Summers Place Auctions - 7th & 8th June Auction by Summers Place Auctions

Garden & Natural History including the Emmen Zoo Collection

7 & 8 June 2016

Summers Place Auctions Ltd

Garden & Natural History Live Auction

SPECIALISTS AND AUCTION ENQUIRIES

Sale No GS058

Tuesday 7th June 2016 at 1.30 pm

Viewing

James Rylands MRICS

Rupert van der Werff MRICS

Specialist

Tel +44 (0)1403 331334

Tel +44 (0)1403 331333

james.rylands@ summersplaceauctions.com

rupert.werff@ summersplaceauctions.com

Errol Fuller

Alistair Morris FRICS

Curator for Natural History

Consultant

errol.fuller@ summersplaceauctions.com

alistair.morris@ summersplaceauctions.com

Letty Stiles

Katharine Diment

letty.stiles@ summersplaceauctions.com

kate.diment@ summersplaceauctions.com

Tel +44 (0)1403 331336

Tel +44 (0)1403 331335

Sunday 5th to Monday 6th June 2016 and on the day of the sale 10 am to 4 pm or by appointment

Sealed Bid Auction

Sale No GE059

Bids opened on Thursday 9th June 2016 Bids should be with us by 5pm BST 8th June 2016

Viewing Sunday 4th to Wednesday 8th June 10 am to 4 pm Cost of catalogue £10 at the gallery; £15 by mail; £20 overseas

Front cover lot 92 Bidding online available at invaluable.com & The Saleroom.com with additional fee of 3%.

Back cover lot 199

Facebook.com/SummersPlaceAuctions Shipping enquires

Twitter.com/SummersAuctions

Tel: +44 (0)1403 331331

Instagram.com/summers_place_auctions Plus.google.com/s/summers_place_auctions Pinterest.com/summersauctions issuu.com/summersplaceautions

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

Fax: +44(0)1403 331340

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

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

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

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

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

The Walled Garden Summers Place Billingshurst West Sussex RH14 9AB 01403 331331

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 ▲ and ♠ please refer to the Guide for Prospective Buyers.

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

The following 183 Lots are being offered for sale on behalf of the celebrated Emmen Zoo in the far north of Holland. Alongside its living inhabitants, the zoo established a museum to chart the evolution of life through the fossil record, and this museum contained a remarkably wide range of specimens. Formed primarily in the 1980’s and early 90’s, many of the exhibits were acquired when certain fossils were more freely available than they are

today. Indeed, some of the specimens being offered represent a chance to acquire fossils that are no longer allowed to be exported from their native countries. Backed by the financial power of the zoo, the museum was able to buy the best specimens that could be found. Today, a new much larger and far more modern zoo has been built on the edge of the Emmen city centre where the animals are rehoused in more spacious and more natural surroundings. With this

change in focus, the museum – sadly – did not fit into a new ‘wildlands’ concept, and so a reluctant decision was made to sell its contents along with many of the watercolour illustrations that were used for the production of literature and museum signs. These extraordinary watercolour and pen and ink drawings will be offered in two parts, the first in this auction and the remainder in September. Most of the lots, unless otherwise stated, are being offered

on a no reserve basis which will add to the excitement of this extraordinary auction with its collection of truly rare and important specimens. Additional cataloguing and images are available on the website www.summersplaceauctions.com

1 A fossil Pecten plaque Miocene 80cm.; 31½ins wide £800-1200

A fossil Turritella shell

A fossil Turritella spp. shell

probably France, Eocene

probably France, Miocene

34cm.; 13½in high

35cm.; 14ins high

£80-120

£100-200

A fossil Turritella spp. shell

An Echinoid plaque

probably France, Miocene

5 4

France, Miocene

41cm.; 16ins high

55cm.; 22ins by 44cm.; 17½ins

£150-250

£200-300

A Goneatite group

An Ammonite on matrix

Morocco, Devonian

Mesozoic

34cm.; 13½ins

33cm.; 13ins

£50-80

£200-300

An unusual Ammonite and Nautiloid group with fossil sea shells on matrix

A large Ammonite probably Arietites

26cm.; 10ins

49cm.; 19ins

£120-180

£300-500

probably Germany, Jurassic

9 5

10 A large Ammonite and belemnite slab location and age unknown 94cm.; 37ins wide £100-200 11 An Ammonite plaque Holzmaden, Germany, Jurassic 47cm.; 18½ins 12

£50-80 12 A fossil scallop shell

9cm.; 3½ins £50-80 13 A group of fossil shells 13cm.; 5ins £50-80 13

14 A bivalve mortality plaque of unknown age and origin 49cm.; 19ins £60-100

14 6

An Ammonite mass mortality plaque

A Trilobite mortality plaque

57cm.; 22½ins wide

24cm.; 9½ins wide

£200-300

£200-300 17

A fossil crab

A Paroxides trilobite

Italy, Miocene

Middle Cambrian, Germany/Czech Republic

15cm.; 6ins £150-250

39cm.; 15ins £60-100

18 7

19 An Orthoceras plaque Morocco, Devonian 40cm.; 16ins high £40-60 20 A Crinoid specimen Morocco, Devonian 25cm.; 10ins high £40-60 21 A positive/negative Paradoxides trilobite plaque Palaeozoic 35cm.; 13½ins 20 8

£60-80

22 A Trilobite mortality plate of unknown origin 27cm.; 10½ins £40-60 23 A fish mass mortality plaque probably Solnhofen, Germany, Jurassic 100cm.; 34ins £250-400 The quarries around Solnhofen in Germany have produced some of the most important fossils ever discovered. Perhaps the most celebrated find was the uncovering of the famous Archaeopteryx, which was discovered at around the time when Charles Darwin was publishing The Origin of Species – and in many ways it helped to confirm his theory as it showed the evolutionary connection between reptiles and birds. The species was scientifically named Archaeopteryx lithographica as a reminder that Solnhofen fossils are found in lithographic stone, for it was here, using the local stone, that the process of lithography was developed. But bird fossils aren’t the only important specimens found here. Dinosaurs, crocodiles, turtles, pterosaurs, insects, and all kinds of marine creatures are found beautifully preserved in stone that is around 160 million years old.

25 A fossil fish Osteolepis old red sandstone, Scotland, Devonian 20cm.; 8ins

£300-500

A Heliobatis spp. Stingray fossil Green River, Wyoming, Eocene

56cm.; 22ins high £600-1000 9

26 A giant squid fossil Solnhofen, Germany, Jurassic 88cm.; 35ins £800-1200 27 A fossil prawn Solnhofen, Germany, Jurassic 19cm.; 7½ins high

£300-500 28 A Pseudastacus pustulosus lobster Solnhofen, Germany, Jurassic 17cm.; 6½ins £60-100 29 An Antrimpos spp. fossil prawn Eichstatt, Germany, Jurassic 27

11cm.; 4½ins £50-80 30 A fossil cockroach of unknown origin 10cm.; 4ins £30-50 31 A horseshoe crab Solnhofen, Germany, Jurassic 23cm.; 9ins

29 & 30 10

£80-120

32 34

A fossil Mesobelostonum deperditum

A fossil fish

Solnhofen, Germany, Jurassic

27cm.; 10½ins

14cm.; 5½ins

£100-200

Solnhofen, Germany, Jurassic

£80-120 35 33

A fossil brittle star

A fossil cockroach

possibly Lyme Regis, Jurassic

Solnhofen, Germany, Jurassic

20cm.; 8ins

£40-60

£80-120

35 11

A set of three museum casts of Archaeopteryx

A Mosasaur jaw section

the largest 50cm.; 19½ins

Moroccan, Cretaceous

£80-120

£50-80

A museum cast of Rhamphorhynchus

A fossilised tube worm concretion

63cm.; 25ins

30cm.; 12ins wide

£60-100

£40-60

A rare Orthacanthus fossil shark

A fossil fish

late Devonian, location unknown 148cm.; 58ins long £1000-1500 37 12

21cm.; 8ins

Permian, Germany/ Czech Republic 28cm.; 11ins £40-60

42 A fossil fern of unknown age and origin 48cm.; 19ins ÂŁ30-50 43 A fossil fish Permian, Germany/Czech Republic

36cm.; 14ins ÂŁ40-60 13

44 A rare unidentified bird fossil Green River fossil Butte, Wyoming, Eocene 32cm.; 12½ins by 26cm.; 10ins The fossils that come from the Green River Formation are approximately 60 million years old and come from the era known as the Eocene. They are celebrated for the outstanding detail they show. Many species of perfectly preserved fish are included in the fauna, but on very rare occasions bird fossils are found, sometimes even showing feathers. The Green River Formation is named after the Green River, a tributary of the Colorado River in the south west of the United States. £2000-3000 45 A fossil fish plaque Green River formation, Wyoming, Eocene including Diplomystus, Knightia spp. and Priscacara specimens 66cm.; 26ins high by 96cm.; 38ins wide £600-1000

A Phareodus spp. fossil fish

A massive Cycad

Green River formation, Wyoming, Eocene 73cm.; 29ins high by 60cm.; 24ins wide

Wyoming, Mesozoic 51cm.; 20ins wide £300-500

£300-500 47 A fossil wood specimen probably Western U.S.A. 45cm.; 17½ins £50-80

48 15

49 A large fossil fish Santana formation, Brazil, Cretaceous 73cm.; 29ins long

The Santana Formation of Brazil was formed during the Cretaceous Period around 90 million years ago. Pterosaurs, dinosaurs, and insects have been found in the rocks, but it is the wonderfully preserved fossil fish for which the formation is most famous, and these often show the whole creature in perfect detail. Nowadays the export of Santana fossils is banned and the only examples available are those that left Brazil before the ban was imposed. This ban, which was imposed with the best of intentions, has unfortunately proved counter-productive. Mining activities for the production of cement and building materials constantly uncover new fossils, but due to the ban these are now usually crushed along with the rest of the rocks and are therefore lost forever. ÂŁ400-600 50 A similar large fossil fish Santana formation, Brazil, Cretaceous

78cm.; 31ins long ÂŁ400-600

51 A similar fossil fish Santana formation, Brazil, Cretaceous 41cm.; 16ins long £200-300 52 A similar fossil fish Santana formation, Brazil, Cretaceous

36cm.; 14ins long

A similar fossil fish

£200-300

Santana formation, Brazil, Cretaceous

with wall fixings

A fossil fish, probably Neoproscinetes penalvai

25cm.; 10ins long

Santana formation, Brazil, Cretaceous 29cm.; 11½ins long £200-300

£80-120 55

57 A similar fossil fish Santana formation, Brazil, Cretaceous

with wall fixings

A fossil fish in positive/negative halves

28cm.; 11ins long

Santana formation, Brazil, Cretaceous

£300-500

A similar fossil fish

A small fossil fish Santana formation, Brazil, Cretceous

£60-100

48cm.; 19ins long

Santana formation, Brazil, Cretaceous 18cm.; 7ins long

£60-100

with wall fixings

24cm.; 9½ins long

A similar fossil fish

£80-120

Santana formation, Brazil, Cretaceous

17cm.; 6½ins long £50-80 17

60 A rare Palaeochiropteryx bat fossil Messel Pits, Germany, Middle Eocene 16cm.; 6½ins by 13cm.; 5ins Near to the village of Messel, not far from Frankfurt in Germany, is a now disused quarry, and the resulting pit was declared a UNESCO World Heritage Site during 1995. The reason for this was the wonderfully preserved fossils that could be found

there. However, there was a serious problem with the fossils. Once uncovered and exposed to the air, these fossils would steadily disintegrate and in a short period of time all that would be left was a pile of dust. Then, a complex process was developed that would allow the fossils to be safely preserved. They are painstakingly removed from their original matrix and carefully placed on an entirely artificial one, and this prevents the degeneration process.

The resulting specimen shows the creatures’ remains in the most remarkable detail. The Messel pits, containing fossils that are around 50 million years old, is now robustly protected and the only fossils available to collectors are those found and preserved in the short period of time between the discovery of the preservation process and the governmental protection to which the site is now subject. £1000-1500

61 A Palaeochiropteryx museum cast of a bat fossil Messel Pits, Germany, Middle Eocene 12cm.; 5ins by 10cm.; 4ins £20-30 62 A museum cast of a fossil Python from the Messel Pits 40cm.; 16ins by 40cm.; 16ins £20-30

62 19

64 A Megalodon tooth South Eastern U.S.A. 11cm.; 4½ins

£150-250 65 A Megalodon tooth South Eastern U.S.A. 12cm.; 5ins 67

£150-250

66 A Megalodon tooth South Eastern U.S.A. 13cm.; 5ins £150-250 67 63

A Megalodon tooth

A rare Ancient jellyfish fossil

South Eastern U.S.A.

Nevada, Cambrian

£150-250

15cm.; 6ins

11cm.; 4½ins £80-120

68 A Megalodon tooth South Eastern U.S.A. 13cm.; 5ins £150-250

69 A rare fossilised Eohippus skeleton South Dakota, early Eocene 122cm.; 48ins long Eohippus, literally “dawn horse” from the Greek eos (dawn) and hippos (horse) was a small ungulate found in North America and dates from the early Eocene. First described by Othniel C. Marsh in 1876. £4000-6000

70 A fossilised rodent skull age and origin unknown 7cm.; 3ins long ÂŁ100-200 71

71 Two fossilised eggs age and origin unknown 6cm.; 3ins long ÂŁ100-200 70

72 A Hadrosaur egg nest Inner Mongolia, Cretaceous 54cm.; 21ins wide ÂŁ1200-1800

72 22

73 A rare Hyrachyus skeleton probably South Dakota, Eocene 158cm.; 62ins long ÂŁ5000-8000

74 A sea bed mortality plaque 24cm.; 9½ins £60-80 75

An unidentified fossil rodent probably a squirrel from South Dakota 11cm.; 4½ins £100-200 76 A rare fossil bird in matrix Pleistocene, La Brea Tar Pits, California 16cm.; 6½ins £200-300 77

77 A fossil wood section probably Western U.S.A. 35cm.; 14ins

75 24

£40-60

78 A rare fossil bird mounted skeleton 15Â˝cm.; 6ins high ÂŁ2000-3000

79 A fossil tortoise carapace South Eastern U.S.A. 20cm.; 8ins £100-150 80 A fossil turtle shell 21cm.; 8ins £200-300 81 A fossil camel skeleton Western U.S.A. 79

in matrix 71cm.; 28ins long £400-600

82 A rare fossilised Sabre tooth cat, probably Hoplophoneus primaevus North America, late Eocene/early Oligocene 120cm.; 47ins long Sabre toothed cats evolved over a considerable period of time and several different genus’ the principle ones being the Nimravids and the

Smilodons, producing six and three species respectively. The most famous “Smilodon” or the sabre tooth tiger is now recognized as three different species each being termed sabre toothed cats and evolved much later in the Pleistocene (2.5 m.y.a. 10,000 years ago) The Nimravids were a much earlier genus of sabre tooth cats dating from the

middle Eocene to late Miocene. They have now been classified in their own family the Barbourofelids. The Nimravids were first described by Edward Drinker Cope in 1880. It is believed the Nimravids were forest dwellers and probably lead similar lives to modern day leopards. Their disappearance from the fossil record follows the change in north America from forest to a more

savanna like landscape, the family surviving longest in Europe. Hoplophoneus was the largest toothed of the Nimravids and lived in North America between the late Eocene and early Oligocene. Its limbs were shorter than modern day cats and like the smilodons it had a pronounced flange on the lower jaw. £5000-8000

A fossil Oriodont skeleton, probably Mericoidion

A Sauropod vertebra of unknown origin

South Dakota, Late Oligocene

£300-400

in matrix 49cm.; 19ins high £800-1200 84 A rare fossil pig skull, possibly Archaeotherium mortoni South Dakota, Oligocene 30cm.; 12ins long 84

£1000-1500

60cm.; 23½ins

86 Freya: A fossilised Hypacrosaurus stebingeri Montana, late Cretaceous 3.1m.; 122ins high by 7.1m.; 279½ins long Mounted in 1993 by Canada fossils, this very good example is largely complete. The word Hypacrosaurus translates as meaning ‘nearly the highest lizard’, and this name was given because it was felt that

this dinosaur was almost as tall as a Tyrannosaur. Despite the curious connection, this species has no connection with the famous predatory carnivore and it is, in fact, a member of the duckbill dinosaur group – a group that has a number of members all of which fed largely on vegetable matter. Hypacrosaurus stebingeri lived in the areas we now call Alberta and Montana in North America between 75 and

65 million years ago, which means it was among the last dinosaur species to survive. There are specimens in the Tokyo Museum and the Royal Tyrrell Museum in Canada, but this particular example is in a remarkably complete state and presents a wonderful opportunity to acquire a fantastically well preserved dinosaur. £50,000-80,000 This lot has a reserve 29

87 A Brontotherium, Megacerops, skull North American, Late Eocene 71cm.; 28ins long £2000-3000 87

88 A group of three museum casts of prehistoric mammals the largest 49cm.; 19ins long £200-300 89

A section of vertebrae on matrix probably Moroccan 35cm.; 14ins £40-60

91 90

A Mica specimen

A large Agate and Pyrite slab produced by cyanobacterica

41cm.; 16ins £40-60

2.1 billion years old

79cm.; 39ins high by 90cm.; 30ins wide

A freestanding polished Agate specimen

£600-1000

30cm.; 12ins high

See also front cover

together with a specimen of malachite

£60-100

A pyrite specimen together with a Barite specimen

24cm.; 9ins high £40-60 94 A Gypsum specimen 30cm.; 12ins £40-60 94 31

95 100 96

98 An Iron Pyrite specimen 30cm.; 12ins £50-80 99 A collection of three mineral specimens

101

comprising Agate 17cm.; 7ins, Quartz and Gypsum £30-50

95 A large Desert Rose

100

Sahara 45cm.; 17½ins

A large Obsidian specimen

£50-80

31cm.; 12ins £300-500

96 A similar large Desert Rose

101

50cm.; 19½ins

An interesting mineral specimen

£50-80

33cm.; 13ins 97 An Amethyst specimen 20cm.; 8ins 99 32

£20-30

£40-60

102 A group of three minerals including Quartz 16cm.; 6ins and Tourmaline 13cm.; 5ins £30-50 103 A collection of five mineral specimens including Sulphur 15cm.; 6ins and Rose Quartz 17cm.; 7ins

102

£50-80 104 A collection of minerals including Pyrite, Sand Dollar and Native Copper £20-30 103

104 33

The following 34 lots are illustrated on our website www.summersplaceauctions.com 105

108

A collection of nine ammonites and ammonoids

A collection of fossilised sea specimens including coral and sponges

including examples from Russia, Morocco and Madagascar, Mesozoic

£30-50

together with a quantity of smaller ammonites not shown in the photograph average size 17cm.; 6½ins diameter £100-200

109 A collection of trilobite and trilobite plaques various locations and eras the largest 16cm.; 6¼ins long

112

116

A collection of Lituites lituus

A collection of leaf and fern fossilised specimens

Ordovician period

Cambrian to Eocene, various locations

the largest specimen 38cm.; 15ins long £100-200

117

A fossilised complete oyster with top and bottom shells and two other examples

A collection of fossil fish including a rare Bothriolepis canadensis

the largest 17cm.; 7ins long £60-100 114

A similar collection of nine ammonites and ammonoids

110

Mesozoic

various locations and eras

together with a quantity of smaller ammonites not shown in the photograph

the largest 12cm.; 4½ins long

A similar collection of trilobite specimens

111 107 A collection of ammonites and ammonoids various locations, Mesozoic including one plaster cast

A collection of three larger trilobites Palaeozoic, various locations the largest 33cm.; 13ins £50-80

Upper Devonian, 382 to 360 mya 16cm.; 6½ins, and other examples, Eocene and earlier, various locations, the largest specimen 23cm.; 9ins

A collection of marine fossils including a Turitella

£150-250

the largest specimen 24cm.; 9½ins long

A large collection of sharks’ teeth

£30-50

two in their original matrix

115

the largest including matrix 10cm.; 4ins high

£20-30

£100-200

113

£30-50 106

the largest 34cm.; 13½ins wide

A collection of fossils including a Coprolite

118

£50-80

the largest specimen 31cm.; 12ins long

119

£60-100

A collection of crinoids and star fish largely Palaeozoic and Mesozoic, various locations

the largest 23cm.; 9ins diameter

the largest specimen 34cm.; 13½ins wide

£100-200

S E E W W W. S U M M E R S P L A C E A U C T I O N S . C O M F O R I M A G E S

120

126

131

136

A Titanosaur egg French, Cretaceous

A large dinosaur limb bone

A dinosaur footprint, probably Iguanodon

Three Amber pebbles enclosing insects

the largest 20cm.; 8ins

Mesozoic

£200-300

55cm.; 22ins long

56cm.; 22ins long

£100-150

£60-100

five small insect plaques and three mineral specimens

A Titanosaur egg

127

132

£200-300

A large dinosaur limb bone

Four Orthoceras sections

121

122 A Titanosaur egg £200-300 123 Three replica cast skulls the largest 14cm.; 5½ins £20-30 124 Two replica cast skulls of “Lucy” and Australopithecus

137

£40-60

Cretaceous

A dinosaur bone

133

the largest 27cm.; 10½ins long

Mesozoic

Four casts of fossil fish

£60-100

42cm.; 16½ins long

the largest 73cm.; 29ins long

138

£80-120 128

£60-100 129 The partial skull of a crocodile

£30-50

the longer portion 61cm.; 24ins long

Solnhofen, Germany, lower Jurassic

one with museum label dated 1957, Ordovician the largest 70cm.; 27½ins long

52cm.; 20½ins

the largest 18cm.; 7ins

A horseshoe crab plaque

£20-40

Five museum casts of various species and eras including Homoeosaurus pulchellus

Mesozoic

Morocco, Mesozoic

125

the largest 5cm.; 2ins

£80-120

A museum cast of a ray fish

134

81cm.; 32ins by 50cm.; 19½ins

A cast plaque of a juvenile Ichthyosaur 90cm.; 35½ins £40-60

139

135

A plaster cast of a small dinosaur, a mammoth tooth, vertebrae and razor clam

£60-100 130 Two dinosaur bones

46cm.; 18ins by 38cm.; 15ins

Mesozoic

£80-120

the larger 56cm.; 22ins long

one in original matrix

£50-80

£20-40

A collection of Spinosaurus teeth Morocco, Phosphate beds, Cretaceous

the dinosaur 59cm.; 23ins long £30-50

the largest 6.5cm.; 2½ins long, together with one other possibly cave bear tooth. £30-50 S E E W W W. S U M M E R S P L A C E A U C T I O N S . C O M F O R I M A G E S

The following 43 lots executed in minute detail in watercolour and pen and ink were produced for the zoo largely in the 1980/90’s as publicity and educational material. A similar quantity will be offered in our September sale. Only one image from each lot has been printed in this catalogue, additional images are available on our website. 142 A watercolour of Emmen Zoo 57cm.; 22ins by 51cm.; 20ins together with a large quantity of sketches, watercolours and prints of dinosaurs, animal cartoons

140 A Hawksbill turtle, Eretmochelys imbricata

£60-100

early 20th century 60cm.; 23½ins

143

£200-300

Three watercolours; Africa Slender Snouted Crocodile; Green Mangrove Snake; Taiwan Beauty Snake Three pen and ink drawings; 142

Nile Monitor; Cape Monitor; Cordylus Giganteus average size 26cm.; 10¼ins by 21cm.; 8¼ins £50-80

143

141 A Green Sea Turtle, Chelonia mydas early 20th century 68cm.; 26½ins £200-300 36

F O R A D D I T I O N A L I M A G E S O F A L L O F T H E P I C T U R E S I N T H E L O T S E E W W W. S U M M E R S P L A C E A U C T I O N S . C O M

144

146

148

150

Nineteen pen and ink drawings of sea creatures;

Two watercolours;

A watercolour of an Iguana and Basiliscus;

Three watercolours;

including squid; coral and molluscs average size 21cm.; 8¼ins by 29cm.; 11½ins £40-60

the larger one of a Lion tamarin and Sanguinu oedipus; the smaller of an Agouti Two pen and ink drawings; Callithrix geoffroyi; Oedipomidas oedipus

Four pen and ink drawings of reptiles largest 24cm.; 9½ins by 51cm.; 20ins £50-60

Rock Iguana; Ameiva; Cape Monitor Three pen and ink drawings; Leiocephalus lanata; Rhinoceros iguana; Agama stellio

largest 24cm.; 9½ins by 51cm.; 20ins

average size 23cm.; 9ins by 20cm.; 8ins

£50-60

£50-80

145

147

149

151

Six pen and ink drawings;

Eight pen and ink drawings of mammals;

Two watercolours;

Caracal; Serval; Jaguar; Puma; Ocelot; Cheetah

Racoon; 2 Porcupines; Sea Lions; Kangaroo; Coatimundi; Black Bear; Brown Bear

Frog – Dendrobates tricolor; Frog – Dendrobates tinctorius

Ringed Teal; Red Shoveller Duck; Bufflehead

largest 25cm.; 10ins by 23cm.; 9ins £40-60

Two pen and ink drawings;

average size: 27cm.; 10½ins by 24cm.; 9½ins

Hairy Armadillo; Armadillo

£40-60

average size 22cm.; 8¾ins by 33cm.; 13ins

Three pen and ink drawings; Duckling; Snowy Owl; Flying Cranes largest 25cm.; 10ins by 25cm.; 10ins £40-60

£80-100 F O R A D D I T I O N A L I M A G E S O F A L L O F T H E P I C T U R E S I N T H E L O T S E E W W W. S U M M E R S P L A C E A U C T I O N S . C O M

152

154

156

158

Three watercolours;

Boat-Billed Heron; Trumpeter Swan; White Egret

Blue and Yellow Macaw; Sicalis plereola; Euphonia laniirostris

Five botanical watercolours all initialled PE and dated ‘98 including;

Three pen and ink drawings;

White Stork; White Stork; Demoiselle Crane

Swainson’s Toucan; Squirrel Monkeys

average size 25cm.; 9¾ins by 25cm.; 9¾ins

average size 26cm.; 10¼ins by 22cm.; 8¾ins

£50-60

£50-80

153

including Guzmania; Bromelia; Mierenacacia; Diefenbachia; Asclepia curassavia

Red Cardinal; Mexicana Tangara; Motmot Three pen and ink drawings; Man with big cat; Tiger; Llamas

average size 37cm.; 14½ins by 26cm.; 10¼ins

largest 24.5cm.; 9¼ins by 25cm.; 9¾ins

£100-150

£50-80

155

157

159

Three watercolours;

Clavaris pretiosa; Chaco chacalaca; Peruvian Thickknee

Toucan Barbet; Yellow Cardinal; Roseate Spoonbill

Twelve botanical watercolours;

Eleven Botanical watercolours;

including Mangifera; Japonica; Papaya; Banana

Four pen and ink drawings;

Five pen and ink drawings;

largest 25cm.; 10ins by 21cm.; 8½ins

including Pineapple, Amaranthus; Basil; Red Pepper

Red Pandas

Roseate Spoonbill; Avocet; Mara; Fennec Fox; Puma

£50-80

Average size 25cm.; 9¾ins by 25cm.; 9¾ins £50-60

largest 21cm.; 8¼ins by 26cm.; 10¼ins £80-100

largest 25cm.; 10ins by 20cm.; 8ins £50-60

F O R A D D I T I O N A L I M A G E S O F A L L O F T H E P I C T U R E S I N T H E L O T S E E W W W. S U M M E R S P L A C E A U C T I O N S . C O M

160

162

164

166

Nine botanical watercolours;

Six watercolours of dinosaurs including T-Rex and Prehistoric landscapes

Eight anatomical drawings of the human figure and organs

Two watercolours of rabbits and guinea pigs

including Cycas and Arachis hypogaes largest 26cm.; 10½ins by 2cm.; 9½ins

the largest 38cm.; 15ins by 31cm.; 12¼ins

average size 41cm.; 16ins by 24cm.; 9½ins

34cm.; 13½ins by 30cm.; 12ins £60-100

£20-40

£60-100

£80-100

161

163

165

167

A pen and ink drawing of racoons in a tree

A pencil drawing of Asian black bears

A pen and ink drawing of playing cheetahs

A pen and ink drawing of red kangaroos

39cm.;15½ins by 38cm.; 15ins, together with a pen and ink drawing of a salt water crocodile on her eggs, 38cm.; 15ins by 54cm.; 21½ins

52cm.; 20½ins by 38cm.; 15ins and a pencil drawing of codiac bears signed Francis, 37cm.; 14½ins by 38cm.; 15ins

34cm.; 13½ins by 53cm.; 21ins and a pen and ink drawing of fighting hartebeest, 33cm.; 13ins by 53cm.; 21ins

36cm.; 14ins by 44cm.; 17¾ins, together with another pen and ink drawing of red kangaroos

£40-60

F O R A D D I T I O N A L I M A G E S O F A L L O F T H E P I C T U R E S I N T H E L O T S E E W W W. S U M M E R S P L A C E A U C T I O N S . C O M

168

170

172

174

A pencil drawing of racoons

A pen and ink drawing of a jaguar

A pen and ink drawing of caracal and her young

A pen and ink drawing of flamingos

54cm.; 21¼ins by 53cm.; 21ins together with a pen and ink drawing of a porcupine, 37cm.; 14½ins by 35cm.; 13¾ins

52cm.; 20½ins by 38cm.; 15ins, and a pencil drawing of servals, 40cm.; 16ins by 49cm.; 19¼ins

44cm.; 17½ins by 56cm.; 22ins, together with two pencil drawing of fennec foxes 38cm.; 15ins by 53cm.; 21ins

£40-60

£70-100

37cm.; 14½ins by 38cm.; 15ins, together with another pen and ink drawing of pelicans, 32cm.; 12¾ins by 37cm 14½ins £30-50

169

171

173

175

A pencil drawing of Marabou storks

A pencil drawing of storks

A pencil drawing of a pelican and her young

A pen and ink drawing of darters

37cm.; 14½ins by 38cm.; 15ins

40cm.; 15¾ins by 50cm.; 19¾ins

38cm.; 15ins by 53cm.; 21ins

£20-40

38cm.; 15ins by 38cm.; 15ins, together with a pencil drawing of crowned cranes 38cm.; 15ins by 38cm.; 15ins £30-50

F O R A D D I T I O N A L I M A G E S O F A L L O F T H E P I C T U R E S I N T H E L O T S E E W W W. S U M M E R S P L A C E A U C T I O N S . C O M

176

178

180

182

A watercolour of a kangaroo and a joey

A watercolour by Tim Hayward of exotic birds

A watercolour by Tim Hayward of various birds

42cm.; 16½ins by 51cm.; 20ins

including a parrot and waders

A watercolour by Tim Hayward of various birds, terrapins and fish

£60-100

68cm.; 27ins by 52cm.; 20½ins

70cm.; 27½ins by 53cm.; 21ins £150-250

£150-250

including toucans and a white faced whistling duck 64cm.; 25ins by 64cm.; 25ins £150-250

177

179

181

183

A watercolour by Tim Hayward of Crocodiles, snakes and other birds and fish

A watercolour of an Emu, Tapir and other animals

A watercolour of a Camel, Llama and other animals

Three watercolour mask designs for a bird, monkey and owl

62cm.; 24½ins by 57cm.; 22½ins

58cm.; 23ins by 56cm.; 22ins

the largest 62cm.; 24ins by 36cm.; 14ins

£150-250

£80-120

£150-250

End of The Emmen Zoo Collection F O R A D D I T I O N A L I M A G E S O F A L L O F T H E P I C T U R E S I N T H E L O T S E E W W W. S U M M E R S P L A C E A U C T I O N S . C O M

Other Properties

184 A large fossil wood sphere Madagascar, Triassic 27cm.; 10ins diameter ÂŁ2500-4000

185 An Ocean Jasper sphere Madagascar 23cm.; 9ins diameter ÂŁ1800-2500

186

187

A Quartz sphere

A Quartz bed

Arkansas, U.S.A

Northern Pakistan, Nagar mine, Hunza Valley

with Limonite 18cm.; 7ins diameter ÂŁ1400-1600

including Mica, Aquamarine and black Tourmaline 35cm.; 14ins high by 65cm.; 26ins wide 70kgs ÂŁ2500-4000

188

189

A rare red Amethyst freestanding specimen

A large freestanding Lapis Lazuli specimen

Brazil

Afghanistan

32cm.; 13ins high

77cm.; 30ins high, 48.6kg

ÂŁ1300-1800

ÂŁ5000-7000

190 A glass topped table the frame supporting a AT-3 “Sagger” missile 100cm.; 39ins by 70cm.; 28ins AT-3 “sagger” missiles were developed in 1962 in Russia and entered service as a wire guided anti-tank missile in September 1963 and produced until the present. £1500-2500

191 A SA-6 Ramjet missile Russian overall 6m.; 19 feet long Shown in its original carrying case prior to final assembly. The fins that bolt on are located at the bottom of the case £4000-6000 192 A glass topped circular occasional table the support made from a AT-3 “Sagger” missile 70cm.; 28ins diameter £1500-2500 193 A similar glass topped circular occasional table £1500-2500

194 A rare carved Istrian Renaissance style fountain Italian, 19th century 210cm.; 82ins high by 153cm.; 60ins diameter ÂŁ5000-8000

195 A rare Georgian lead cistern dated 1728 back and sides replaced in the 19th century and now with side bronze tap 90cm.; 36ins high by 180cm.; 71ins long by 76cm.; 30ins deep Lead cisterns became popular in the 17th and

18th centuries as a means of storing rainwater from roofs. Often situated in courtyards, they are one of the very few examples of garden ornament to often bear a date, often supplemented as in this example, with the initials of the owner. The front and sides were cast in one long rectangular panel in a sand pit with the

decoration made through carved wooden strapwork mouldings, letters and numbers together with any other decorative features pressed into the sand before the lead was poured in. This would often include armorial devices relating to the family, or in this instance, a nautical theme with stylised dolphins and scallop shells.

It would seem likely that the back and sides of this cistern have been adapted, probably over 100 years ago, since the bronze tap which usually is in the bottom centre of the front panel, is now located at the side. ÂŁ5000-8000

196 An impressive carved sandstone urn on pedestal 1st half 19th century with later memorial inscription 269cm.; 106ins high ÂŁ3000-5000

197 A rare Blashfield stoneware fountain figure of a triton circa 1870 stamped Blashfield Patent Pottery 91cm.; 36ins high John Marriott Blashfield, remarked in his essay Account of the History and Manufacture of Ancient and Modern Terracotta (1855) that he had been inspired to make a kind of artificial stoneware by seeing the kind of pieces for which Mark Blanchard had been awarded prizes at the Great Exhibition of 1851. He obtained Letters Patent in 1854 for “Improvements in the Manufacture of China, Pottery, Bricks” and other articles, made for the most part from clay and again in 1860 for “improvements in burning pottery and china ware”. He had a manufactory in Millwall, Poplar with a sales outlet at No. 1 Praed Street, Edgware Road, London, but moved to Stamford, Lincolnshire in 1859, to be nearer the clay-beds. He won medals for Terra Cotta, in the glass and pottery and architectural objects classes at the International Exhibition in 1862 and a silver medal at the Paris International Exhibition of 1867. One of the most important commissions with which he was involved was supplying architectural terracotta for the decoration of the new Museum of Fine Arts in Boston, but this undertaking stretched his resources too far and by 1874 the Stamford Terracotta Company works, machinery as well as models and moulds were for sale; it finally closed in 1875. £1500-2500

198 A pair of lead classical groups of putti and young satyrs Continental, 2nd half 19th century 100cm.; 39ins high ÂŁ2000-4000

199 John van Nost: A rare lead sundial in the form of a kneeling figure of North America early 18th century with associated 18th century bronze dial signed George Adams, London with Portland stone surround and on and on Portland stone base 155cm.; 61ins high The van Nosts were a family of sculptors of Flemish descent. The eldest, John van Nost, is first recorded working at Windsor Castle circa 1678. He had his own yard by about 1687 and there manufactured ‘Marble and Leaden figures, Busto’s and noble Vases, Marble chimneypieces and curious Marble tables’. He is best remembered as a supplier of lead garden statues. Records from Melbourne Hall, Derbyshire show that each of the supplied statues cost between£20-30. After his death (circa 1712) his yard at Hyde Park Corner was taken over by his nephew Gerard and then by John van Nost the younger in 1729 who continued until the mid-18th Century. A Blackamoor and similar North American Indian were originally made for Hampton Court by John Van Nost the Elder in 1701. They were perhaps originally intended as part of a larger set representing the Continents but for the death of William III two months after the erection of the first two. For a similar figure see Lawrence Weaver, English Leadwork 1909, reissued 1972, page 160, figure 251. £12,000-18,000 See also back cover

200 After Joseph Nollekens: A carved white marble bust of the Duke of Wellington 2nd quarter 19th century 74cm.; 29ins high After an original sculpted by Nollekens in 1813 now in Wellington Museum, Apsley House, London. Other versions exist at Woburn Abbey, Bedfordshire, Castle Howard, Yorkshire and Sledmere House, Yorkshire. Literature: See Dictionary of British Sculptors in Britain 1660-1851 by Ingrid Roscoe page 909 ÂŁ3000-5000

201 A pair of carved white marble Lions Italian, late 19th century 69cm.; 27ins high by 117cm.; 46ins long ÂŁ6000-10,000

202 A pair of carved stone gatepier Eagles 19th century 70cm.; 27Â˝ins high by 133cm.; 52ins wide ÂŁ5000-8000

203 A rare carved limestone multi-sided sundial probably Scottish, 18th century bronze gnomons replaced and on later iron stand 74cm.; 29ins high The earliest multiple dials are thought to have originated in Germany and France. The first recorded British one is at Elmley Castle in Hereford, which dates to around 1545. However by the 18th century Scotland became the main centre of production, which is where it is likely this example originated. This was the period of Scottish Enlightenment, with huge advancements in intellectual and scientific accomplishments. The multiple dial provided the ideal opportunity to show off the mathematical skills of the maker. ÂŁ2000-4000

204

205

A rare Portland stone bulldog circa 1900

A pair of rare Austin and Seeley composition stone greyhounds

45cm.; 17½ins high by 56cm.; 22ins long

2nd half 19th century

The oldest single breed specialty club is The Bulldog Club (England), which was formed in 1878. Members of this club met frequently at the Blue Post pub on Oxford Street in London. There they wrote the first standard of perfection for the breed. In 1894 the two top Bulldogs, King Orry and Dockleaf, competed in a contest to see which dog could walk 20 miles (32 km). King Orry was reminiscent of the original Bulldogs, lighter boned and very athletic. Dockleaf was smaller and heavier set, more like modern Bulldogs. King Orry was declared the winner that year, finishing the 20-mile (32 km) walk while Dockleaf collapsed. The Bulldog was officially recognized by the American Kennel Club in 1886.

63cm.; 25ins high by 120cm.; 47ins long Austin and Seeley were one of the earliest manufactuers of artifical/composition stone, based in New Road, London. This popular model of greyhounds is illustrated in their 1848 catalogue. (See engraving) £1200-1800

At the turn of the 20th century, Ch. Rodney Stone became the first Bulldog to command a price of $5,000 when he was bought by controversial Irish American political figure Richard Croker. £3000-5000

206 ▲ William McMillan: A lead and granite fountain early 20th century signed McMillan and dated ‘27 155cm.; 61ins high overall William McMillan RA, 1887-1977 was born in Aberdeen, Scotland, the son of William McMillan, master engraver, and Jane Knight. He studied at Gray’s Art School and then at the Royal College of Art, London from 1908 to 1912, under Édouard Lantéri. McMillan joined The Artists Rifles in WWI and was commissioned into the Oxfordshire and Buckinghamshire Light Infantry on 5 December 1915. He was elected an associate of the Royal Academy in 1925, a full member in 1933 and a Senior RA in 1962. From 1929 to 1941 he was Master of the Royal Academy Sculpture School. From 1940 to 1966 he became involved in a number of important and prestigious public commissions, and became more widely recognised at international level. Perhaps his most well-known work in collaboration with Sir Charles Wheeler, is the bronze Mermaids and Dolphin fountain in Trafalgar Square, London. Another bronze fountain of a Triton and Dryads stands in Regents Park, London. He was made a Commander of the Royal Victorian Order (CVO) in 1956. His home city of Aberdeen made him a Freeman of the City and Aberdeen University conferred an honorary doctorate upon him. McMillan exhibited at the Royal Academy from 1917 until 1971. £1000-1500

207 A Rhind: A bronze fountain figure of a boy playing the pipes signed A. Rhind Sc 1926, dolphin mouth and top bowl plumbed for water, weathered green patination, pipes replaced 89cm.; 35ins high The Rhinds were a well-known family of Scottish sculptors including John Rhind 18281892, and his sons, William Birnie Rhind and J. Massey Rhind. A. Rhind is unrecorded but is almost certainly a member of the same family. ÂŁ4000-6000

208 A pair of monumental Val d’Osne foundry cast iron urns on pedestals French, circa 1880 the pedestals stamped Val d’Osne 205cm.; 81ins high Founded by J.P.Andre in 1835 and based at the Val d’Osne, in the Haute-Marne, the company took over rival firms such as Barbezat and Ducel becoming the largest and most prolific foundry of decorative and sculptural cast iron in France. The company exhibited at the Great Exhibitions of 1851 and 1862 as well as the Chicago Great Exhibition of 1893. These urns appear in the Societe Anonyme des Haut Fourneaux & Fonderies du Val d’Osne catalogue. (See engraving) £15,000-20,000

209 A pair of rare lead urns circa 1900 on later composition stone pedestals 124cm.; 49ins high overall This unusual model most probably cast by one of the leading foundries in the early 20th century such as Singer is most probably based on an 18th century French design possibly originally made in either terracotta or marble. ÂŁ3000-5000 63

210 A pair of rare Coalbrookdale Oak and Ivy pattern cast iron seats 2nd half 19th century fully stamped C B Dale and diamond registration stamp, number and pattern number 30 153cm.; 60ins wide The original design, number 119253, was registered and patented by the Coalbrookdale Iron Foundry at the Public Record office on 8th March 1859, and is seat number 30 in their 1875 Castings Catalogue. It was designed by the sculptor John Bell, one of Coalbrookdale's principal designers, whose famous Deerhound Centre Table was exhibited at the 1855 Universal Exhibition, and which is now in the Iron Bridge Gorge Museum, Shropshire. ÂŁ4000-6000

211 A Coalbrookdale Horse Chestnut pattern cast iron seat last quarter 19th century stamped Coalbrookdale Co and with registration numbers and front rail stamp together with pattern number 46 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). ÂŁ3500-5000 65

212 A Coalbrookdale Fern and Blackberry pattern cast iron seat last quarter 19th century the front rail stamped Coalbrookdale and fully stamped on back with registration number and pattern number 147cm.; 58ins wide Unusually this seat has an integral seat frame stamped Coalbrookdale together with distinctive Coalbrookdale bronze headed nuts normally not used on this pattern. This design, number 113617, was registered and patented at the Public Records Office on the 30th of April 1858 by the Coalbrookdale Iron Foundry, and is seat number 29A in their 1875 Castings Catalogue. ÂŁ3500-5500 66

213 A pair of Coalbrookdale Fern and Blackberry pattern cast iron seats en-suite to the previous lot with diamond registration stamp and number This design number S29 is illustrated in the 1875 Coalbrookdale catalogue (See engraving) ÂŁ2500-3500

214 A small Coalbrookdale Nasturtium pattern cast iron seat last quarter 19th century stamped CB Dale and Co and with diamond registration stamp and number 93cm.; 36Â˝ins wide This design, number 1958629, was registered and patented at the Public Records Office on the 1st March 1866 by the Coalbrookdale Iron Foundry, and is seat number 44 in their 1875 Castings Catalogue. (See engraving) ÂŁ2500-3500 68

215 A pair of rare Coalbrookdale Nasturtium pattern cast iron chairs last quarter 19th century fully stamped CB Dale and Co with diamond registration stamp and number This design is number 44S in the 1875 Coalbrookdale catalogue. (See engraving) ÂŁ3000-5000

216 A Coalbrookdale Lily of the Valley pattern cast iron seat last quarter 19th century with diamond registration stamps 182cm.; 72ins wide This design, number 171578, was registered and patented at the Public Records Office on the 8th February 1864 by the Coalbrookdale Iron Foundry, and is seat number 36 in their 1875 Castings Catalogue. (See engraving) ÂŁ3500-5000 70

217 A Coalbrookdale Horse Chestnut pattern cast iron seat last quarter 19th century stamped Coalbrookdale and with registration number 147cm.; 58ins wide This design, number 217568, was registered and patented at The Public Record Office on 23rd March 1868 by the Coalbrookdale Iron Foundry, and is seat number 46 in their 1875 Castings Catalogue, Section III, page 256. (See engraving) ÂŁ3500-5000

218 A wrought iron table with monumental York stone top 20th century 196cm.; 77ins by 132cm.; 52ins ÂŁ3000-5000

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.

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

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

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

(ii)

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

(iii)

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

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

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

(ii)

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

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

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 ▲ 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. 75

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

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 80 and 192. 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

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

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

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

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

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

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

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.

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 June, October 2016

£25 n

EV16 November 2016

£15 n

2016

£40 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 9th June 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 .................................................................

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 300-602 All sealed bids must be with us, at the latest, by 5pm BST on the 8th June since the bids will be opened on the 9th June. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. For further information on sealed bids and how they work see page 80.

300

301

A pair of wrought iron gates

early 20th century

Italian, 19th century

276cm.; 116ins wide overall

240cm.; 95ins high by 152cm.; 60ins wide overall

ÂŁ400-600

ÂŁ2000-3000

302 A pair of wrought iron gates 2nd half 19th century 240cm.; 95ins high by 274cm.; 108ins wide overall ÂŁ600-1000 303 A pair of composition gatepier balls on square socles 2nd half 20th century 66cm.; 26ins high ÂŁ200-300 304 A similar pair of gatepier balls ÂŁ200-300

305

307

A pair of Victorian wrought and cast iron gates

A Georgian style wrought iron gate

2nd half 19th century

117cm.; 46ins high by 93cm.; 36½ins wide

135cm.; 53ins high by 274cm.; 108ins wide overall

20th century

£300-500

£150-250

306 A pair of wrought and cast iron estate gates early Victorian 122cm.; 48ins high by 304cm.; 120ins wide overall Removed from a small estate near Dorking which was finished in 1839. £200-300

308

310

A set of four composition stone finials

A pair of carved Bathstone gatepier balls

modern

84cm.; 33ins high

58cm.; 23ins high

ÂŁ1800-2500

ÂŁ400-600

309 A similar set of four composition stone finials ÂŁ1800-2500

311 A set of four carved stone fruit baskets 19th century 60cm.; 24ins high ÂŁ800-1200 312 A similar pair of carved stone fruit baskets 56cm.; 22ins high ÂŁ400-600 313 A pair of Cotswold stone gate pier balls 19th century 77cm.; 30ins high ÂŁ2000-3000

314 A carved stone rectangular trough 54cm.; 21ins high by 162cm.; 64ins long by 87cm.; 34ins deep £3000-5000

315 A rectangular carved limestone trough 71cm.; 28ins high by 156cm.; 61ins long by 98cm.; 38½ins deep £3000-5000

316

317

318

A carved stone rectangular trough

A harlequin set of four particularly large ironstone staddlestones

Carved Rock Bath

53cm.; 21ins high by 211cm.; 83ins long by 94cm.; 47ins deep £3000-5000

the largest 110cm.; 43ins high

Granite 90cm.; 35ins high by 200cm.; 79ins long £1200-1800

£800-1200 87

319

320

A gypsy bow top caravan

A wrought iron haut vent arbour

1st half 20th century the interior fitted with bed, stove, cupboards and bench seats, recently restored 268cm.; 106ins high by 174cm.; 68ins wide by 427cm.; 168ins long £2500-4000

French, mid 20th century 5m.; 16ft 5in long by 3m.; 9ft 10in wide £800-1200 321 A wrought iron entranceway early 20th century 230cm.; 91ins high by 249cm.; 98ins long by 56cm.; 22ins deep £300-500

322

323

A pair of substantial cast iron wall lanterns

A pair of bronze, iron and ceramic lanterns

late 19th century

early 20th century

142cm.; 56ins high

140cm.; 55ins high

ÂŁ2000-3000

ÂŁ1500-2500

324 A pair of bronze chateau lanterns French, 2nd half 19th century glass replaced, the lanterns 66cm.; 26ins high ÂŁ4000-6000

325 An unusual blue and pink scagliola column pedestal 19th century 106cm.; 42ins high £400-600

326

327

328

An Art Nouveau copper plaque

Three interesting gardening implements, comprising:

A pair of carved marble lanterns on pedestals

circa 1910 inscribed with the platitude; “No work is worth doing badly and he who puts his best into every task will outstrip the man who waits for a great opportunity”. 44cm.; 17½ins high by 118cm.; 46½ins wide £300-500

A Holtzapffel Gentlemans walking stick/saw, the brass locking plate stamped ‘London’, circa 1900, some old worm, 100cm..; 39½ins long, together with a Holtzapffel & Co ‘Niblick’ thistle slasher, circa 1920, stamped Design 689194, and an all brass Abol weed eradicator with cap, circa 1920 £250-350

Indian, 2nd half 20th century 135cm.; 55ins high £800-1200

329

330

A Pietra Dura plaque of a cardinal and peasant woman

A composite croquet set

probably Florentine, late 19th century in ebony and ivory inlaid frame 28cm.; 11ins high by 36cm.; 14ins wide overall ÂŁ300-500

English, circa 1920 comprising six mallets, six balls and six hoops, together with a matched set of twelve beechwood skittles eight skittles 32cm.; 12ins high and four 26cm.; 10ins high ÂŁ100-200

332 An Edwardian style wrought iron mobile greenhouse modern with brass maker’s plaque 98cm.; 38½ins high by 155cm.; 61ins long £1000-1500

331

333

A Spalding and Co. croquet set

A collection of garden artefacts including a rectangular cast iron trough, bootscraper, grind wheel, feed bin, two watering cans and a sprayer

mid 20th century 109cm.; 43ins long, together with a pair of pine tennis posts with net, two hockey sticks, three Edwardian wheelbarrows, weighing scales, beechwood bin and other artefacts £300-500

largely early 20th century £200-400

334 A cast iron hose reel early 20th century with wooden handles 78cm.; 31ins high £200-400 335 A small greenhouse early 20th century with restorations and now on zinc base with wheels 173cm.; 68ins high £1200-1800 336 A pair of circular wrought iron topiary frames modern

337 A pair of rounded rectangular wrought iron topiary frames modern 130cm.; 51ins wide £250-400

106cm.; 42ins high £150-180

338

340

A brass and iron door porter in the form of a swan

Two brass door porters in the form of a forester and his dog

mid 19th century

circa 1860

with registration number

36cm.; 14ins high £300-500

£200-300

341 An highly decorative cast iron stick stand with stag finial possibly Continental, circa 1860

339

70cm.; 27½ins high

A rare cast iron hall stand probably Falkirk Foundry

£150-250

circa 1870 the lift out drip tray with diamond registration stamp

342

201cm.; 79ins high, together with a Victorian cast iron pub table, late 19th century, stamped Lund and Reynolds Ltd, Bradford with veined marble top, 70cm.; 27½ins diameter

mid 20th century

£600-1000

A zinc and wrought iron weathervane of a fisherman with wall bracket 105cm.; 41½ins high £500-800

343 346

A scarce bronze Victorian dolphin door knocker

A rare Falkirk cast iron hallstand

English, circa 1885 numbered ?34050 and ‘Regd 362765’

circa 1870 the back fully stamped Falkirk, plate number 261A, no. 6, with lift out tray

18.5cm.; 7¼ins long The above number was issued to T & C Clark, Shakespeare Foundry, Wolverhampton, 11 March 1881 £250-350

189cm.; 74ins high £600-1000

344 An unusual Victorian cast iron bootscraper circa 1860 48cm.; 19ins high by 50cm.; 19½ins wide £300-500

345 A rare and interesting cast iron Coalbrookdale stick stand English, circa 1885 with crowned GR cyphers, diamond registration marks to base and lift out tray 64cm.; 25ins high by 65cm.; 25½ins wide Although the original design was registered in 1885, the example would have been cast sometime after the accession to the throne of George V in 1911, possibly for use in a Royal residence or government office. £300-500 97

347 A Regency cast iron bootscraper English, circa 1820 on stone base 51cm.; 20ins wide overall This form of scraper set in stone is of a similar type seen on the steps of 10 Downing Street. £200-400

348 An impressive cast iron boot scraper English, circa 1840 34cm.; 13ins high by 36cm.; 14ins long A similar form of scraper, number 428, is illustrated in Kendrick & Sons catalogue. £250-450

350 A pair of early Georgian cast iron bootscrapers circa 1840 with york stone bases the larger 52cm.; 20½ins long by 36cm.; 14ins high £600-1000

349 A large Regency cast iron boot scraper English, circa 1820 18cm.; 11ins high by 34cm.; 13ins long (See footnote to lot 347) £200-400

351 A wrought iron and granite table the base early 20th century, made-up 94cm.; 37ins £500-800

353 A rare cast iron Victorian occasional table circa 1870 with diamond registration stamp 352 A rare cast iron table

59cm.; 23ins diameter £500-800

German, probably Berlin circa 1860 68cm.; 27ins diameter £400-600

354 A Coalbrookdale Fern and Blackberry pattern cast iron seat the back indistinctly stamped 152cm.; 60ins wide, together with a rare Fern and Blackberry pattern cast iron chair en-suite £800-1200 355 A rare suite of Fern and Blackberry pattern aluminium furniture comprising seat and two chairs the seat Dutch, mid 20th century with indistinct maker’s stamp 122cm.; 48ins long, together with a Victorian cast iron table, circa 1870, with later plywood top, 122cm.; 48ins long £600-1000

100

356 A Coalbrookdale Fern and Blackberry pattern seat early 20th century 145cm.; 57ins wide, together with a Coalbrookdale Fern and Blackberry chair en-suite, last quarter 19th century ÂŁ800-1200 357 A rare Fern pattern cast iron seat probably by the Fiske or Mott foundries, American, late 19th century 109cm.; 46ins wide ÂŁ500-800

101

Watercolour of design registered at the Public Records Office

358 A rare Coalbrookdale Convolvulus pattern cast iron seat mid 19th century with diamond registration stamp 160cm.; 63ins wide This design no. 2286 was the earliest registered and patented at the Public Records office by the Coalbrookdale foundry, Telford, Shropshire on 12th November 1842. ÂŁ1000-1500 359 A rare John Finch and Co. cast iron seat late 19th century 157cm.; 62ins wide The design was registered and patented at the Public Record Office by the John Finch Foundry, Priory Road, Dudley, Worcestershire on 19th March 1881. ÂŁ400-600 102

360 A Coalbrookdale style Nasturtium pattern aluminium seat 2nd half 20th century 180cm.; 71ins wide ÂŁ300-500

361 A rare cast iron seat possibly after a design by Schinkel German, mid 19th century with possibly later seat panels 96cm.; 38ins wide ÂŁ600-800

103

362 † An unusual pair of Georgian style wrought iron seats modern with makers stamp DLV 214cm.; 84ins wide £3000-5000

104

363

365

A wrought iron seat

A curved wrought iron seat

early 20th century

late 19th century

with later simulated cane seat

156cm.; 61½ins long

124cm.; 49ins high

£600-1000

£400-600

364

366

A Bilston Foundry cast iron seat designed by Edward Bawden

mid 20th century

122cm.; 48ins wide

old damages and repairs

£600-1000

122cm.; 48ins wide £500-800 105

367 A pair of strapwork wrought iron demi-lune seats modern 175cm.; 69ins wide ÂŁ1500-2500 368 A wrought iron strapwork quadrant seat with treillage canopy modern 233cm.; 92ins high overall ÂŁ1000-1500

106

369

371

A strapwork wrought iron tree seat modern

A wrought iron strapwork circular seat with treillage canopy

182cm.; 72ins diameter

English, modern

£1500-2500

266cm.; 105ins high by 182cm.; 72ins diameter £2000-3000

370 A set of four wrought iron strapwork chairs modern £1000-1500

107

374 A pair of cast iron and wooden seats 1950’s the end supports in the form of giraffe’s 155cm.; 61ins long Reputedly these seats where originally at Colchester Zoo £2500-4000

372

183cm.; 72ins long

were recently removed from The Science Museum, South Kensington, London, where they were situated in various galleries.

This and the following lot

£300-500

A pair of tubular iron and wooden seats last quarter 20th century

108

373 A similar pair of seats £300-500

375 A carved Istrian marble bench early 20th century 125cm.; 49ins wide ÂŁ1000-1500

376 A unusual composition stone bench in the Japanese style early 20th century 125cm.; 49ins long ÂŁ1000-2000

109

377 A carved oak seat in the Arts and Crafts style modern 193cm.; 76ins wide £2000-3000

378 A pair of hardwood reclining chairs last quarter 20th century with maker’s plaque Versus Tribu £400-600 379 A similar pair of reclining hardwood chairs with maker’s plaque Versus Tribu £400-600

110

380 † s A bent wood ash bench designed by Tom Raffield modern 213cm.; 84ins long Tom Raffield grew up in Exmoor, England, where the natural environment stimulated his imagination, and fed into his future designs. Raffield’s fascination with the traditional practice of steam bending began whilst studying at Falmouth College of Arts (now Falmouth University), where he discovered the traditional technique of using a chamber wouldn’t allow him to create the complex 3D bends he had envisaged. Years of research and experimentation allowed

him to develop a new steaming method to turn his design visions into reality and create furniture such as these chairs which were displayed at the Chelsea Flower Show. £2000-3000 381 † s A similar steam bent oak bench by Tom Raffield 266cm.; 105ins long £2000-3000 383 382 † s A similar steam bent oak bench by Tom Raffield 279cm.; 109ins long £2000-3000

A wooden seat incorporating a wheel late 19th century 200cm.; 79ins wide Adapted from an earlier 19th century barrow from Smithfield Market used for transporting meat. £250-400

111

385 An Onyx and brass coffee table 1960s 122cm.; 48ins long by 60cm.; 24ins wide £400-600

386 A rare oak and iron mounted sluice gate converted to a low table 142cm.; 56ins long by 81cm.; 32ins wide 384 Tree Trunk Throne Hardwood

112

214cm.; 84ins high by 74cm.; 29ins wide by 76cm.; 30ins deep £800-1200

Provenance: Originally a sluice gate from the mill stream, Arundel, West Sussex £600-1000

387 Pair of Hide and Antler Stools 60cm.; 23½ins high by 40cm.; 16ins wide by 40cm.; 16ins deep £800-1200

388

389

A Gallo Antico type marble bench

An inlaid walnut intarsia throne

Italian, 1st half 20th century

Italian, 19th century

175cm.; 69ins wide £600-1000

208cm.; 82ins high by 89cm.; 35ins wide by 75cm.; 29ins deep £1000-1500

113

The following 52 lots were recently removed from the world famous Camden Lock Market in London. It was originally commissioned in the early 1990s as one of the fixtures in the Old Stables 3 storey indoor market designed by the architect John Dickinson. Camden Lock Market is situated by the Regentâ&#x20AC;&#x2122;s Canal on a site formerly occupied by warehouses and other premises associated with the canal. It is now the fourthmost popular visitor attraction in London, attracting approximately 100,000 people each weekend. In 1991 a 3 storey indoor market hall designed by architect John Dickinson was opened on the site of the first outdoor market. In the style of the traditional 19th century industrial architecture and housing in the area, it is built of brick and cast iron. From 2006 a large indoor market hall was constructed in a yard between the Camden Lock Market and the Stables Market that was previously used for open air stalls. In November 2007 a large part of the Stables Market was demolished as part of a long-term redevelopment plan for the area and rebuilt as a year-round permanent market area.

Lots 390-414

114

Camden Lock Market

390 A black painted cast iron seat based on a Coalbrookdale pattern the centre of the back adapted with a roundel with two horses’ heads and stamped Stables Market since 1854 163cm.; 64ins wide Unusually each of these seats is double sided with the pattern and roundel repeated on the back of the seat. The Stables Market since 1854 refers to the original Camden Stables Market which was built as a horse hospital which served the horses pulling Pickfords Distribution vans and barges along the canal delivering goods into central London for onward distribution. The design is based on a Coalbrookdale original illustrated in the 1875 Coalbrookdale Catalogue, section III, page 25, no. 24.

392

395

398

A similar black painted cast iron seat

£400-600

393

396

399

A similar black painted cast iron seat

£400-600

391

394

397

400

A similar black painted cast iron seat

£400-600

115

401

408

A similar black painted cast iron seat

£400-600

402

409

A similar black painted cast iron seat

£400-600

403

410

A similar black painted cast iron seat

£400-600

A black painted cast iron seat with wooden slats based on a Coalbrookdale design

404

411

A similar black painted cast iron seat

with a similar centre panel with two horses’ heads and stamped Stables Market since 1854

£400-600

405

412

A similar black painted cast iron seat

£400-600

416

418

406

413

A similar black painted cast iron seat

A similar black painted cast iron seat with wooden slats

£400-600

£400-600 417

419

A similar black painted cast iron seat with wooden slats

A similar cast iron seat painted silver

407

414

A similar black painted cast iron seat

£400-600

116

415

160cm.; 63ins wide This design again with the pattern repeated on the back is based on the Coalbrookdale Gothic pattern seat illustrated in the Coalbrookdale 1875 Catalogue, section III, number 22

£400-600

Lots 420-430

Two of lots 390-414 and one of 420-430

420

429

430

A cast iron table with wooden slatted top incorporating a roundel with horses’ heads stamped Stables Market since 1854

A similar cast iron table

£200-400

the top 160cm.; 63ins long by 70cm.; 27½ins wide £200-400

421

425

A similar cast iron table

£200-400

422

426

A similar cast iron table

£200-400

423

427

A similar cast iron table

£200-400

424

428

A similar cast iron table

£200-400

£200-400 Roundel in the back of the seats and tables 117

431 A pair of cast iron benches each with applied plaque with an armorial and stamped Stables Market since 1854 160cm.; 63ins wide £400-600 432 431-436

A similar pair of cast iron benches £400-600 433 A similar pair of cast iron benches £400-600 434 A similar pair of cast iron benches £400-600 435 A similar pair of cast iron benches

437-440

£400-600 436 A similar pair of cast iron benches £400-600

118

437

441

A similar smaller pair of benches 71cm.; 28ins wide

A copper mounted wooden plaque in four sections in high relief with horses and blacksmiths at work

£200-300

last quarter 20th century and with roof overhang section

438 A similar pair of benches £200-300 439 A similar pair of benches £200-300

280cm.; 110ins high by 710cm.; 280ins long £4000-6000 442 A bronze figure of a blacksmith working at an anvil 213cm.; 84ins high £3000-5000

440 A similar pair of benches £200-300

119

444 A multi-sided carved sandstone pillar sundial top indistinctly dated 1704 with copper gnomons 36cm.; 14ins high £200-400 445 † A Louis XV style carved limestone pedestal 443

modern

A large bronze armillary sundial on fluted column composition stone base

115cm.; 45ins high

266cm.; 105ins high £1200-1800 120

£200-400

446 A carved Portland stone sundial circa 1900 with 5Â˝in bronze dial 91cm.; 36ins high ÂŁ600-1000 447 A large carved limestone baluster sundial on stepped base modern the 12-inch dial inscribed Thos Wright instrument maker to his Majesty 165cm.; 65ins high overall ÂŁ2000-4000

121

448 A composition stone fountain and pool surround modern with fiberglass liner fountain 124cm.; 49ins high, pool surround 355cm.; 140ins ÂŁ1500-2500 449 A lead birdbath with a standing child 1st half 20th century on carved stone base 100cm.; 39Â˝ins high ÂŁ600-1000

122

451

450 A lead fountain figure of a boy holding a duck early 20th century 82cm.; 32ins high ÂŁ600-1000 451 A composition stone fountain modern 122cm.; 48ins high ÂŁ400-600 452 A composition stone fountain modern with tufa stone surround 137cm.; 54ins high by 175cm.; 69ins overall diameter ÂŁ2000-3000 123

453 An inlaid Renaissance style marble wall fountain last quarter 20th century 188cm.; 76ins high by 100cm.; 39ins wide ÂŁ5000-8000 454 A Handyside foundry cast iron fountain 2nd half 19th century 114cm.; 45ins high by 92cm.; 36ins diameter ÂŁ1500-2500

124

455 A lead fountain mid 20th century 94cm.; 37ins diameter

456

ÂŁ500-800

A cast iron two-tier figural fountain French, 20th century 210cm.; 83ins high by 135cm.; 53ins diameter ÂŁ4000-6000

125

457

458

A carved white marble pool surround

A composition stone birdbath

circa 1900 external measurements 203cm.; 80ins, internal measurement 170cm.; 67ins £2000-3000

modern in the form of a staddlelite with ammonite top and staddlestone base 51cm.; 20ins high by 61cm.; 24ins wide £250-400 459 A lead cistern early 20th century baring date 1690 69cm.; 27ins high by 79cm.; 31ins wide by 51cm.; 25½ins deep £1200-1800

126

460 A carved Portland stone pool surround circa 1900 external diameter 270cm.; 106ins diameter £800-1200

461 s

462

463

Rosemary Slinn: A resin fountain group of children

A Georgian style lead cistern

A carved Rosso Verona wall fountain

early 20th century

Italian, late 19th century

top bowl plumbed for water, the back inscribed Endymion and dated July 1982 112cm.; 44ins high

with bronze tap 61cm.; 24ins diameter £400-600

mouth drilled for water 51cm.; 20ins wide £300-500

£400-600

127

464 A pair of Walter Macfarlane & Co. cast iron planters circa 1870 fully stamped Walter Macfarlane & Co. Glasgow No. 1092 with zinc liners 59cm.; 23ins high by 105cm.; 41Â˝ins long Walter Macfarlane and Co, also known as the Saracen Foundry, was the most important manufacturer of ornamental ironwork in Scotland. Founded in Glasgow by Walter Macfarlane I (1817-85), the firm opened its first premises in 1850, in Saracen Lane, behind the Saracen Head Inn, in the Gallowgate. They specialized in the production of drinking fountains, bandstands, lamp standards, prefabricated buildings and architectural crestings and ornament. ÂŁ1800-2500 465 A similar smaller pair of cast iron planters by Walter MacFarlane 58cm.; 23ins high by 87cm.; 34ins long ÂŁ1800-2500

128

466 A Handyside foundry cast iron urn 2nd half 19th century 79cm.; 31ins high £250-400 467 A set of four cast iron rectangular planters French, late 19th century 71cm.; 28ins wide £600-1000 468 A similar set of four planters £600-1000

129

469 A set of four cast iron urns 2nd half 19th century 57cm.; 22½ins diameter £500-800 469

470

470 A similar but not identical set of three cast iron urns 56cm.; 22ins diameter £300-500 470

471 A pair of Handyside foundry cast iron urns on pedestals 2nd half 19th century each with brass makers plaque inscribed A Handyside & Co. Ltd. London & Derby 59cm.; 23ins high It is very rare for Handyside products to have a makers plaque, a similar urn is illustrated in the 1860 Handyside catalogue No. 24B £300-500

130

472 A pair of cast iron tazza urns circa 1900 38cm.; 15ins high by 55cm.; 22ins diameter ÂŁ400-600 473 A salt glazed earthenware urn circa 1870 92cm.; 36ins high ÂŁ250-400 474 A pair of cast iron urns 2nd half 19th century on associated stoneware pedestals 76cm.; 30ins high ÂŁ250-400

131

477

475 475

A pair of composition stone urns 2nd half 20th century 60cm.; 24ins high by 102cm.; 40ins wide ÂŁ600-1000 476 A pair of composition stone urns 2nd half 20th century 76cm.; 30ins diameter ÂŁ300-500 477 A rare large Garnkirk fireclay urn circa 1870 stamped Garnkirk 81cm.; 32in high ÂŁ250-400

476 132

478

479

A pair of composition stone pineapples on pedestals

A similar pair of composition stone pineapples on pedestals

2nd half 20th century

ÂŁ800-1200

142cm.; 56ins high ÂŁ800-1200

133

481 A stoneware bowl on stand circa 1910 86cm.; 34ins high, together with a rare saltglaze stoneware urn on pedestal, circa 1860, stamped Oates and Green, Halifax 70cm.; 28ins high ÂŁ300-500

480 A pair of Carter and Co. stoneware urns on pedestals early 20th century fully stamped J Carter & Co., seedsman to H.M The King, London 95cm.; 37ins high ÂŁ300-500

134

482 † A pair of sandstone circular planters modern 60cm.; 24ins diameter £250-400 483 A pair of substantial Edwardian carved sandstone rectangular planters circa 1900 37cm.; 14½ins high by 107cm.; 42ins long by 65cm.; 25½ins deep £1000-1500

135

484 A pair of lead urns supported by attendant satyrs and with a young satyr surprising nymphs of Diana on the other.

1st half 18th century 52cm.; 20½ins high Provenance: Removed Biddlesden Park, Buckinghamshire. The house, which lies on the site of an old Cistercian abbey, was built by John Sayer, in the Georgian style in 1727. The staircase dates from the same period. The house then passed to Ralph Verney, 2nd Earl Verney before it was acquired, on Verney’s death in 1791, by George Morgan, who was High Sheriff of Buckinghamshire. It passed through various 136

owners before being comprehensively renovated in the 1980’s. Whilst large quantities of lead urns and finials in an 18th century style were manufactured from the beginning of the 20th century onwards, period 18th century examples are even scarcer than lead figures produced at the same period. The figural friezes were often taken from marble originals, as in a pair of lead finials dating from circa 1740 at Wrest Park, where the friezes are taken from a

pair of marble urns executed for Hampton Court Palace at the end of the 17th century by two prominent sculptors, Caius Gabriel Cibber and Edward Pearce. Other sources included chimneypiece friezes and tablets of the 18th century. Each of these examples is decorated on each side with a panel depicting a drunken Silenus on a donkey

Interestingly the foot of each urn is slightly different, with acanthus on one and an egg and foliate moulding on the other. Unlike the later, Edwardian Georgian style urns, which are slush or sand cast, these period examples are cast using the lost wax or cire perdu process and as a result are extremely crisp and well detailed with excellent quality chasing. £3000-5000

487 A pair of monumental carved marble urns 485

1st half 20th century

A carved white marble campana urn

100cm.; 39ins high £4000-6000

2nd half 19th century 70cm.; 27½ins high £1000-1500

486 A carved white marble urn 2nd half 19th century 66cm.; 26ins diameter £300-500

137

488

489

A rivet copper

A substantial cheese making copper

19th century with six rivetted iron support brackets

French, 19th century

43cm.; 17ins high

with six rivetted iron support brackets

ÂŁ200-300

180cm.; 71ins diameter ÂŁ1000-1500

138

490 A terracotta beehive pithos storage jar

491

493

Southern Mediterranean

A similar terracotta beehive pithos storage jar

early 20th century

86cm.; 34ins high

A similar terracotta beehive pithos storage jar

86cm.; 34ins high

£400-600

86cm.; 35ins high

£400-600

495 A similar terracotta beehive pithos storage jar 84cm.; 33ins high £400-600

492 A similar terracotta beehive pithos storage jar

494

90cm.; 35ins high

A similar terracotta beehive pithos storage jar

£400-600

91cm.; 36ins high £400-600 139

496

497

Biggi Fausto: A white marble statue of a girl

A white marble figure representing Summer

Italian, late 19th century

Italian, 2nd half 19th century

signed Biggi Fausto, Sc, Carrara 92cm.; 36ins high ÂŁ1000-1500

140

100cm.; 39ins high ÂŁ500-800

498

499

A carved Caen stone figure of a queen 3rd quarter 19th century

After the Antique: A carved alabaster figure of the Venus de Milo

140cm.; 55ins high

Italian, circa 1900

ÂŁ700-1000

89cm.; 35ins high ÂŁ600-1000

141

500 Constantino Corti (1824-1873): An impressive marble figure entitled Il Vincitore seated on a rocky outcrop 190cm.; 75ins high Constantino Corti worked together with another Milanese sculptor Pietro Calvi (1833-1884) on a number of occasions. They are responsible for some of the figures in Milan Cathedral and works at the Gallerie Vittorio Emanuel. Corti is known to have made a colossal statue of Lucifero which is in the Museo Nacional de Belles Artes Buenos Aires. The variation on the theme of the Devil is only different in the treatment of the hair and toenails and the wings, which are lacking, producing powerful and striking images without any of the satanic qualities which characterise other similar versions of this piece which was also executed by Pietro Calvi. A bronze example entitled Lucifero was sold at Sothebyâ&#x20AC;&#x2122;s London on 21st June 1988. ÂŁ4000-6000

142

501 A monumental bronze figure of St Francis probably Italian, late 19th century on later wooden plinth, weathered green patination 200cm.; 78Â˝ins high ÂŁ12,000-18,000

143

502 A pair of polychrome painted terracotta temple dogs probably Siamese, 1st half 20th century 102cm.; 40ins high £1200-1800

503 A rare lead Pointer dog mid 20th century 80cm.; 31½ins high, together with a Boulton and Paul wrought iron whelping cage, circa 1900, incorporating two doors and with various makers’ stamps, 213cm.; 84ins high by 148cm.; 58ins wide by 200cm.; 78½ins long £2000-3000

144

505 A pair of Durenne foundry cast iron Egyptian figural torchères on pedestals French, circa 1860 stamped A Durenne Maitre de Forges Sommevoire 200cm.; 79ins high Antoine Durenne set up in 1847 at Sommervoire Haute-Marne. He held a number of official posts most notably being on the installation committee for the Exposition Universelle in 1878. The Durenne foundry was incorporated into the Val d’Osne foundry in 1888. £8000-12,000

504 After the Antique: A bronze figure of dancing faun 2nd half 20th century 81cm.; 32ins high £1500-2500

145

506

508

A composition stone figure of a girl and dog on pedestal

A pair of carved limestone Panthers

modern 203cm.; 80ins high £1000-1500 507 A lead figure of a putto representing Autumn 1st half 20th century on composition stone plinth 99cm.; 39ins high £400-600

146

2nd half 20th century 90cm.; 35½ins high £1800-2500

509

510

A carved limestone Pig

A composition stone dancing girl possibly by Bromsgrove Guild

2nd half 20th century 66cm.; 26ins long £300-400

early 20th century with replaced garland of flowers 135cm.; 53ins high £1000-1500

511 A lead castanet player on carved stone column early 20th century the figure 96cm.; 36ins high, 195cm.; 77ins high overall £800-1200

147

513 Julie Grose Gothic Gates with Plum Blossom Zinc-plated Painted Forged Steel Unique 106cm.; 42ins high, the base 117cm.; 46ins wide by 125cm.; 49ins deep Whilst on a Silversmithing and Metalwork degree at Camberwell College of Art, Julie developed a passion for forging and subsequently travelled to work with blacksmiths around the UK and North America.

Vinyl Poppies

By incorporating a range of metals, such as, steel, aluminium, copper brass and bronze into her designs, Julie creates pieces that blend well with their situation but also express personal statement.

Steel and Reclaimed Vinyl Records

£2000-3000

512 Kenny Roach

each approx 130cm.; 51ins high by 68cm.; 27ins wide by 24cm.; 9½ins deep £300-400

148

514 Jenny Pickford Circles of Life Forged Galvanised Steel and Hand Blown Glass 213cm.; 84ins high by 75cm.; 29½ins wide by 75cm.; 29½ins deep

515

£4000-6000

‘Wave’

Jenny Pickford Bronze and Hand forged steel Water fountain mechanism included, pump not included

183cm.; 72ins high by 210cm.; 82½ins wide by 60cm.; 23½ins deep

combine forged, galvanised steel, with spectacular blown glass.

Pickford is a contemporary artist blacksmith, designing and making unique sculptures, water features and architectural ironwork. Her designs

She is highly regarded as one of the country’s leading female artist blacksmiths. £8000-12,000

149

517 Abby Martin Mycelium Minor Iron and Marble Resin 516 Lynette Forrester Bell Flowers Kiln Formed Glass each approx 152cm.; 60ins high by 21cm.; 8½ins wide by 26cm.; 10ins deep In the early 1970`s Lynette obtained the British Display Society Diploma with distinction and also a Diploma in Graphic Design. She began her career as a commercial artist and developed an interest in sculpture and stained glass. Lynette has completed short courses and workshops in Garden Design, Sculpture, Batik, and Calligraphy. In 1999 Lynette completed a course in Stained Glass and in 2002 she completed an advanced City and Guilds course in Decorative Glass. She now designs and makes kiln-formed glass sculptures, often taking inspiration from nature with suggestions of movement.

tallest 104cm.; 41ins high by 53cm.; 21ins wide by 50cm.; 19½ins deep Abby studied Foundation Art at City College Brighton and Hove in 2006 and went on to attain a degree in Fine Art from University of the Creative Arts in Farnham in 2009. £1200-1800

518 A set of twelve sheet iron sheep modern

She lives in South Shropshire and has been exhibiting her work regularly in the UK since 2010.

with lawn spikes

£800-1200

£1000-1500

150

50cm.; 19½ins high

519 Christine Fox (1944-2012) Spiralling henges Welsh slate with iron fixtures the tallest 162cm.; 64ins high, the shortest 80cm.; 31½ins high Christine Fox 1922-2012 trained at Winchester School of Art and got her first commission when she was in the first year of the degree course there. Her many sculptures bought for public places include Axe Carrier, Clare Hall Garden Court, Cambridge University, 1975; Batrachian Cascade, Stony Stratford, Milton Keynes, 1981; and Gathering of Owls, Darwin’s Aviary, New Hall, Cambridge University, 1992. £2500-4000

151

520 Ann Vrielinck, Born Belgium 1966 Chat Bronze Signed and numbered from an edition of 49 145cm.; 57ins diameter 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. ÂŁ12,000-15,000

152

521 John Cox Circle of Dolphins Water feature Bronze 200cm.; 79ins high by 220cm.; 86½ins wide by 87cm.; 34ins deep £6000-8000

153

523 James Doran-Webb Rutting Stags Driftwood and Stainless steel armature Unique 235cm.; 92½ins high by 530cm.; 208½ins wide by 160cm.; 63ins deep Born in England, but educated in Switzerland, Italy and the US, James spends much of his time now in the Philippines which he first visited in 1989. James spent his early childhood in Devon. In 1990 he set up a company designing and making a range of wooden objects to sell in Europe and the USA, boxes and picture frames encrusted in shells and marble, large papier mȃché animals and pieces of fine furniture made from wood salvaged from old demolished hardwood houses.

522 John Cox, Oct 1952 – Jan 2014 The Olympic Gorilla Bronze 182cm.; 71½ins high by 107cm.; 42ins wide A similar bronze gorilla as illustrated stood in the 2012 London Olympic Village. £8000-12,000

154

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. ÂŁ50,000-80,000

155

524 David Norris FRBS Mother and Chick Bronze Signed Edition 2 of 12 40cm.; 16ins high by 21cm.; 8½ins wide by 16cm.; 6½ins deep David Norris studied sculpture at The Royal Academy Schools, winning the silver medal

156

for portraiture, two bronze medals and the coveted Landseer prize. Many of his commissions have gone abroad, the tallest a 3 meters high "Mallard Landing" fountain for the Royal Palace Ruwi, the smallest, designing coinage for the Oman. David Norris is a Fellow of the Royal Society of British Sculptors. £4000-6000

525 David Meredith, Born 1973 Peregrine Bronze Signed edition 2 of 8 183cm.; 72ins high by 64cm.; 25ins wide David Meredith was born in Leicester, England in 1973. He was educated at the Leicester College of

Art where he aspired to a job as an illustrator. Having travelled widely in Africa, Asia and North America, Meredith now concentrates his efforts on wildlife sculpture produced in bronze. He has spent the last six years producing a considerable body of work, where his passion for wildlife shines through. shines through. £6000-8000

526 Frederic Chevarin Baleine Blanche Carrara Marble Signed 178cm.; 70ins high by 114cm.; 45ins wide by 22cm.; 9ins thick Frederic Chevarin is a selftaught stone sculptor of French origin, now based in Oxfordshire, UK, who carves in marble, limestone and alabaster. An Associate member of the Royal British Society of Sculptors since 2008, he has mentored with Helaine Blumenfeld FRBS and is a member of the Oxford Art Society ÂŁ10,000-15,000

157

527 Marjan Wouda, Born Holland 1960 Monkey Bronze Signed and Numbered 2 of 9 50cm.; 19½ins high by 35cm.; 14ins wide by 30cm.; 12ins deep Marjan Wouda grew up in Holland before moving to England where she studied fine art at both Manchester Polytechnic and North East London Polytechnic where she obtained a First Class Honours degree. Her piece Germinations IV was

158

selected for an International travelling exhibition. In 1987 she returned to Manchester to complete her MA in sculpture. Marjan has completed several large scale Public commissions for the towns of Leigh, Preston, Lancaster, Newcastle upon Tyne and Ashton-under-Lyne as well as for the London Docklands Development Corporation. Internationally her work can be seen at the new British Consulate in Hong Kong as well as Ireland and Holland. £4000-6000

528 Guy Buseyne, Born 1961 Forever Bronze Signed and Numbered from an Edition of 150 58cm.; 23ins wide £2000-3000

530 Danu, Born France 1952 Zebre Powder-Coated Heavy Gauge Steel Signed and Numbered 6 of 80 199cm.; 78½ins high by 212cm.; 83½ins long 529 Alan Foxley, Born 1936 Rudder Stoneware Unique 83cm.; 32½ins high Alan trained at Bath Academy of Art Corsham. He taught Art in schools from 1957-74.

He then became a Lecturer in Ceramics Saffron Walden College of Education until it closed in 1977. From then onwards he became a selfemployed potter and since 1998 has concentrated on individual sculptural work, living and working in Essex.

Danu was born in 1952. He lives and works in Vence, on the French Riviera. He held his first exhibition at the Centre Culturele in Cagnes sur Mer when he was 18 years old and since has exhibited in Cannes, Paris, Deauville, Brusssels, Monaco and Venice. In 1979 Danu was accepted as a member of ‘Artiste Independent’ and ‘Artistes Francais’. £3000-5000

£400-600

159

531 Ruth Moilliet Sun Canopy II Stainless Steel and Anodized Aluminium Signed 400cm.; 157½ins high by 280cm.; 110ins diameter Ruth studied a Foundation in Art and Design at Manchester Metropolitan University, and continued onto a BA Homours course in Fine Art (Sculpture) and then a Masters degree in Art as Environment. She has won numerous awards, including the AHRB Postgraduate Professional and Vocational Award to study her MA, the North West Arts Board, Setting Up Scheme Award and Placement in 2001-2003 and Best Bespoke Accessory for ‘Allium’ in the Design and Decoration Awards 2004. She exhibits at numerous prestigious solo and group exhibitions throughout the UK and has completed commissions for Kew Gardens, The Oasis of the Seas cruise ship, and many luxury hotels, public gardens and commercial developments. £20,000-30,000

160

532 † Infinity Curve Stainless steel on granite base 106cm.; 41¾ins high by 59cm.; 23ins wide by 44cm.; 17¼ins deep £2000-3000

161

533 Martin Barratt Marble Leaf Seat II Marble and Mirror Polished Stainless Steel Signed 52cm.; 20½ins high by 180cm.; 71ins long by 71cm.; 28ins wide £4000-6000

534 Jean-Luc Gambier, Born France 1977 Perfumier Blown Glass Unique 73cm.; 28½ins high by 37cm.; 14½ins wide by 32cm.; 12½ins deep JeanLuc studied at the school of glass in Moulins and graduated top of his class in 1967. He has worked at the glassworks in Biot then Caussols and began his own workshop in the early 1990s where his son joined him. Jean-Luc is a master-glassworker, renowned for his specific method where he does not use a mould or prefabricated form. All of his work is unique and handmade and he has had exhibitions at galleries in Dubai, Moscow, Shangri, Bayreuth and Abu Dhabi. Dhabi. £800-1200

162

535 Martin Williams A La Hepworth Portland Stone Signed 63cm.; 25ins high by 55cm.; 21½ins wide by 33cm.; 13ins deep After completing graduate and post-graduate training in Stoke-on-Trent and London, Williams established his first studio in Swansea, South Wales, in 1978. Working initially in ceramics, he ran a successful studio pottery specialising in domestic stoneware and relief decorated commemorative ware. Now working in bronze and stone, his most prestigious commission is a four figure bronze composition on a carved Bath stone base for the World Health Organisation in Geneva, Switzerland. £3000-5000

536 Jonathan Loxley, Born 1960 Band III Portuguese, White Marble Unique 200cm.; 78½ins high by 60cm.; 23½ins wide by 14cm.; 5½ins deep £8000-10,000

163

537 Peter Hayes The Bench Bronze 134cm.; 52½ins high by 176cm.; 69ins wide by 80cm.; 31½ins deep; the base 16cm.; 6½ins high by 80cm.; 31½ins deep by 153cm.; 60ins long

Hayes was born in Birmingham, England, where, aged 12, he was selected to attend the Moseley School of Art. In 1961 he left to study 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 exquisite work they produced using very limited technology and tools. Moving on to India, Nepal, Japan, Korea and New Mexico, he found similar skills and adapted the techniques he learned. £20,000-30,000

164

538

539

540

Gary Hodgkinson, Born 1963

Andrew Flint

Mark Bowman

Summer Dress

Chairman of the Board

Twister Fountain

Stoneware

Beach

Carved Yorkshire Stone

Unique

Signed

Unique

190cm.; 75ins high

180cm.; 71ins high by 42cm.; 16½ins wide

151cm.; 59½ins high by 40cm.; 16ins wide by 28cm.; 11ins deep

£1200-1800

£800-1200

Living and working in rural Northumberland, Mark’s recent work involves hand carving massive sculptural furniture from large tree trunks, allowing himself to be “lead” by the grain and structure of a tree during the carving process. £2000-3000

165

541

542

Chen Ting Hung

Abbott Van Dada

Well-Matched Couple

The Golden Sea Horse

Bronze

24k Gold Leaf on Bronze

Signed Edition 14 of 36

90cm.; 35½ins high by 28cm.; 11ins wide by 32cm.; 12½ins deep

67cm.; 26½ins high by 35cm.; 14ins wide by 17cm.; 7ins deep £3000-4000

166

£3000-5000

543 David Cooke Barn Owl with detachable Head Stoneware Ceramic 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. Since then he has tackled many animal subjects - such as crabs, dinosaurs and gorillas, but has tended to specialize in reptiles and birds. £400-600

544 Joe Inglis Torso Lead 55cm.; 21½ins high by 44cm.; 17½ins wide by 43cm.; 17ins deep Joe is a sculptor from the Cotswolds in the UK who creates highly original

figurative and abstract work from sheet lead. When not working in his Cotswold studio, Joe is also a well-known ‘TV vet’ who found fame on the BBC series ‘Vets in Practice’ in the 1990’s, and is now the resident vet on ITV This Morning. £2000-3000

167

545 Nadine Collinson Iron Horse Unique Mixed Media including Horse Shoes, Steel, Leather and Acrylic 115cm.; 45ins high by 115cm.; 45ins wide £2000-3000

546 Nadine Collinson Horse of War Mixed Media including Horse Shoes, Steel, Leather and Acrylic Unique 145cm.; 57ins high by 240cm.; 94½ins wide £4000-6000

168

547 Ant Beetlestone Flying Boatman Bronze Unique Signed 35cm.; 13½ins high by 57cm.; 22½ins wide Ant spent seven years at art school, including 2 years of study at both the Stafford College Figurative Sculpture course and the Frink School of Figurative Sculpture. He has taught in art schools in Staffordshire and London, including the Frink School, Stafford College and the Art Academy in Southwark. He now lives in Gloucestershire. £2000-3000

548 A pair of Murano Glass sculptures Each 50cm.; 19½ins high by 16cm.; 6½ins wide by 10cm.; 4ins deep £400-600

169

549

550

Martin Scorey

Frog in Reeds

Stag Beetle

Engine Pistons and Painted Wood

Antlers, Hooves, Wood and Steel 82cm.; 32ins high by 68cm.; 27ins wide by 73cm.; 28½ins deep

Signed

£1200-1800

110cm.; 43½ins high by 43cm.; 17ins wide by 52cm.; 20½ins deep Martin Scorey originally trained in traditional boat building skills and, since 1977 is an established, exceptional craftsman of sculptural furniture and unusual works of art. He combs the seashore, often near his Southampton home, to find driftwood, glass and other eclectic objects used for his creations which are made using quintessential woodworking techniques. £1200-1800

551 Martin Scorey St George Painted Wood 137cm.; 54ins high by 136cm.; 53½ins wide by 79cm.; 31ins deep See footnote to lot 549 £4000-6000

170

552 Nineteen Bronze with a variegated green patination 82cm.; 32ins high by 56cm.; 22ins wide £2000-3000

553 Georges Charpentier, Born France 1937 Mademoiselle Bronze Signed E.A.1 with Foundry Stamp 45cm.; 17½ins high by 40cm.; 16ins wide by 18cm.; 7ins deep £2000-3000

554 Flame Stainless Steel on Granite base 93cm.; 36½ins high by 37cm.; 14½ins wide by 16cm.; 6½ins deep £800-1200

171

556 Cheetah Bronze 36cm.; 14ins high by 85cm.; 33½ins wide by 17cm.; 7ins deep £800-1200 557

555 Laurence Broderick Wading Heron Bronze Signed Laurence Broderick 1/7 Heron V 109cm.; 43ins high Laurence Broderick was born in Bristol, 1935, and began his artistic career as an historical and educational illustrator and painter. He taught Art at the Haberdashers’ Aske’s School in Elstree from 1959 and was Director of Art from 1965 - 1981. He continued working as a freelance artist and sculptor throughout this period and became a full-time sculptor in 1981. He divides his time between studios on the Isle of Skye, in the Scottish Highlands and Cambridge, England. He is an Associate of the Royal British Society of Sculptors and a Fellow of the Royal Society of the Arts. As well as exhibitions in Scotland, England, Jersey, France, Monaco, Germany, USA and Canada, Broderick has exhibited his work in group shows with the Royal Academy, Royal Scottish Academy, Royal Society of British Artists, Contemporary Portrait Society, Society of Wildlife Artists and the Royal West of England Academy. £1000-1500

172

Lyle Sopel (Canadian Born 1952) Carving of two Ducks Flying Green Nephrite on Stone Base Signed Sopel F033 44cm.; 17ins high by 34cm.; 13½ins wide by 22cm.; 8½ins deep £1200-1800

558 Mother and Cub Bronze Mother 22cm.; 8½ins high by 40cm.; 16ins long by 13cm.; 5ins wide Cub 12cm.; 5ins high by 20cm.; 8ins wide by 8cm.; 3ins deep £800-1200

559 Owl Bronze 21cm.; 8½ins high by 23cm.; 9ins wide by 11cm.; 4½ins deep £600-800

561 Brendan Hesmondalgh 560 Len Clatworthy Cat Fabricated Steel 36cm.; 14ins high by 75cm.; 29½ins wide by 25cm.; 10ins deep £1200-1800

Sitting Fox Stoneware Unique Signed 85cm.; 33½ins high by 28cm.; 11ins wide by 29cm.; 11½ins deep £1200-1800

173

562 Glenn Morris Vertebra Bronze, Seal skin and glass on Ancaster stone base 67cm.; 26½ins high by 16cm.; 6½ins wide by 15.5cm.; 6ins deep Glenn Morris is a qualified Stone carving teacher from Wales with a BA (1st Class Hons) in Fine Art (sculpture) P.G.C.E . He works in stone, wood, bronze and mixed media using traditional carving techniques and has exhibited at The Royal Academy Glen is a regular visitor of the Arctic, living and hunting with the Inuit people of Greenland and Arctic Canada. He takes inspiration for his sculpture from the beauty and harshness of this environment as well as the stories of the Inuit people ‘Vertebra’ is a response to a tiny bone that he collected when in the North, a fragment of a meal shared by people thousands of years ago which had remained, lying on the tundra until he rediscovered it. £3000-4000

174

563 Erli Fantini The Window 70 Play Bronze and Steel 70cm.; 27½ins high by 70cm.; 27½ins wide by 3cm.; 1ins deep £800-1200 564 Anon Magnetic Ellipse Stainless steel, wire and magnets 193cm.; 76ins high by 274cm.; 108ins long £400-600

566 Christian Brieu Protagonist Bronze 72cm.; 28½ins high by 20cm.; 8ins wide by 15cm.; 6ins deep £1200-1800

565 Jacques Vanroose Hanging Around Bronze Edition of 99 60cm.; 23½ins high by 30cm.; 12ins wide by 9cm.; 3½ins deep 568

£800-1200 567 After Magritte ‘The Rape’

Alain Cantarel, Born France 1949 Elévation

Bronze

60cm.; 23½ins high by 30cm.; 12ins wide by 15cm.; 6ins deep

38cm.; 15ins high by 35cm.; 14ins wide by 23cm.; 9ins deep

Alain first began wood carving at the age of 4 and has since worked in stone, plastic, marble and now bronze, in the studio of art bronze sculptor Claude Tourneur.

£400-600

His "radiators sculptures" in Brass tubes, created in 1978, won him first prize including Form 80 issued by the Ministry of Commerce and Handicrafts. £1200-1800

175

569 A massive smokey Quartz specimen Brazil 73cm.; 29ins by 42cm.; 16½ins by 63cm.; 25ins £5000-8000

176

570 An impressive Amethyst geode Brazil 122cm.; 48ins high on wooden stand ÂŁ5000-8000

177

571 A Chrysanthemum stone on wooden base 48cm.; 19ins overall £1100-1500 572 A Chrysanthemum stone on wooden base 43cm.; 17ins overall £600-1000 573 A Chrysanthemum stone on wooden base 41cm.; 16ins overall £750-1000

571

572

574 A Chrysanthemum stone on wooden base 35cm.; 14ins overall £500-800

573 178

574

575

577

A massive Obsidian sphere

A large Obsidian sphere

Mexican

18cm.; 7ins diameter

31cm.; 12ins diameter

£600-1000

Mexican

£1500-2500

576 A Labradorite sphere Madagascar presented on a velvet cushion

578 A large Labradorite specimen Madagascar

23cm.; 9ins diameter

25½cm.; 10ins high by 23cm.; 9ins wide

£1200-1800

£1000-1500

179

579 Two exceptionally large Mookite slices Western Australian 54cm.; 21ins wide £1000-2000

582 A Ruby on Fuchsite freeform Indian 33cm.; 13ins high £350-550 580 A Labradorite freeform

581

Madagascan 32cm.; 12ins

A Nephrite Jade freeform

£500-800

Afghanistan 33cm.; 13ins high £450-650

180

583 A large Meteorite Campo de Cielo Fall, Argentina 11.9kg 20cm.; 8ins £1200-1800

585 An Iron pyrite “fools gold” specimen Peru 30cm.; 12ins wide £350-550

584 A partial Meteorite

586

Imilchil Fall, Morocco

Four large Agate slices from the same piece

4.25kg

Brazilian

24cm.; 9½ins

average 38cm.; 15ins wide

£400-600

£500-800

181

587 A glass and ammonite slice lamp 33cm.; 13ins high £1000-1500 589 A Cleoniceros (spp.) ammonite Madagascar, Jurassic 35cm.; 14ins £300-500

588 A Paradoxides (spp.) trilobite plaque Devonian, approx 550 million years old 79cm.; 31ins by 69cm.; 27ins £1000-1500

182

590 An Aspidorhynchus fish plaque Solnfofen, Germany Jurassic damages 79cm.; 31ins wide £400-600

591

592

A Selenopeltis (spp.) trilobite plaque

A Phacops (spp.) trilobite

Morocco, Devonian

in curled-up pose

79cm.; 31ins by 84cm.; 33ins

4cm.; 1½ins, together with a Trilobite, probably Dicranurus Monstrosus, Morocco, Devonian, 8cm.; 3ins

£2500-4000

Morocco, Devonian

£300-500

183

594 A case of red squirrels by Hutchings of Aberystwyth circa 1900 57cm.; 22½ins high by 41cm.; 16ins wide by 14cm.; 5½ins maximum depth £250-400

596 A trio of Black Shouldered Troupials

593 A Lesser Bird of Paradise (Paradisea minor)

early 20th century

19th century

in glass case

naturalistically mounted under a glass dome

36cm.; 14ins high by 28cm.; 11ins wide by 16cm.; 6ins deep

64cm.; 25ins high

£100-200

£400-600

595 A full mount Black Buck early 20th century 123cm.; 48ins high £220-300

597 A pair of Long Eared Owls late 19th century 61cm.; 24ins square £200-300

184

598 A case of three Buzzards by Hibbs of Ollerton late 19th century including Ruff Legged, Honey and Common 74cm.; 29ins high by 123cm.; 48ins wide £700-900

599 A Hippo head and shoulder mount circa 1990 120cm.; 47ins deep £1000-1500

185

186

600 A pair of 18 drawer mahogany collectors cabinets circa 1880 with cupboard doors to rear and lockable glass topped drawers 93cm.; 37ins high by 119cm.; 47ins wide Provenance: These cabinets were bought at a sale held by Palmer Snell of the contents of All Hallows College, Rousdon near Lyme Regis in Dorset on the 4th of November 1999, with the cabinets provenance ascribed to the British Museum. Whilst there is no direct documentary evidence, the construction and style of the cabinets certainly suggests that they came from an institution such as the British Museum. ÂŁ5000-8000

187

601 A very large glassed topped table the frame supporting a silver painted SA-6 ramjet missile 6.1m.; 20 feet long by 1.3m.; 51ins wide

SA-6 “gainful” was a ground to air low to medium height antiaircraft missile developed in the late 1950’s and finally entering service with the Russian army in 1967 and produced until the mid 1980’s. £8000-12,000

SA-6 missle launcher

602 A large glass topped table the frame supporting a gold painted SAN-4 missile

188

341cm.; 10 foot long by 1.2m.; 47ins wide SAN-4 “gecko” was a low altitude, short range surface to air anti-aircraft missile developed in

Russia in the 1960’s it was produced until the late 1980’s. £6000-10,000

Summers Place Auctions Ltd

Title First name

Last name

Address Postcode

SALE NUMBER GS058

Tel

Mobile

SALE DATE 7TH JUNE 2016

Fax

GARDEN & NATURAL HISTORY

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

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

Lot No.

Lot Description

Commision Bid (excluding premium & VAT)

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

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

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

ONLY)

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

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

190

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 GE059

BIDS TO BE RECEIVED BY 5PM 8TH JUNE 2016

GARDEN & NATURAL HISTORY

Tel

Mobile

Fax

SEALED BID AUCTION BIDDING FORM

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

Lot No.

Lot Description

Sealed bid Sterling price (excluding premium & VAT)

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

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

ONLY)

LAST DIGIT OF SECURITY CODE

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

Signed _________________________________________ Dated ____________________________

GUIDE FOR ABSENTEE BIDDERS SEALED BID AUCTION LOTS 300-602 All sealed bids must be with us, at the latest, by 8th June 5.00pm BST since the bids will be opened on the 9th June. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. Sealed bids, when placed by telephone, are accepted only at the callerâ&#x20AC;&#x2122;s risk and must be confirmed by letter or fax to the Bid Department on +44 (0)1403 331 340. Successful bidders will receive an invoice detailing their purchases and giving instructions for payment and clearance of goods. All bids are subject to the conditions of business applicable to the sale, a copy of which is available from Summers Place Auctions. Conditions of Business particularly relevant to buyers are also set out in the sale catalogue. We reserve the right to seek identification of the source of funds received. In connection with the management and operation of our business and the marketing and supply of Summers Place Auctions Companies' services, or as required by law, we may ask clients to provide personal information about themselves or obtain

192

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

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

Garden & Natural History Auction 20th & 21st September 2016 Closing date for entries 22nd July

A selection of pictures from part 2 of the Emmen Zoo Collection being offered in the September Sale

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