personal information.

By signing this Absentee Bid Form you agree to such disclosure.

Clients will please note that for security purposes, Summers Place Auctions premises are subject to video recording. Telephone calls e.g. telephone bidding/voicemail messages may also be recorded.

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

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode

SALE NUMBER GE053

BIDS TO BE RECEIVED BY 5PM 14TH OCTOBER 2015

GARDEN & NATURAL HISTORY

Tel

Mobile

Email

Fax

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

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

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)

3

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

GUIDE FOR ABSENTEE BIDDERS SEALED BID AUCTION LOTS 200-588 All sealed bids must be with us, at the latest, by 14th October 5.00pm BST since the bids will be opened on the 15th October. The winning bid will be the highest left on each lot above the reserve.

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

Winning bidders will be invoiced after the bids are opened.

Sealed bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or 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

236

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 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

Evolution Auction 25th November

An exceptionally rare juvenile Allosaurus 2.8m long Jurassic, 150 million years old ÂŁ300,000/500,000

www.summersplaceauctions.com

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

WWW.SUMMERSPLACEAUCTIONS.COM