summers place auction may 2014 catalogue

20 & 21 May 2014

Garden, Design & Natural History

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Summers PlaceAuctions LtdTHE WALLED GARDEN

SUMMERS PLACE

BILLINGSHURST

WEST SUSSEX RH14 9AB

01403 331331WWW.SUMMERSPLACEAUCTIONS.COM

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SPECIALISTS AND AUCTION ENQUIRIES

Cost of catalogue£10 at the gallery; £15 by mail; £20 overseas

Bidding on line available at The saleroom.com with an additional fee of 3%.

Garden, Design &Natural History

Live Auction Sale No GS034 & EL040

Tuesday 20th May 2014

at 1.30 pm

Viewing

Friday 16th to Monday 19th May

and on the day of the sale

10 am to 4 pm

or by appointment

Sealed Bid Auction Sale No GE035

Bids opened on Thursday 22nd May 2014

Bids should be with us by 5pm BST 21st May 2014

Viewing

Friday 16th to Tuesday 20th May

10 am to 4 pm

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James Rylands

Specialist

Tel +44 (0)1403 331334

[email protected]

Rupert van der Werff

Specialist

Tel +44 (0)1403 331333

[email protected]

Errol Fuller

Curator for Natural History

[email protected]

Sale Administrators

Letty Stiles

[email protected]

Tel +44 (0)1403 331336

Katharine Diment

[email protected]

Tel +44 (0)1403 331335

Lindsay [email protected]

Tel +44 (0)1403 331337

Inside Covers May 2014:Layout 1 10/04/2014 14:12

MAP OFSUMMERSPLACEAUCTIONS,GARDENS ANDGALLERY,enclosed in 6 acres of landscapedgrounds includingour new 5,000ft gallery.

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2 • GARDEN , DE S IGN & NATURAL H I S TORY

IMPORTANT CONDITIONS RELATING TO THIS SALE IMPORTANT NOTICE

practicable. Nevertheless, should youhandle any items on view at ourpremises, you do so at your own risk.Some items can be large and/or heavyand can be dangerous if mishandled.Should you wish to view or inspectany items more closely please ask forassistance from a member of SummersPlace Auctions staff to ensure yoursafety and the safety of the propertyon view. Some items on view may belabelled “PLEASE DO NOT TOUCH”.Should you wish to view these itemsyou must ask for assistance, from amember of Summers Place Auctionsstaff, who will be pleased to assist you.Thank you for your co-operation.

Condition of LotsCondition is only noted in thecatalogue where an item is severelydistressed. Prospective purchasersmaking commission or telephone bidswithout viewing the sale can be givencondition reports on any lot onrequest.

It is essential for buyers to satisfythemselves as to the condition of lotsprior to the sale and to arrange theirown insurance cover against loss anddamage immediately after the sale.Please refer to the Conditions ofBusiness for Buyers.

Bidding in PersonTo bid at auction you must registerwith us beforehand with photographicidentification and proof of address toobtain a bidding number. Registrationwill be available throughout theauction.

If you cannot attend the auction,there are other ways in which you canmake your bid. Please refer to theBuyers conditions of business at theback of this catalogue for details.

Payment of PurchasesPayment is due in sterlingimmediately after the sale and beforepurchases can be released. Paymentsin person can be made in thesaleroom on the day of the auctionand thereafter. Payments may also bemade by post, card transactions bytelephone or electronic transfer to ourbank. Cash will not be accepted. Forfurther details please see Buyersconditions of business in the back ofthe catalogue.

Collection and StorageOn receipt of cleared funds, lots canbe collected from the Walled Garden,Summers Place, Billingshurst, WestSussex, RH14 9AB. Collection of lotsby appointment. If Lots have not beencollected within 35 days of theauction date then storage charges maybe applied at a rate of £20 per Lot perweek. Buyers are reminded thatliability for loss and damage transfersto the buyer from the fall of thehammer. Whilst the majority of lotswill remain in their location untilcollected, Summers Place Auctionsaccept no responsibility for any

damage which may occur, even in theevent of Summers Place Auction staffassisting carriers during collection.

Shipping and TransportSummers Place Auctions haveextensive experience dealing withboth UK carriers and internationalshippers. We would be happy toobtain quotations and facilitatetransport and shipping.

Payment for purchases is due inPounds Sterling, however theequivalent amount in any othercurrency will be accepted at the rateprevailing on the day that payment isreceived in cleared funds.Settlement is made to vendors in thecurrency in which the sale isconducted, or in another currency onrequest at the rate prevailing on theday that payment is made bySummers Place Auctions Ltd

Safety at Summers Place Auctions Summers Place Auctions is concernedfor your safety while you are on ourpremises and we endeavour to displayitems safely so far as is reasonably

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

Important noticePlease note that all lots are soldsubject to our Conditions of Businessfor Buyers and AuthenticityGuarantee, which are set forth at theback of this catalogue and Conditionsof Business for Sellers, which areavailable from Summers PlaceAuctions office on request.

For all lots marked with a †, ‡, α or Ωplease refer to the VAT informationpages at the back of the catalogue.For all lots marked with and please refer to the Guide forProspective Buyers.

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FOR EXTRA IMAGES GO TO www. s umme r s p l a c e a u c t i o n s . c om • 3

1

An unusual harlequin set offour carved bathstonestaddlestones

the largest 76cm.; 30ins highby 70cm.; 27½ins diameter

An unusual harlequin set offour carved bath stonestaddlestones

Virtually unchanged indesign for hundreds of years,staddlestones were originallyused to raise tithe barns andgranaries off the ground toprevent rats and vermin fromgetting in. Always carvedfrom local stone, very fewstill support granaries, but areused to flank driveways orincreasingly simply in groupsas sculptural garden features.

£1200-1800

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4 • GARDEN , DE S IGN & NATURAL H I S TORY L IVE AUCT ION 2 0TH MAY 2 0 1 4

2

A large carved Portlandstone cylindrical trough

74cm.; 29ins high by 124cm.;49ins diameter

£3000-5000

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3

An unusual carved gritstone cistern

North Country, 18th/19th century

66cm.; 26ins high by 131cm.; 52ins long by 95cm.; 37ins deep

Most watering troughs made from medieval times onwards areof plain rectangular form and often roughly hewn in localstone.

The relative sophistication of the ogee section and freestanding baluster corners in this example would suggest thatthis was made for the stable courtyard of a fairly substantialhouse somewhere in the North of England, where gritstone, aparticularly hard and difficult to carve stone is prevalent.

£5000-8000

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4

A large rectangular carvedlava stone trough

66cm.; 26ins high by 190cm.;75ins long by 100cm.; 39ins deep

£4000-6000

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5

A pair of substantialwrought iron boot scrapers

early 19th century

mounted on York stone bases

61cm.; 24ins high by 73cm.;29ins wide

£1500-2500

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6

A large terracotta oil storagejar

Southern Mediterranean, late19th/early 20th century

on later iron cradle

274cm.; 108ins high

£2000-3000

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7

A similar oil storage jar

in wrought iron stand

280cm.; 100ins long

£2000-3000

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8

A carved Ham stone sundial

19th century

with later 9in bronze dial onplinth base

153cm.; 60ins high

£2500-4000

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FOR EXTRA IMAGES GO TO www. s umme r s p l a c e a u c t i o n s . c om • 1 1

9

A pair of rare carved Bathstone armorial hounds

17th/18th century

106cm.; 42ins high

These would have originallybeen commissioned as familyarmorial crestings to stand ongate piers at the entrance tothe family estate.

£6000-10,000

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12

A carved Bath stone seat

late 19th century

300cm.; 118ins long

£6000-10,000

11

A carved Portlandstone urn

late 19th century

85cm.; 34ins high

£2500-4000

10

A carved Bath stone seat

late 19th century

308cm.; 120ins wide

£4000-6000

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13

A carved white marbleRoman style sarcophagus

early 20th century

47cm.; 18½ins high by200cm.; 79ins long by 56cm.;22ins deep

In the funeral and burialpractices of ancient Rome,elaborately carved marble andlimestone sarcophagi werecharacteristic of the socialelite from the 2nd to the 4thcenturies AD. At least 10,000Roman sarcophagi survive,with fragments possibly

representing as many as20,000. Althoughmythological scenes havebeen mostly widely studied,carved sarcophagus reliefshave been called the richestsingle source of Romaniconography, and may alsodepict the deceased'soccupation or life course,military scenes, and othersubject matter.

From the 17th centuryonwards it becamefashionable for the Britisharistocracy to return fromtheir Grand Tours of Italy

with ancient Roman andGreek sculpture reaching itsnadir in second half of the18th century.

Sir William Hamilton, BritishAmbassador to the Kingdomof Naples from 1764 to 1800amassed a large collection ofvases and antiquities, some ofwhich were subsequentlyacquired by the BritishMuseum. Likewise Italiansculptors and designers suchas Giovanni Battista Piranesiand Bartolomeo Cavaceppiwere restoring and in somecases faking ancient sculpture

to satisfy the growing Englishmarket. By the end of the19th century demand wasconsiderably outstrippingsupply and a number ofItalian sculptors were carvingcopies from scratch, as in thisexample, often distressingthem to give the appearanceof great antiquity. Some weresold as copies of Romanmarble originals, whilstothers were passed off as thereal thing.

£8000-12,000

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14

An unusual carved RossoVerona marble planter

possibly 17th/18th century

110cm.; 43ins high by152cm.; 60ins long

The unusual form for thiswith later fixing holes andscooped out planting/waterrecesses would suggest thatthis has been adapted at somestage to form part of anarchitectural scheme, or as aform of wellhead whichwould have had wrought ironoverthrows.

£2000-4000

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15

A carved veined marblebowl on stand

Portuguese, 17th/18thcentury

110cm.; 43ins high

£2000-3000

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16

A carved limestone figure ofMercury

early 20th century

178cm.; 70ins high

£4000-6000

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17

A massive marble bust of the Roman Emperor Nero

Italian, early 19th century

96cm.; 37¾ins high by 77cm.; 30¼ins wide by 38cm.; 15ins deep

Provenance:

Ex Private Collection of the late Christopher Clarke; Ex PrivateEnglish collection

Nero was the fifth and final Roman Emperor of the Julio-Claudian dynasty. Adopted by his great Uncle Claudius tobecome heir to the throne he succeeded as Nero ClaudiusCaesar Augustus Germanicus on October 13th 54 AD at theyoung age of 16 following the death of Claudius. Ruling from54 AD to 68 AD he focused his attention on diplomacy, tradean increasing the cultural capital of the Empire.

His rule is often associated with tyranny and extravagance. Heis known as the Emperor who ‘fiddled while Rome burned’, forexecuting his mother and his adoptive brother amongst othersand as an early persecutor of Christians. This view is basedmainly on the surviving historical sources of Tacitus andSuetonis, which paint Nero in an unfavourable light. Othersources including Cassius Dio portray him as an Emperor whowas popular with the Roman people. Over the course of hisreign he was criticised as being obsessed with popularity as heregularly made rulings that pleased the lower classes. He builttheatres, promoted athletic games, enormous gladiatorialshows were held and he established a five yearly festival which,included poetry, theatres and games. There was a general beliefthat theatre was for the lower classes and led to immoralityand laziness and so some questioned the large publicexpenditure on entertainment.

In 64 AD Rome burned and Nero enacted a public relief effortas well as significant reconstruction. Ancient historians havewritten that these projects exacerbated the drain on the state’sbudget and that it was believed they were overly extravagant,that Nero left Italy ‘thoroughly exhausted by contributions ofmoney’ with ‘the provinces ruined’.

During his reign Nero successfully went to war and negotiatedpeace with the Parthian Empire, improved relations with Greeceand suppressed the British revolt, but economic unrest caused amilitary coup in 68 AD which drove Nero from the throne.Facing execution he committed suicide at the age of 30.

£6000-10,000

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18

An unusual white marbleseat

made-up using 18th and 19thcentury architecturalcomponents

236cm.; 93in long

£4000-6000

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19

A carved white marblebench

late 19th century

240cm.; 96ins long

£1500-2500

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20

A pair of carved marblebenches

Italian, 18th century

130cm.; 51ins long

£2000-3000

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21

After the Antique: A carvedwhite marble figure of theCrouching Venus

Italian, 1st half 19th century

65cm.; 25½ins high

£2500-4000

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22

Emile Aldebert: A carvedwhite marble figure ofGalatea

French, late 19th century

signed E. Aldebert

74cm.; 29ins high, on Portaromarble pedestal 155cm.;65ins high overall

Emile Aldebert exhibited invarious Paris Salons andreceived honourablementions in 1883 & 1886.

£4000-6000

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23

A small Georgian leadcistern

with the initials EHH anddated 1782

81cm.; 32ins high by 84cm.;33ins wide by 53cm.; 21insdeep

£3000-5000

24

A rare lead figure of a puttoholding a basket of fruit

mid 18th century

on associated carvedsandstone pedestal

the figure 73cm.; 28½inshigh; 163cm.; 64ins highoverall

£3000-5000

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25

A Regency reeded wroughtiron seat

early 19th century

155cm.; 61ins long

£1200-1800

26

A rare Regency reededwrought iron tree seat

early 19th century

160cm.; 63ins wide, internalmeasurements 42cm.; 16½ins

£4000-6000

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27

A large carved Bath stoneseat

circa 1900

335cm.; 132ins wide

£5000-8000

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28

An impressive gilded bronzemask of Hermes

last quarter 20th century

105cm.; 41ins high

£8000-12,000

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29

A rare Blanchard stoneware armorial lion

circa 1870

stamped Blanchard, terra cotta

96cm.; 38ins high

Mark Henry Blanchard served his apprenticeship with theCoade Company and around 1839 established his ownmanufactory in London. It is believed that in 1883 hemoved his workshops to Bishops Waltham, to be nearerto the source of clay that he used. By the middle of theCentury he had emerged as the leading manufacturer ofterracotta in Britain, he was awarded prizes for his exhibitat the Great Exhibition of 1851. Amongst the manyproperties where his produce can be seen is the SouthKensington Museum (now the Natural History Museum).

This would have almost certainly originally formed theleft hand side of a Royal armorial with a unicorn on theright hand side flanking the royal coat of arms, thesewere in great demand in Georgian and Victorian times forbusinesses for which have received a Royal warrant tosupply some commodity or service such firms were andstill are entitled to display the Royal arms on theirpremises.

£1800-2500

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30

After the Antique: A rare Coadestone Townley vase

the rim and foot stamped Coade’s Lambeth and dated 1840

92cm.; 36ins high by 54cm.; 21ins wide

Eleanor Coade (d.1821) opened her Lambeth Manufactoryfor ceramic artificial stone in 1769, and appointed thesculptor John Bacon as its manager two years later. Shewas employed by all the leading late 18th Centuryarchitects. From about 1777 she began her engraveddesigns, which were published in 1784 in a catalogue ofover 700 items entitled A Descriptive Catalogue of Coade’sArtificial Stone Manufactory. Then in 1799, the year sheentered into partnership with her cousin John Sealy, sheissued a handbook of her Pedlar’s Lane exhibition Gallery.The firm became Coade and Sealey from this date andfollowing Sealey’s death in 1813, it reverted to Coade andin 1821 with the death of the younger Eleanor Coade,control of the firm passed to William Croggan, who diedin 1835, following bankruptcy. Coade’s manufacturesresembling a fine-grained natural stone, have always beenfamed for their durability (see A. Kelly Mrs Coade’s Stone,London 1980).

The original is a large Roman marble vase of the 2ndcentury AD, discovered in 1773 by the Scottishantiquarian and dealer in antiquities Gavin Hamilton inexcavating a Roman villa southeast of Rome. The ovoidvase has volute handles in the manner of a pottery krater.It is carved with a deep frieze in bas-relief, occupying mostof the body, illustrating a Bacchanalian procession. Itsname comes from the English collector Charles Townley,who purchased it from Hamilton in 1774 for £250.Townley’s collection, long on display in his London housein Park Street, was bought for the British Museum after hisdeath in 1805.

In the 19th century it was often imagined that Keats’ Odeon a Grecian Urn (1819) was inspired by the TownleyVase, though modern critics suggest instead that theinspiration was more generic, and may have also owedsomething to scenes portrayed on William Hamilton’scollection of Greek vases which entered the BM collectionat around the same time.

Copies of the Townley Vase have subsequently been madein a number of mediums including bronze, iron and lead.

£8000-12,000

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31

A rare pair of Blashfield stoneware rounded rectangularplanters

circa 1860

stamped Blashfield, Patent Pottery

John Marriott Blashfield, remarked in his essay Account of theHistory and Manufacture of Ancient and Modern Terracotta(1855) that he had been inspired to make a kind of artificialstoneware by seeing the kind of pieces for which MarkBlanchard had been awarded prizes at the Great Exhibition of1851. He obtained Letters Patent in 1854 for “Improvements inthe 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 amanufactory in Millwall, Poplar with a sales outlet at No. 1Praed Street, Edgware Road, London, but moved to Stamford,Lincolnshire in 1859, to be nearer the clay-beds. He wonmedals for Terra Cotta, in the glass and pottery andarchitectural objects classes at the International Exhibition in1862 and a silver medal at the Paris International Exhibition of1867. One of the most important commissions with which hewas involved was supplying architectural terracotta for thedecoration of the new Museum of Fine Arts in Boston, but this


undertaking stretched his resources too far and by 1874 theStamford Terracotta Company works, machinery as well asmodels and moulds were for sale; it finally closed in 1875.

This “ flowertray” is illustrated no. 335 from a selection ofvases, statue, busts from Terra-Cotta’s by J M Blashfields,London published by John Weil, 58 High Holborn 1857.

see engraving

£1800-2500

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32

A rare pair of Blashfieldstoneware basket planters

circa 1860

rim stamped J M Blashfield

33cm.; 13ins high by 42cm.;16½ins wide

see footnote to lot 31.

£2000-3000

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33

A Blashfield stoneware urn

circa 1860

the rim stamped manufacturedby J M Blashfield MillwallPoplar, sold at no. 1a PraedStreet, Paddington Basin andwith insized workmans no.181

94cm.; 37ins high

see footnote to lot 31

This urn is illustrated no. 181from a selection of vases,statue, busts from Terra-Cotta’s by J M Blashfields,London published by JohnWeil, 58 High Holborn 1857.

see engraving

£2000-3000

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34

A rare Compton stoneware sundial

early 20th century

with bronze gnomon

122cm.; 48ins high

The Compton Potters Art Guild was started by MaryWatts, the wife of G.F. Watts the Victorian allegoricalpainter. In 1895 work began on the Watts MortuaryChapel. Designed by Mary Watts, it was to be builtfrom local clay by the villagers of Compton, nearGodalming, Surrey. Mr and Mrs Watts were dedicatedsupporters of the growing Home Arts and IndustriesAssociation, a voluntary movement launched by EarlBrownlow in 1885 to revive the dying art ofhandicraft among the working classes. The idea wasthat young uneducated artisans should have theireyes opened to the wonders of art. They would berescued from idleness, gambling and drinking -so thenotion ran- during long winter evenings. Upliftedand taught how to use their hands with skill theywould acquire a hobby to be proud of and developthis hitherto unknown talent, where possible toprofessional standards. The Pottery Art Guildcontinued from strength to strength, winning medalsat the Royal Botanical Society and the Home Arts'highest award, the gold cross. Liberty's sold theirgarden ornaments as well as hand tufted Donegalcarpets designed by Mrs Watts. They receivedarchitectural commissions from Lutyens, CloughWilliam-Ellis and Goodhart Rendel. Recommendedby Jekyll, they made miniature versions of their potsfor the garden of Queen Mary's dollshouse in theearly 1920's. The Guild became a limited companyrun by George Aubertin and continued to produceworks based on Mrs Watts' designs until after herdeath in 1938.

Literature: The Watts Chapel, An Arts and CraftsMemorial by Veronica Franklin Gould, Arrow Press,Farnham, Surrey

£2500-4000

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35

Two cast iron figures ofEgyptian boys

French, circa 1860

on a pair of associated zincand cast iron pedestals

215cm.; 84½ins high

£6000-10,000

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36

A pair rare of Val d’Osne foundry cast iron term figures of aboy and girl

circa 1870

160cm.; 63ins high by 25cm.; 10ins diameter

A Herm was originally a representation of the head of Hermesrising from a pedestal. In gardens the word is used loosely tosignify any head on a pedestal which is either rectangular ortapers downwards. It is often interchangeable with the wordTerm which originally represented the Roman god Terminus,used in classical times to mark boundaries. Herms/Terms areoften found opposite each other in rows such as the Kentianones at Chatsworth and Chiswick.

The Val d’Osne foundry was established by J.P.Andre in 1835and based at the Val d’Osne, in the Haute-Marne region ofFrance. Over the coming decades the company took over rivalfirms such as Barbezat, J.J. Ducel and Durenne, becoming farand away the largest manufacturer of cast iron in France Thecompany exhibited at the Great Exhibitions of 1851 and 1862as well as the Chicago Great Exhibition of1893.

In 1889 the Societe Anonyme des HautsFourneaux and Fonderes du Val d‘Osnepublished a mammoth 3 volumecatalogue of engravings illustratingthousands of cast iron pieces across ahuge spectrum, from railings andlampposts to sculpture urns andfountains. This extremely rare pair ofherm figures are illustrated on plate 626,Nos 214 & 215. See engraving

£6000-10,000

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37

A substantial cast iron urn

2nd half 19th century

on later composition stonepedestal

127cm.; 50ins high overall by104cm.; 41ins diameter

£2000-3000

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38

A pair of rare cast ironbraziers

mid 19th century

each leg with diamondregistration stamp and withmaker’s stamp registered WAdis, Leicester Street, LeicesterSquare, London

135cm.; 53ins high

A number of these braziersoriginally lined LondonBridge and are illustrated in apainting celebrating thearrival on 7th March 1863, ofPrincess Alexandra ofDenmark in England for hermarriage to the Prince ofWales, later Edward VII.Included in this lot is aphotocopy taken from theTimes newspaper describingthe occasion and stating that"on London Bridge thedecorators had broken outinto ravens, elephants,tripods burning incense andfigures of huge DanishWarriors."

£6000-10,000

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39

An impressive Ducelfoundry cast iron fountain

French, 2nd half 19th century

the base stamped J J Ducel &Fils

260cm.; 102ins high by110cm.; 43ins diameter


£9000-12,000

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40

An impressive DucelFoundry cast iron fountain


247cm.; 97ins high


£9000-12,000

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41

A pair of cast iron tazzaurns on pedestal



The crispness of casting andpaint finish would suggest thatthese have been kept indoors forthe majority of their lives sincethe paint would appear to be, ifnot original, of some age.

£1200-1800

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42

A Ducel Foundry cast ironfountain

French, circa 1860

conch shell drilled for water

the base stamped J J Ducel Mdde forges Paris

129cm.; 51ins high

A similar fountain isillustrated in the catalogue ofthe Societe Anonyme desHauts-Fourneaux & du Val-D’Osne Fonderies circa 1900,Plate 175 no 9200 (seeengraving). The firm of J.J.Ducel was started in 1810 atPoce in the Pas-de-Calais.One of the leadingmanufacturers specializing inarchitectural fittings as wellas urns and statues. Followingthe death of Monsieur Ducelin 1878 the Val d’Osnefoundry purchased the firm’spatterns. The output of castiron in France at this timewas enormous offering a hugerange of architectural anddecorative pieces which couldbe selected from lavishlyillustrated catalogues.

£2500-4000

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43

A Handyside cast ironfountain

circa 1860

117cm.; 46ins high

Andrew Handyside started thefoundry in 1806 and by 1851the firm had expanded andoperated out of the BritanniaIron Works, Derby. At theGreat Exhibition theyexhibited Medici vases,bacchanalian vase and abronzed vase decorated withbusts of Peel, Nelson, Watt,Wellington, Stephenson,Scott, Shakespeare andMilton, and a fountain. Atthe time, the foundry wasdescribed as being “from themagnitude of its operations issecond to none in England”.They produced twocatalogues in 1848 and 1874.

A similar model is illustratedin the 1848 Catalogue no 15.

£1500-2500

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44

A Coalbrookdale cast ironfountain

circa 1870

135cm.; 53ins high

This design is registered inthe 1875 Coalbrookdalecatalogue Section III, page277, No 18

£2500-4000

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45

A Coalbrookdale Nasturtium pattern cast iron seat

circa 1870

fully stamped

183cm.; 72ins long

This design, number 1958629 was registered and patentedat the Public Records Office by Coalbrookdale on the 1st ofMarch 1866 and is seat number 44 in their 1875 catalogueof castings.

£3000-5000

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46

A rare Coalbrookdale Fern andBlackberry pattern cast ironseat

circa 1870

the back stamped CBDale & Co.and with registration number

150cm.; 59ins wide

It is very rare for the smaller sizeseat to be seen with an apron

The original design, number113617, was registered andpatented at the Public Records

Office on the 30th of April 1858by Coalbrookdale and is seatnumber 29A in the castingscatalogue of 1875, Section IIIpage 254.

£1500-2500

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47

A pair of rare Coalbrookdale cast iron seats

circa 1870

the backs and end supports fully stamped CBdale and Co withpattern number 26 and registration number 104751 anddiamond registration stamp

188cm.; 74ins long

The double sided version of this seat is illustrated in the 1875Coalbrookdale catalogue, section III, page 265

£2500-4000

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48

A rare pair of Coalbrookdale Passion Flower pattern castiron seats

fully stamped Coalbrookdale and with pattern number 74-6Fand registration number

190cm.; 75ins wide

The design numbered 149230 was registered and patented atthe public records office on the 8th February 1862 byCoalbrookdale and is seat number 32 in the Coalbrookdalesection III catalogue of 1875

£10,000-15,000

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49

A rare pair of Coalbrookdale Horse Chestnut pattern castiron seats

fully stamped Coalbrookdale Co and registration stamp 217568and with diamond registration stamps.

190cm.; 75ins long

The design of this seat, number 217568, was registered andpatented by the Coalbrookdale Iron Foundry at The PublicRecord Office on 23rd March 1868, and is number 46 in their1875 Castings Catalogue, Section III, page 256 (see engraving).

£10,000-15,000

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50

A Coalbrookdale Horse Chestnut pattern cast iron seat

fully stamped Coalbrookdale Co and registration stamp 217568and with diamond registration stamps.

190cm.; 75ins long

The design of this seat, number 217568, was registered andpatented by the Coalbrookdale Iron Foundry at The PublicRecord Office on 23rd March 1868, and is number 46 in their1875 Castings Catalogue, Section III, page 256 (see engraving).

£3000-5000

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51

A rare pair of Coalbrookdale cast iron tables

circa 1860

52cm., 20½ins diameter

This design is number 50 in the 1875 Coalbrookdale castingscatalogue section II page 199. A similar table was sold atChristies, South Kensington The Country Seat 22nd June 2000lot 126

£2000-3000

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52

A Coalbrookdale Lily of the Valley pattern cast iron seat

circa 1870

marks probably obscured by multiple layers of paint

186cm.; 73ins wide

This design, number 171578 was registered and patented at the Public Records Office on the 8th February 1864 byCoalbrookdale and was seat number 36 in their castingscatalogue of 1875

£3000-4000

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53

A Coalbrookdale Medallion pattern cast iron seat

circa 1870

layers of paint obscuring potential marks

166cm.; 65ins long

This design, number 149934, was registered and patented atthe Public Records Office by Coalbrookdale on 13th March1862, and is seat no. 35 in their 1875 Coalbrookdale CastingsCatalogue, Section III page 259 (see engraving)

£3000-5000

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58 • SCULPTURE & DE S IGN FOR THE HOUSE & GARDEN L IVE AUCT ION 2 0TH MAY 2 0 1 4

54

A rare Coalbrookdale Sunflower pattern cast iron seat

late 19th century

the back rail stamped Coalbrookdale and the end supports fullystamped with registration number 397749 and with diamondregistration stamp

148cm. 58ins wide

This design no. 897749 was patented and registered byCoalbrookdale foundry at the Public Records office on 5th May1883 and featured in the Coalbrookdale castings catalogue No. 76

(see engraving)

£2000-3000

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55

A Coalbrookdale foundry cast iron seat

late 19th century

the back with diamond registration stamps, registrationnumber 397749 and pattern number 72

193cm.; 76ins long

This design number 897749 was patented and registered by theCoalbrookdale Iron Foundry at the Public Record Office on 5thMay 1883 and featured in the Coalbrookdale IllustratedCatalogue of Garden and Park Furniture 1907.

£3000-5000

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56

A pair of very rare andunusual plant stands


arranged on three tiers

198cm.; 78ins high by107cm.; 43ins wide

This hitherto unknowndesign incorporates a numberof eclectic Victorian stylesfrom the Regency style reededbasketwork upper flower bowlthrough to the the stiff leafdecoration and scrollingfoliate bases.

£5000-8000

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57

A similar plant stand


arranged on three tiers


£2000-3000

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58

A pair of large compositionstone winged sphinxes

Northern Europe, 1930

234cm.; 92ins high by146cm.; 57ins long

£6000-10,000

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59

A pair of impressive grey marble Dogs of Fo

Chinese

late 19th/early 20th century

142cm.; 56ins high by 82cm.; 32ins long by 62cm.; 24ins deep

Provenance:

Reputedly removed from Whiteley's department store,Bayswater, London. When the present building was opened in1912, it was one of the largest department stores in the countryand originally had a roof garden which is where these weremost likely situated before being moved to the ground floornext to the main staircase before finally being removed whenthe complex was recently refurbished.

£4000-6000

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60

A granite and wrought irontable attributed to RobertMallet-Stevens

1920’s

182cm.; 72ins long by 96cm.;38ins wide

Robert Mallet-Stevens(March 24, 1886, Paris -February 8, 1945) was aFrench architect and designer.

Along with Le Corbusier he iswidely regarded as the mostinfluential figure in Frencharchitecture in the periodbetween the two World Wars.

In addition to designingshops, factories, a fire stationin Paris, apartment buildings,private homes, and interiors,he was one of the firstarchitects to show an interestin cinema. He designed film

sets and his design for MarcelL’Herbier’s silent filmL’Inhumaine (1924) isconsidered a masterpiece.

During his career heassembled a team of artisansand craftspeople who workedwith him: interior designers,sculptors, master glaziers,lighting specialists, andironsmiths.

Mallet-Stevens ordered thathis archives be destroyedupon his death. His wisheswere honored and hismemory fell into obscurity. A French exhibit of hisdrawings, models, and actualworks at the CentrePompidou in 2005 sparkedpublic interest in hiscontributions.

£2500-4000

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61

A rare Simmons company faux wood painted sheetmetal Windsor chair

American, 1930s

the underside with maker’s roundel and stenciled“property of U.S”

In 1933, the Simmons Company of Chicago, ILexhibited a steel bedroom ensemble at the Century ofProgress World’s Fair. The ensemble, originallydesigned in 1929 by Norman Bel Geddes, featured astreamlined enamelled steel vanity, dresser, and bedframe with sleek chrome-finished accents. TheSimmons Company enjoyed a reputation as theleading seller of steel bedroom furniture at the time ofthe exhibition, having introduced the first metalbedroom ensemble in the world in 1923 followed by asuccessful advertising campaign marketed towards theupper middle-class market. With sales exceeding $50million during the height of their popularity, it istempting to translate the company’s success into theeager adoption of streamlined steel furniture by awealthy middle-class during the interwar period.

The Simmons Company produced a wide range offurniture, from the Bel Geddes designs frequentlyshowcased in museum collections, to the forgottenbut more popular steel reproductions of Chippendale,and Sheraton styles. They were enamelled in colourfinishes or in wood-imitating enamel in Mahogany,Chestnut, American Walnut, or Maple. Althoughchests of drawers and bedroom furniture wereproduced in relatively large numbers, chairs arerelatively scarce. The paint finish on this example hasworn to a wonderful warm patina and only a veryclose inspection shows that it is made of metal ratherthan wood. Paradoxically, the cost of making this inmetal would be far more than in wood. The stencil“Property of US”, would suggest that it has come froma government institution.

£2500-4000

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62

A substantial copper cheesemaking vat



£3000-5000

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63

A bronze fountain group ofdolphins

mid 20th century

mouths plumbed for water,variegated green patination

183cm.; 72ins high

£4000-6000

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The name of Crowthers is synonymous with all areas of gardenornament and architectural fittings and fireplaces, throughoutthe 20th century

When I held my first sale of Garden Statuary here at SummersPlace under Sotheby’s auspices back in 1986, there were threebranches of the Crowther family all plying their trade in London.

All were descended from John and Mary Crowther who arrivedin London in the 1860’s with two sons and four daughters. By1901 one of the sons, Thomas had moved to 282 NorthendRoad in Fulham selling fireplaces, garden ornament andarchitectural fittings before closing their doors in 1992.Crowthers of Syon Lodge located next to Syon Park sold aneven bigger range of garden ornament before finally auctioning

of the residue of their stock with us in 2002.

This just leaves the venerable firm of H.Crowther and son,established by Henry “Mash” Crowther in 1908 at the samepremises they still occupy in Chiswick High Road, London. Fromthe beginning Mash specialised in making lead garden ornaments,a skill he had learnt from his father Tommy, who, at the fairlyadvanced age of 60, took a stand at the Chelsea Flower Show in1914 displaying lead ornament and wrought iron gates, whichearned him a gold cup. It says something for the continuity of thisbranch of the family, that Mash’s grandson, Paul Crowther, thepresent proprietor of H.Crowther and Son, also exhibited his leadwares at the Chelsea Flower Show in 2007-2009, winningcommendations as well as supplying the leadwork to ChrisBeardshaw’s gold medal winning garden.

The Crowther Collection

The display garden at H. Crowtherand Son, 5 The High Road, Chiswick

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Throughout the twentieth century, the company’s collectionplayed an important role for garden designers to draw upon. AsGertrude Jekyll, the outstanding Edwardian garden designerremarked; “There can scarcely be a doubt that the happiestmaterial for our garden sculpture and ornament is lead' and itwas Crowthers who supplied lead statuary and ornament tothe newly created Jekyll gardens at Hestercombe, SissinghurstCastle and Hidcote Manor, to name but a few. Crowthers alsosupplied pieces to many fine 18th century gardens beingrestored; indeed it’s said that there are very few importantgardens where you cannot find at least one example ofCrowther’s work.

Paul wants to develop the workshops at the back of the gardenand no longer needs the main house, since no family membersare living in it, necessitating the emptying of the vaults andstores, bringing to light a number of pieces which haven’t been

seen for years including many of the plaster originals fromwhich the moulds were made with which to cast the leadpieces.

Paul Crowther remarked; “I decided it was time to rationalizeour family business which has been going in the same premiseshere in Chiswick for over 100 years. As a family, we no longeruse the main house and vaults, which have become a treasuretrove of old lead models and plaster moulds. We also felt thatthe pieces in our display garden, many of which have beenhere for up to 100 years and which have achieved a wonderfulpatina, were no longer representative of the new pieces we sell.In order to continue expanding our business, I need toconcentrate on developing our workshops adjacent to thegarden”

We are delighted to be offering Paul’s family collectionof sculpture and leadwork, spread over both this sale and thenext sale in October with estimates often considerably belowthe retail price, which represents not just great value but thechance to acquire pieces with genuine history.

James Rylands

The Founder of H. Crowther and Son; Henry “Mash” Crowtherin the display garden of 5 Chiswick High Road

One of the store rooms in Chiswick showing the originalplaster models from which the lead moulds were made.

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64 †

A lead figure of Punch

early 20th century

on later composition stonepedestal with applied leadcrescent moon

185cm.; 73ins high

£2000-3000

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65 †

A substantial lead fountaincistern


the circular cistern withstrapwork decoration bearingthe date 1707 surmounted byfour lead figures of Seasonsand central bull rushes,plumbed for water

170cm.; 67ins high

This originally formed one ofthe centrepieces of theCrowthers display inChiswick and incorporated anumber of pieces in theirrange.

£5000-8000

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66 †

A lead fountain cistern

mid 20th century

dolphin mouth plumbed for water

101cm.; 40ins high by 94cm.; 37ins wide by 74cm.; 29ins deep

£2500-4000

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68 †

A lead fountain

early 20th century

67 †

After Giambologna: A leadfigure of Mercury

early 20th century

on earlier Portland stoneplinth with oval surround

230cm.; 90ins high

The lead surround for thisgroup was made for the 2009Chelsea Flower Show.

£4500-7000

the centre portion in theform of a kneeling Moor,plumbed for water, on Bathstone base

153cm.; 60ins high

£3000-5000

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69 †

After the Antique: A lead figure of the dancing faun byJohn Cheere

mid 18th century

on associated Portland stone base

153cm.; 60ins high

John Cheere was first in partnership with his brother Sir HenryCheere, but took over John Nost’s yard and his moulds for leadfigures in about 1739. Until his death in 1787 he was theleading producer of lead statuary as well as working in plaster.Contemporary accounts of his yard, which was situated onHyde Park Corner indicate that his oeuvre was very varied andincluded rustic figures as well as classical statues and bustsfrom antiquity. A similar 18th century lead faun exists at CastleHill in Devon, which also has a number of other lead andplaster busts which are known to be identical to the stockproducts of Cheere’s yard. Another example is at CastleHoward supplied by Cheere at an unknown date for £17.17s.The original dancing faun in marble is recorded in 1688 asbeing in the Tribuna of the Uffizi in Florence. Universallyadmired since its discovery it is quite often paired with theVenus de Medici, also in the Uffizi.

£15,000-25,000

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70 †

A rare Georgian lead putto


now seated on a later Bathstone pedestal

73cm.; 29ins high

£1500-2500

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71 †

After the Antique: Acomposition stone figure ofthe Uffizi boar


142cm.; 56ins high

The Uffizi or Calydonian boaris also called “Il Porcinellino”.The Roman marble originalwas discovered in Rome inthe 1550’s by the Pontifamily. By 1568 the statuewas in Florence and its famebegan to spread. Originallythe statue was grouped withother animals and a figure ofa peasant or soldier assumedto be Meleager, however bythe end of the 18th Centuryit was more commonlydepicted by itself. The piecenow stands in the Uffizzi,museum in Florence. It hasbeen reproduced in a largevariety of materials includingbronze, terracotta, ceramicand in this instance,composition stone.

This piece originally stood inthe small front garden ofH.Crowthers premises inChiswick High Road, wherefor many years it was a muchloved local landmark.

£2500-4000

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72 †

After John Francis: A pair of lead standing greyhounds

mid 20th century

81cm.; 32ins by 96cm.; 38ins long

Copies made from the 19th century originals sculpted by JohnFrancis 1780-1861. This was originally modelled on Eos one ofQueen Victoria’s favourite dogs given to Prince Albert, theoriginal model stands in the Italian gardens of Osborne HouseIsle of Wight and another example is at Windsor Castle.

£2000-3000

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73 †

A lead fountain

20th century

surmounted by a lead figure of a boy and fish after Verrocio,fish mouth plumbed for water


The entwined dolphins are based on a 19th century original incomposition stone made by Austin and Seeley.

£4500-7000

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74 †

Erdmann Theodor Kalide: A rareGeiss foundry zinc model of theBoy with swan

mid 19th century

on Portland stone base, swan neckplumbed for water


Erdmann Theodor Kalide (1801-1863) was a German sculptor whostudied under Johann GottfriedSchadow and Christian DanielRauch. Kalide’s first independentwork; Boy with Swan wascommissioned by Frederick WilliamIII in bronze for the CharlottenburgPalace garden and exhibited at theBerlin Academy in 1834. The use ofzinc in casting statuary waschampioned by Moritz Geiss (1805-1875) at his manufactory in Berlin.This model was exhibited by Geissat the Great Exhibition of 1851 andan example was acquired by QueenVictoria and Prince Albert forOsborne House on the Isle ofWight, where it still resides today.

This antique example would havebeen purchased by Crowthers in theearly 20th century and used as theoriginal mould for the boy andswan, which was one of the mostelaborate and complicated of all thelead models produced by Crowthers.A detailed account of the casting inlead of this group in the Crowthersworkshops is illustrated on pages316-320 in John Davis’s seminalbook Antique Garden Ornament,published in 1991 by the AntiqueCollectors Club.

£10,000-15,000

For the rest of the Crowther Collectionin this sale see lots 563-644

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75

Nicola Godden (b1959)

Crouching woman

Bronze

mid green patination

Edition of 9

76cm.; 30ins high by 56cm.; 22ins wide by54cm.; 21¼ deep

Born in 1960 in Germany to a British Armyfamily, Godden studied sculpture at WestSurrey College of Art and Design. She wasgiven her first commission through thelandscape garden designer Roddy Lewellyn.Other large commissioned works include: Thetwice life sized Hammersmith Man figurewhich was unveiled by George Melly in 1987.The Peter Scott memorial sculpture for TheWildfowl and Wetlands site at Barnes whichwas unveiled by David Attenborough in 2000.She has also been commissioned to produceworks for numerous private clients and publicsector bodies, together with many significantpieces for large corporate clients. Work incollections include; The Vincent FergussonCollection. The Eric and Jean Cass Collectionand the Nene Collection.

£4000-6000

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76

Helen Sinclair, Born 1954

Who is Sylvia

Bronze

Signed and Numbered 4 from an edition of 9

160cm.; 63ins high by 57cm.; 22½ins wide

Helen Sinclair was born in South Wales in1954, and studied sculpture at WimbledonSchool of Art (1972-76), after teaching fortwelve years, she has been a full-time sculptorsince 1988. The main body of her work isfiguratively based, and her primary inspirationis the human body, in movement, at rest,clothed or nude. She exhibits widelythroughout the UK, and is held in privatecollections throughout Europe, the USA,Australasia and the Middle East.

£10,000-15,000

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77

Frederic Chevarin ARBS, BornFrance 1971

Baleine Blanche

Carrara Marble

Signed

Unique

178cm.; 70ins high by 114cm.;45ins wide by 22cm.; 8½ins thick

Frederic Chevarin is a self-taughtstone sculptor of French origin,now based in Oxfordshire, UK, whocarves marble, limestone andalabaster. An Associate member ofthe Royal British Society ofSculptors since 2008, he hasmentored with Helaine BlumenfeldFRBS and is a member of theOxford Art Society.

Frederic has exhibited widely in theUK including London, WoburnAbbey, Royal West of Art in Bristoland has been commissioned tocreate a sculpture for the gardendesigner Jo Thompson for theChelsea Flower Show 2014

£15,000-20,000

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78

Frederic Chevarin

Enlaced

Carrara Marble

Signed

Unique

200cm.; 79ins high by 80cm.;31½ins wide by 55cm.;21½ins deep

£20,000-30,000

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79

Mark Reed

Fork in Pollen

Marine grade Resin

1 of 6

400cm.; 157½ins high by 135cm.; 53inswide by 135cm.; 53ins deep

Mark Reed's practice is deeply rooted inthemes of nature, science and the passageof time. With a background in biologyand engineering, he is intrigued by themechanics of natural forms and the waythey contribute to the aestheticappearance of a plant or animal. It is withthis understanding that in Reed's hands,trees become tables, and natural shapesare harnessed for a function in bronze orforged steel.

In Fork in Pollen, the pollen grain is amale gamete and a vector for thetransference of male DNA, as a hay feversufferer Mark is only too aware of thenegative effects of the pollen grain, and isalso a signifier of our irritable patriarchalsociety, the fork protruding in an erectstate.

Reed's work is held in several privatecollections in the UK, Europe, Middle Eastand the USA.

£8000-10,000

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80

Mark Reed

Arbour Metallium

Forged and Stainless Steel

Unique

290cm.; 114ins high by 410cm.; 161½ins wideby 300cm.; 118ins deep

The cycle of life is given further attention in hiswinter trees, which illustrate the duality inherentin growth - a living tree needs to be cut and"repressed" in order to allow it to grow healthyand strong. The Arbour Metallum is a protector,from the heat of the sun, creating a dappledshade, as nature protects and nourishes us.

See also footnote to lot 79

£20,000-30,000

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81 †

Kan Yasuda

b.1945

Myomu (Key to a Dream)

Carrara marble

320cm.; 126ins by 233cm.;91¾ins by 90cm.; 35½ins

Executed in 1998

Unique

Provenance

Acquired from the artist bythe present owner.

Beyond Limits: Sotheby’s atChatsworth - A Private SaleOffering 2008

Kan Yasuda was born in thecity of Bibai on Japan’snorthern-most islandHobbaido. After completing amaster’s degree in sculpture atthe Tokyo NationalUniversity of Fine Arts andMusic, Yasuda left Japan forItaly in 1970. Upon thecompletion of his studies atthe Academy of Fine Arts inRome, he set up a studio inPietrasanta, the northernItalian region famous for itsmarble quarries.

Kan Yasuda’s works arecreated by a process of

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reduction; he graduallywhittles away huge stones toachieve the soft, almostmalleable surface of hisfinished sculptures. His workvacillates between therounded forms and moregeometric works, but behindall of his oeuvre is the desireto reveal the pure formwithin stone. The simplifiedshapes of this work exude aZen-like air of calm andbalance, and have beenexhibited in public spacesaround the world, mostrecently this year with “KanYasuda. Toccare iltempo”installed in Rome’shistoric Trajan’s Market.

Other examples of thepresent Myomu, withvariations in size and finish,can be found in the mainstation at Sapporo (seen dailyby 80,000 people); in theentrance hall of Jean Nouvel’sDentsu building in Tokyo’sShiodome district and at thestation plaza in Pietrasanta.Two versions in bronze areinstalled in Benetton Group’sheadquarters at the VillaMinelli in Treviso and inTokyo’s midtown station.

£25,000-40,000

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82

Charles Bran

Man Made

Signed

Unique

Bronze, Corten Steel, Stainless Steel, Galvanised Steel,Zinc, Copper, Brass, Lead, Aluminium

240cm.; 94½ins high by 135cm.; 53ins wide by 138cm.; 54½ins deep

Bran has been surrounded with art from the start ofhis formative years, his father is a well renowned andsuccessful sculptor and art dealer. Growing up in thisenvironment, he worked his weekends and summersat a nearby sculpture park, and the early seeds hadbeen sown.

After completing his education, he spent some timetravelling and working abroad, in Australia, India,Thailand, Cambodia, and West Africa, before returingto work at the sculpture park, during which he wasable to study the sculptural traditions of othercountries, as well as analysing the work of othercontemporary sculptors.

Man Made is not a religious piece but a work focusingmore on the complexity of man’s creations andintellect with an underlying analysis that the worldon a whole is in our hands and that the crucifix is anindication that all religion which has heavilyinfluenced most of the population and history to dateis also man-made.

This piece has been ingeniously designed andconstructed using a large variety of metals and alloysfurther emphasing the dichotomy between thetraditional crucifix and this modern man made pieceof art design.

The maquette for this piece was exhibited at ChelseaFlower Show 2013.

£15,000-20,000

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83

Eleanor Swan

Isabel, Louis, Michel

Bronze

Signed and Numbered 3 of 9

the largest 47cm.; 18½ins high by 31cm.; 12ins wide by 35cm.;14ins deep

Her work is mainly sculptural and based on the human formalthough she also makes her own distinct fine porcelainvessels. She completed her BA in Ceramics at NCAD in 2006and an MA in Ceramic Design in 2010. She has exhibitedwidely Ireland and the USA and her work is in many publicand private collections including the OPW (Office of PublicWorks, Dublin), The National Museum of Ireland, CollinsBarracks, the Porcelain Museum, Riga, Latvia and theInternational Ceramic Museum, Jingdzehn, China.

£24,000-30,000

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84

Alun Heslop

Kre

Bronze

1 of 9

145cm.; 57ins high by 92cm.; 36ins wide by 85cm.; 33½insdeep

Heslop studied at Rochester (KIAD 1988-1990), gaining a B-TECNational Diploma in Spatial (Interior) Design, and then wenton to Brighton (1991-1994), graduating in Fine Art.

Alun rapidly developed an interest in the art & craft of chairmaking, primarily with the use of green wood workingpractice, and established himself as an artist/craftsman in 1997.During time abroad in Switzerland, Alun developed a furtherongoing interest in seating ergonomics and refinement in chairdesign & performance. Returning from Switzerland in early2006, Alun set up a workshop in the grounds of The BelmontPark Estate, Faversham,Kent, creating ever moreunique & time investedsculptural chair works.

Alun has produced workfor both public spacesand private clients,including seatinginstallations for TheRoyal HorticulturalSociety, Royal BotanicGardens & the NorthDowns Way nationaltrail (KCC). Recentpublic works include theexterior and interiorgallery seating for theMarks Barfield designedLightbox Gallery,winner of the 2008 ArtFund Prize andHedgehog Here & theCricketer’s Bench for theBelmont Estate.

£20,000-30,000

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85

Nigel Ross

Contour

Oak

Unique

382cm.; 150¼ins long

Born in Hertfordshire, Nigel’s family subsequently moved tothe Isle of Arran in Scotland, where his stepfather, sculptorDavid Gilbert opened his eyes to art, sculpture and carvingwood.

Following his love of the outdoors, he worked in variousforestry related employment and eventually ran his ownfencing dyking and forestry business on Arran.

His art is developed from this background, with the rhythmsand energy of nature being an inspiration and by the mid-nineties he was working fulltime as a sculptor and maker.

He sculpts from lengths of fallen trees, creating abstract formssometimes with a functional element. The sculpture, sculpturalbenches and furniture, bridges etc are situated in woodlands,parks, gardens, schools, hospitals, gardens, and newdevelopments across Britain, Europe and USA.

£4000-6000

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86

Won Lee

A Reclining Girl

Bronze

Signed 2 of 8

55cm.; 21½ins high by70cm.; 27½ins wide by35cm.; 14ins deep

Won Lee studied for aBatchelor of Fine Arts degreeat Pepperdine University, LosAngeles, before beingawarded a Masters in Fine Artat Johnson State College, inVermont, USA.

He has exhibited widely inToronto, Canada as well asMexico and the United States.

£4000-6000

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87

Jacek Wankowski

Reef 22

Mild Steel

Unique


£12000-18000

Jacek Wańkowski is based in Sydney and the New South WalesHunter Valley. He originally trained and worked internationallyas a marine biologist, is a keen SCUBA diver and internationaltraveller and draws upon these experiences to inform hispractice. Since graduating in 2006 from the National ArtSchool in Sydney, he has exhibited his large scale outdoorsculptures and smaller, intimate indoor pieces internationallyin 63 group and 4 solo exhibitions in London and Sydney,throughout the UK and in NSW, Queensland and Victoria. Hiswork is in private collections in Australia and the UK.

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88

Andy Burgess

Oak Hand Bench

Solid Oak

Unique

51cm.; 20ins high by 275cm.; 108ins wide by 61cm.; 24insdeep

Andy Burgess is a Wood Sculptor based in Cheshire. Workingprimarily with chainsaws and power tools, he transforms treetrunks, stumps and logs into a wide range of sculptures. Hissculptures give a new lease of life to wood that may otherwisehave been disposed of or destroyed, and can range in size fromsmall carvings, to those over 20 feet high, weighing severaltonnes.

Andy works closely with Councils and Landscape Architects toprovide Public Artwork in the North West of England. He hasalso completed numerous sculptural installations for theNando’s Restaurant chain throughout the UK, where he worksclosely with Interior designers on both architectural andinternal furniture commissions.

Andy was the first chainsaw Wood Sculptor to exhibit at TheRHS Chelsea Flower Show.

£4000-6000

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89

Lynn Warren

Thought Through

Bronze on Oak Plinth


175cm.; 69ins high by 19cm.;7½ins wide by 17cm.; 6½insdeep

£3500-4500

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90

Lata Upadhyaya

In Memoriam

Lacquered Steel and ImageTransfer

32cm.; 12½ins high by101cm.; 40ins wide by 90cm.;35½ins deep

Born and raised in India, Latacurrently lives and works inthe UK. Lata is a visual artistthat specialises incontemporary sculpture andhas completed masters inFine Art in both India andLondon. Her work is held inprivate collectionsthroughout Europe, India andKorea and she travelsextensively and participatesin International artistsresidencies throughout theworld. The circular motif inboth the pieces in this salerepresents how things where,how they changed and howthey have returned to naturalstates of what they were,before Lata’s transitionaljourneys to the west.

£2000-3000

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91

William Shakspeare

Low Tide Pools

Unique

Glass, 65cm.; 25½ins high by75cm.; 29½ins wide by 9cm.;3½ins deep

£4000-6000

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92 †

Wilfred Pritchard

The Black Death

Bronze

Signed, from an edition of 3


Wilfred Pritchard is thepseudonym for Eddie Powell,the owner and curator of TheSculpture Park, in Churt,Surrey. Born and brought upin South Wales he graduatedfrom Guildford College of Artwith a 1st class Honoursdegree in Photography andSculpture in 1978,culminating in being giventhe rare opportunity of a oneman exhibition at thePhotographers Gallery inLondon’s West End, entitled“Captivity”. Since then hehas combined commercialcareers as varied as a hotelier,interior designer, metal andceramics manufacturer, withhis love and passion ofphotography and mostparticularly, sculpture.

His bronze of a skeletonvaulting over a horse“Backflip” was chosen to beone of a select group ofsculptures exhibited in theAthletes Village during a 2012Olympic and Paralympicgames. Other works are nowin public collections, both inthis country and abroad.

£15,000-20,000

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93 †

Wilfred Pritchard

I Beg Your Pardon

Bronze and Steel

Unique

190cm.; 75ins high by330cm.; 130ins wide by120cm.; 47½ins deep

£8,000-£12,000

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94

William Mitchell: A GRP mural of the London to BrightonVeteran Car Run depicting a vintage car race

1970’s

in four sections

each panel measures 167cm.; 66in high by 122cm.; 48ins wide,overall width 488cm.; 192ins

Divided into four panels modelled in high relief with variouswell known landmarks on the London to Brighton Veteran carRun, including St Pauls Cathedral, Nelsons column, the newlybuilt Post Office Tower, opened in 1965, The Albert Memorial,and Brighton Pavilion, together with various vintage cars.

William George Mitchell (b1925) is an English sculptor, artistand designer. From the 1950s, Mitchell produced work for awide variety of clients. His initial appointment at the LondonCounty Council (LCC) allowed him to set up his own companyin the early 1960s, a company which at one point employedover 40 skilled craftsmen and artists. Mitchell’s interest inexperimentation, during the 1960’s and 70’s resulted in a widerange of projects including the use of contemporaryconstruction materials such as GRP (Glass reinforced plastic)and GRC (Glass reinforced concrete) to create large scalepanelled installations as in this example.

In the 1980s Mitchell went to work in Qatar for the Royal

Families designing and building both the Qatar Zoo and theextensive Doha Corniche waterfront promenade. He alsoworked for the BART (Bay Area Rapid Transit) in San Francisco,USA where he was responsible for designing and constructingmany of the decorative panelling and sculptural installations ata number of stations across the system. The 1980s also sawMitchell in Honolulu, Hawaii where he created the modelledsurroundings of the Civic Square.

Mitchell spent many years as artistic design adviser toMohammed Al Fayed and was responsible for the overalldesign and for the carving and modelling of the panels for theEgyptian Hall and the Egyptian escalator at Harrods.

Mitchell has been a member of the Design Advisory Board,Hammersmith College of Art, Trent Polytechnic, FormworkAdvisory Committee and the Concrete Society, and is a regularon the construction lecture circuit, both in his home countryand abroad (especially the USA), being described as a “Doyenof British muralists” at a presentation he gave in 2007 to theTile and Ceramics Society.

After long years of neglect, many of William Mitchell’sremaining works in the United Kingdom are now beingrecognised for their artistic merit and contemporary historicvalue, and many have been granted protected listed status.

£8000-12,000

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FOR EXTRA IMAGES GO TO www. s umme r s p l a c e a u c t i o n s . c om • 1 0 1

95

Jørgen Høvelskøv

The Harp Chair

Ebonised wood

Authentic, Designed in 1966

130cm.; 51ins high by110cm.; 43½ins wide by100cm.; 39½ins deep

The harp chair design isbased on a Viking ships bowsection. The configuration ofthe flag hayard gives apowerful optical quality tothe design.

£800-1200

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Beverly Pepper, born in 1922 is an American sculptor knownfor her monumental outdoor works.

She began her career as a painter, but after a trip to AngkorWat, Cambodia in 1960, she was so awed by the temple ruinssurviving beneath the jungle growth that she turned tosculpture. She made her debut in 1962 with an exhibit ofcarved tree trunks at a gallery in Rome.

She was one of ten artists (including David Smith andAlexander Calder) who were invited by the Italian governmentto create new works for the Spoleto festival in 1962, where theywere given access to materials, tools, and assistants allowing forlarge-scale sculptures, Pepper began a lifelong engagement withsuch industrial processes – one of the few female artists of hergeneration to do so. However, despite the mechanized andindustrial associations of her materials, her work is ofteninspired by organic forms and prehistoric cultures, as in thecase of her cast-iron Manhattan Sentinels (1993 – 1996), anenormous site-specific work in New York's Federal Plaza thattakes the form of three massive totems.

Furthering her vocabulary in steel, throughout this time periodshe used Corten steel, relishing in the exposed rusted surfaces,she made pieces like Dallas Land Canal, 1971-75 and was oneof the first artists to incorporate Corten steel into sculpture.

This untitled piece, is typical of her more recent work,constructed from large slabs of stone. The triangular hole inthe stone both reveals the inherent character of the stone andcreates a triangular ‘altar’ at the heart of the stone monolithgiving the work the feel of a primitive totem. The Zimbabwestone with its rust coloured surface is a natural progressionfrom the rusty patina of Corten steel and reinforces herprogressive affinity with both organic material and prehistoriccultures.

Since 1951 she has divided her time between homes andstudios in New York City and Todi, Italy. Her work has been athe subject of one person exhibitions at The MetropolitanMuseum of Art and the Brooklyn Museum of Art, and is well-represented in major public and private collections worldwide.

In 2013 she was awarded the prestigious Lifetime AchievementAward by the International Sculpture Center.

96 †

Beverly Pepper

Untitled

Black/rust Zimbabwe marble

Executed in 1997

Unique

300cm.; 118ins by 160cm.; 63ins

£25,000-40,000

Provenance:

Acquired from the artist by the present owner

Beyond limits: Sotheby’s at Chatsworth – A Private SaleOffering 2008

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F O R E X T R A I M A G E S G O T O 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 • 1 0 3

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97

Sally Arnup

Laying Whippet

Bronze

Signed Arnup

Numbered 6 of 10

19cm.; 7½ins high by 64cm.; 25ins wide by 44cm.; 17½insdeep

Sally Arnup was raised up in Surrey, before going on to study atthe Royal College of Art.

She has works on public display, held in private and corporatecollections and has exhibited widely in the UK, Europe and theUSA. Her sculpture ‘Silver Leopard’ was given to HM the Queenin 1981 by the City of York.

£4000-6000

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98

Paul Mount (1922-2009)

Untitled

Steel and Stainless Steel base

Unique

61cm.; 24ins high by 58cm.;23ins wide by 37cm.; 14½insdeep

Mount was born in Devon in1922. He studied art atPaignton School of Art, thenat the Royal College of Artbetween 1940-41 and 1946-48, having been called up forwar service in the interveningyears.

He taught drawing andpainting at WinchesterSchool of Art, before settlingin Nigeria in 1955, to set upand run the art department atYaba College of Technology.While there he wasintroduced to architecturalsculpture and began todevelop his sculptural idiom,of robust works around avacant airy space. On hisreturn to England in 1962 heset up home and studio inCornwall, and became amember of the local Artistscircles, showing works withartists such as Hepworth. Hehas exhibited widely inEurope and the USA and isrepresented in numerousprivate and corporatecollections.

£4000-6000

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99

Martyn Barratt, born 1965

Glass Leaf Seat

Glass and Stainless steel

Unique

80cm.; 31½ins high by 180cm.;71ins wide by 42cm.; 16½ins deep

Martyn Barratt works acrossmultiple mediums, oftendeveloping a similar idea indifferent materials, as in the caseof the benches in this sale madeof marble wood and glass.

His glass works are abstractpieces that work highly withcolour and light, the colour isapplied in streaks or lines thatallow the piece to be translucentin part which causes a distortionwhen the audience views fromthe front.

see also footnote to lot 102

£3000-4000

100


Marble Leaf Seat III

Marble and Stainless Steel

Unique

70cm.; 27½ins high by 180cm.;71ins wide by 45cm.; 17½ins deep

£4000-6000

101


Wood Leaf Seat

Chinese Laurel and Stainless Steel

Unique

180cm.; 71ins wide

£2,000-£3,000

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102


Planet Suite

Kiln Formed Glass

Unique


Barratt studied wood andstone carving and gilding atLondon Art School, and anMA in architecture at EastLondon University.

Much of his work iscontemporary in concept andcontent, and his practiceowes much to the skills helearnt in his early trades as acarver and restorer. He worksin a number of mediums,including studio glass, woodand marble. His work hasbeen exhibitedinternationally, and hascompleted commissions formany prestigious clientsincluding the BBC and thePalace of Westminster. He waselected to the Royal Society ofBritish Sculptors in 1993, anddirector for the BurghleySculpture Garden in 1997.

£2000-3000

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103


Untitled

Kiln Formed Glass

Unique


See footnote to lot 99 & 102

£2000-3000

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104

Martyn Barratt

Trio

Chinese Laurel

Unique

50cm.; 20ins high by 60cm.;23½ins deep by 280cm.;110ins wide

See footnote to lot 99

£3000-4000

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in Vienna, Paris, New York, Oslo, Singapore, Athens andPietrasanta. Blumenfeld has created many commissions for public,corporate and private clients, including the US Federal Government,British Petroleum and the Royal Caribbean Cruise Line.

In 2006, Blumenfeld was the first female recipient of the PremioPietrasanta e la Versilia nel Mondo, an international award forsculpture. In 2004, she was elected to the office of Vice-President ofthe Royal British Society of Sculptors, a position that she retained,with distinction, until 2009.

In 2011, in acknowledgement of her services to the Arts, HelaineBlumenfeld was awarded an honorary OBE by Her Majesty, Queen Elizabeth II.

Helaine Blumenfeld lives and works between her studios inCambridge and Pietrasanta, Italy.

The ‘Spirit of Life’ bench is inspired by a large-scale work currentlyon display outside London’s Dorchester hotel.

For Blumenfeld, this sculpture is about the healing power of beauty,of hope and of creation and, above all, about the spirit of life.

£15,000-25,000

105 †

Helaine Blumenfeld

Spirit of Life bench, 2007

Carrara marble

54cm.; 21ins by 56cm.; 22ins by 165cm.; 65ins

Helaine Blumenfeld was born in 1942. She studied sculpture inParis at the Ecole de la Grande Chaumière 1962-63, before goingon to gain a doctorate in Philosophy at Columbia University in1964.

Blumenfeld’s work is an investigation into the emotional life of theindividual. Her work is characterised by her ability to turn solid,complex units into light and delicate forms. Working with onyxand marble, Blumenfeld’s technical virtuosity means that sheconsistently brings light into her work as a fourth dimension, avisual metaphor for transparency, which the artist regards as theessence of relationships.

In Britain, Blumenfeld’s work has been exhibited widely, includingat Kettle’s Yard, The Sainsbury Centre and the Royal British Societyof Sculptors. International exhibitions of her work have been held

The following four lots are being offered on behalf of the CASS Sculpture Foundation, Goodwood, West Sussex

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106 †

Julian Mayor

A pair ofContour chairs2000

Steel

76cm.; 30ins by 76cm.; 30insby 61cm.; 24ins

Julian Mayor is an artist anddesigner based in EastLondon.

After graduating from theRoyal College of Art in 2000he moved to California wherehe became as a designer forIDEO Design Consultancy. In2002, he returned to Londonwhere he worked forPentagram and various otherdesign studios whilst startingto exhibit his own work.Currently, he lectures at theLondon College ofCommunication whilstcontinuing his exploration ofthe role of the computer inthe creation of the sculpturalform.

In 2000 Julian Mayor’s firstpiece for the Cass SculptureFoundation wascommissioned: Contour Chair.This piece of furniture, madefrom forged and welded steelis typical of Mayor’s strongsense of design andpracticality. In 2006 he wenton to complete a series ofsculptural benches for a parkbehind the Tate Britaingallery in London and in2007, a commission ‘Burnout’for a collector in EastLondon.

His work has been exhibitedat the V&A London, RossanaOrlandi Milan, FAT GalerieParis and twentytwentyfirstNew York.

£1500-2500

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107 †

Tim Morgan

Vein, 2006

Glass, steel

Five from an edition of 40

330cm.; 130ins by 11cm.; 4¼ins by 9cm.; 3½ins

Tim Morgan was born in Kent in 1970 and studied atRavensbourne College of Design and Communication from 1989-90; Edinburgh College of Art, as both undergraduate andpostgraduate, from 1990-91 and 1996-98 and the Royal College ofArt, London from 1999-2000. He was awarded the Andrew GrantPostgraduate Scholarship at Edinburgh College of Art in 1998 andthe Royal College and Borders Group Prize in 2001.

Through his work Morgan explores various physical phenomena,such as the surface tension of water, or the quality of light passingthrough glass. As well as small and large-scale glass sculptures, he alsomakes work as interventions in the landscape. Through his use of

glass or other materials Morgan creates a finely balanced hole in thesurface of the water at his chosen location, whether it be in a puddle,pond or tidal region, apparently subverting physical laws. This workmay be cyclic or transitory, depending on the stability of the water orthe tide. Morgan records these as photographs or videos "I amfascinated by the explanations we build around ourselves to accountfor our own existence and by the interaction of our genetic andcultural inheritance with our own individual experience."

Whilst at the Royal College, Morgan was commissioned by theContemporary Art Society and 'Economist' magazine to make asculpture for the Economist Plaza. Since graduating he has been avisiting lecturer at Surrey Institute of Art and Design, UniversityCollege, Farnham. Morgan's work has been selected for theprestigious Bombay Sapphire Blue Room Exhibition and, inassociation with architects Terry Farrell and Partners, was selectedin creating a sculpture for the redevelopment of Lots Road PowerStation, Fulham.

In 2007, Morgan took part in the Chelsea Flower Showcollaborating with gold medal award winning garden designer PhilNash to design sculpture for the show garden, 'Elevations'. In 2011,Morgan opened his new design studio and exhibition space inLondon.

Morgan describes his sculptures as "environmental interventions,objects that aim to reveal the boundaries that exist in our world,philosophically and scientifically." The properties of the glass meanMorgan's sculpture does just this, by interacting with itssurroundings to produce diverse and beautiful effects, whichchange in symbiosis with any subtle changes in light or weather.

Tall and elegant, each 'Vein' is constructed from glass rods, held incompression between two steel blades. By binding a stack of rodsto create a whole, Morgan creates a unique and intricate texture inhis work, a variation on the effects of a plain sheet of glass, whichmay bubble during the fabrication process.

Standing in a group, the structures are set at varying angles so as tocatch the light at different times of day. This use of the physicalproperties of light and the way it interacts with glass demonstratesan interest in reflection, diffraction and the movement andmanipulation of light that has been present in Morgan's recent work.

The sculpture changes throughout the day, its elements in constantplay with nature. The changing qualities of light form subtledifferences in pattern and colour. When viewed from certain angles,the light caught by the glass renders the steel blades invisible,creating the impression of a glowing needle suspended in the air.

£10,000-15,000

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108 †

Douglas White

Icarus Palm, 2005

Tyres, steel

From an edition of 6

500cm.; 197ins by 400cm.; 157½ins by 400cm.; 157½ins

Douglas White was born in 1977 in Guildford. Between 1997 and 2000he read Fine Art at the Ruskin School of Drawing and Fine Art andgraduated with an MA in Sculpture at Royal College of Art in 2005.

White’s work is mostly constructed using found objects; from blown-out tyres to burnt basketballs and rotten trees. He assembles these intounlikely forms and juxtapositions, creating totemic works that pulsewith energy.

In 2005, White was awarded the Deutsche Bank Pyramid Award and aMann Drawing Prize. He was also shortlisted for the Jerwood SculpturePrize and the Jerwood Drawing Prize. In 1996, he received theSouthsquare Art Scholarship and in 2004 the Margaret PollockScholarship. White’s work was selected for the ‘New Contemporaries’exhibition in 2004 and 2006.

His first solo show was held in October 2006 at Paradise Row, London.White has continued to exhibit at Paradise Row with ‘Elephant TotemSong’ in 2008 and ‘New Skin For An Old Ceremony’ in 2011.

Using two tonnes of tyres, White describes in an interview with‘Dazed & Confused’ magazine (September 2005) how this work wasrealised “I persuaded Fyffes to ship them here for me and the wholething became like some demented colonial mission, mirroring thejourneys of Victorian botanists who bought the first Para Rubber Treeover to England in 1876”.

The title ‘Icarus Palm’ leads us directly back to the allegorical Greekmyth of Icarus, the flying apprentice. Allusions abound when we lookat this flayed tree, the fronds resembling burnt wings with theirgnarled and frayed edges. From a distance, it looks dead, a burnt outcarcass, all life vanquished, sad almost.

Post apocalyptic, otherworldly, it isn’t a tree one recognises as such,but yet one is familiar with its form. Its portent seems one of deathand destruction and with climate change such a prescient issue, Whitecould be suggesting that the future is not so bright.

This lot is being offered as an in situ lot and may be viewed byappointment at the Cass Sculpture Foundation, Goodwood, WestSussex

£12,000-18,000

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109

A mammoth tusk

Tamyr peninsular, Siberia

Ice Age

outside curve 115cm.; 45inslong, on iron stand

£4000-6000

Exploration, Natural History and Travel

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110

An Ichthyosaur

Holzmaden, Germany, Jurassic

the specimen 111cm.; 44ins; overall 57cm.; 22ins high by127cm.; 50ins wide

This historically important ichthyosaur (genus Stenopterygius)comes from the famous fossil locality at Holzmaden, Germany.The Jurassic deposits here are around 180 million years old(some 20 million years younger than similar deposits at LymeRegis) and are known for the exquisite state of preservation ofthe fossils that occur there. This particular ichthyosaur is aremarkable example, and was painstakingly uncovered fromthe surrounding matrix by the world-renowned preparatorBernard Hauff (1912-1990). The Hauff family were famous forthe production of fossils and their work can be seen in theUrwelt-Museum Hauff, Holzmaden.

£20,000-30,000

Label on back of frame

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111

A near matched pair ofPetrified Stools

Fossilised Wood

Approx 20 million years old


£3000-5000

112

An unusual Labradoritefreeform

Madagascar

20cm.; 8ins high

£1500-2500

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113

A rare spa box containing black zinc ore, quartz andfluorspar

19th cenury

47cm.; 18½ins by 54cm.; 21ins wide

Spa boxes and towers were made by miners from the variouscrystals and other rock formations that they found during thecourse of their work. A selection of such boxes can be seen inthe Killhope Lead Mining Museum in Upper Wearside, Nr.Newcastle, England

£2500-3500

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114

A pair rare of paintedWhales ear bones

early 19th century

painted to heighten theirresemblance to human faces

15cm.; 6ins high

£1000-2000

115

A collection of five whalesteeth mainly Sperm whale

19th century

the largest 15cm.; 6ins

£200-300

114 116

115 117

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116

A carved Sperm whale tooth

circa 1840

the scrimshaw depicting awhale hunt

13cm.; 5ins high

£250-350

117

An unusual Icelandic silvermounted inscribed Spermwhale tooth

early 20th century

13cm.; 5ins

£100-200

118

A highly importantNarwhal Sailors’ Cane withsilver mounting and walrusivory top that unscrews toform a small container forholding snuff etc

the silver collar is inscribed:‘Brought home in the Fox byGeo. Edwards’ and ‘Sent out byLady Franklin 1859’

90cm.; 35½ins

It is unlikely that any othernarwhal stick will have aprovenance as romantic asthis one, nor will it have suchhistorical importance.

This example is connectedwith the famous Franklinexpedition. In 1845 RearAdmiral Sir John Franklin(1786-1847) set off fromEngland to locate and chart

the elusive NorthwestPassage. A veteran of theBattle of Copenhagen and theBattle of Trafalgar, neither henor any of his crew of 129men ever returned. Thedisappearance became one ofthe great mysteries ofnineteenth century Britain.Two expeditions werelaunched to find traces of theoriginal voyage but nothingof significance was located.From stories told by Inuits,however, rumours circulatedthat Franklin’s ships, theErebus and Terror had becomeicebound, the men hadattempted to march overlandand many had succumbed to

the cold. Some, however, hadresorted to cannibalism. Thiscaused a scandal in VictorianBritain and in a final attemptto resolve the issue and thecontroversy, Lady Franklinherself sponsored a newsearch in a vessel called TheFox. After many hair raisingadventures the ship becamefrozen in the Arctic Ice andthe crew undertook overlandmarches in search of Franklinand his men. They finallydiscovered a cairn at VictoryPoint, Canada and a notethat stated that Franklin haddied on June 11th 1847.

£9000-12,000

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119

A fine novelty ebonisedMalacca cane

with glass eye inset in ivorysilver mounted handle withLondon marks for 1901

92cm.; 36ins high

£400-600

120

A fine novelty compassMalacca cane

silver and enamelled mountwith Birmingham marks for1901 with Malacca cane

92cm.; 36ins high

£200-400

121

A rare novelty watch cane

circa 900

enamelled dial decorated withflowers and with “patent” inwhite metal mount, themovement with leverescapement and unusualbezel twist wind

94cm.; 34ins high

£800-1200

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122

A silver handled yew woodstick with embossed silvermount with a dog retrievinga pheasant

Hallmarks for Birmingham1982

92cm.; 36ins high

£100-200

123

A walking stick

Continental, 19th century

with bone and ebony bands

87cm.; 34ins high

£100-200

124

A walrus tooth handledsilver mounted ebonisedMalacca walking stick

with London marks for 1896

89cm.; 35ins high

£150-250

125

A horn and marine ivorytopped vertebra cane

late Victorian

82cm.; 32ins high

£150-250

126

A horn topped, vertebracane

late Victorian

82cm.; 32ins high

£150-250

127

A horn handled bulls pizzlestick

late 19th century

with silver ferrule, marksrubbed with owners name“Eves”

85cm.; 33ins high

£150-250

128

An ivory handled ebonisedMalacca walking cane

late Victorian

89cm.; 35ins high

£100-200

129

A fine wooden cane, thesilver handle in the form ofa hound chasing a fox

probably Continental, 19thcentury

with owners initials

87cm.; 34ins high

£250-400

130

A fine whalebone stick

19th century or earlier

with later antler handle andferrule

86cm.; 34ins high

£500-700

122 123 124 125 126 127 128 129 130

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131

A novelty bamboo stickwith concealed briarwoodtobacco pipe

late Victorian

cane and briarwood

92cm.; 36ins high

£150-250

132

An ivory handled malaccawalking stick

19th century

with belt shaped ferrule withowners initials RH Flack

89cm.; 35ins

£200-300

133

An ivory handled horntipped vertebrawalking stick

Victorian

81cm.; 32ins high

£100-200

134

An engraved silvertopped ebonisedMalacca walking cane

with London marks for1919 and ownersmonogram

91cm.; 35ins high

£60-100

135

A horn walking stick

Colonial, 19th century

86cm.; 34ins high

£200-400

136

A horn handled giltmetal mountedebonised Malaccawalking stick

late Victorian

with makers initials WHand owners initials WW

90cm.; 35ins high

£100-200

137

A large vertebrae cane

19th century

with applied ivory knop

92cm.; 36ins

£150-250

138

An attractive white metalmounted rosewood walkingcane

Continental, 19th century

90cm.; 35ins high

£120-180

139

A silver topped ebonisedMalacca walking cane

with applied whales toothhandle, London marks for1905

92cm.; 36ins high

£80-120

140

A silver mounted Malaccahorse measuring stick

with London marks for 1959

93cm.; 36½ins high

£150-250

141

A fine ivory walking stick

Indian, late 19th century

91cm.; 36ins high

£400-600

132 133 134 135 136 137 138 139

131

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142

A novelty malacca cane

Edwardian

with hidden smoking pipe

90cm.; 35ins high

£120-180

143

An ivory walking stick

Indian, circa 1900

the handle carved with lionand elephant, the cane assimulated bamboo

89cm.; 35ins high

£400-600

144

A whale bone and hornhandled ivory toppedwalking cane

19th century

86cm.; 34ins high

£500-700140 141 142 143 144

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145

A fine carved ivory parasol

Indian, 2nd half 19thCentury

66cm.; 26ins long

£300-500

146

An carved Ivory parasol

Indian, 2nd half 19th century

63cm.; 25ins long

£250-400

147

A oak Swaine and Adeneywhip rack

early 20th Century

stamped Swaine & Adeney


£500-800

148

A mahogany tusk gongstand by van Ingen ofMysore

early 20th century

with brass bell shaped gong


£150-250

145 146

147 148

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149

A turtle shell mounted as afirescreen

circa 1910

86cm.; 34ins high by 51cm.;20ins wide together with asmaller turtle shell 38cm.;15ins by 33cm.; 13ins

£300-500

150

A group of photographs ofbig game hunting scenes

Indian early 20th century

various sizes the largest52cm.; 20ins high by 68cm.;27ins wide with inscription torear and dated 1906

£300-500

151

An Indian elephant ivorygong stand with coppergong

circa 1880

and colonial silver mounts

50cm.; 20ins high by 66cm.;26ins wide, tuskmeasurements 52cm.; 21inson outside of curve.

£600-1000

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152 153154

156

152

An elephants foot mountedin the form of a wastepaperbasket



£100-200

153

A large Elephants footmounted as a wastepaperbasket with well appointedinterior

early 20th century


£300-500

155

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154

An Elephants foot mountedas a stool

late 19th century


£200-300

155

A mounted Tigers head

inscribed “Siroor Nilgir HillsDecember 1901”

the shield 53cm.; 21ins highby 40cm.; 16ins wide

£1000-1500

156

An Elephants foot mountedas a childs stool

late 19th century


£200-300

157

A Leopard skin withmounted head

early 20th century by WWilson of Itarsi

216cm.; 85ins long by145cm.; 57ins wide

£600-1000

158

A Leopard Skin

early 20th century

218cm.; 86ins long 127cm;50ins wide

£400-600

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159

A Lion skin with superblymounted head

early 20th century

with impressive mane

289cm.; 114ins long by210cm.; 83ins

£1500-2500

160

A Himalayan black bearskull

19th century

15cm.; 6ins.high by 28cm.;11ins long

£100-150

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The following four lots are watercolours ofexotic animals from Australia and the Pacific.These pictures are of a scientific nature and arelikely to have been carried out on one of theFrench expeditions to these areas during themiddle of the nineteenth century. Theseexpeditions inspired a number of publicationsabout the people and animals in these farawayplaces. These particular pictures may well beassociated with Jules Dumont d’Urville whocarried out two expeditions encompassing thePacific, Australia, New Zealand and Antarcticaduring the first half of the nineteenth century.Following his return from the first of theseexpeditions his great masterpiece Voyage au PoleSud dans la corvettes l’Astrolabe et la Zelee wasbegun. It was published between 1841 and1854 in 31 volumes and contained plates of theanimals, scenes and peoples of the diverse areashe visited.

161

A red Lemur

Watercolour

titled withspecies RedMacauco -LemurRufus and dated1850

51cm.; 20inshigh by 38cm.;15ins wide, inebonised frame

163

A pair of picturesshowingmarsupials

Watercolours

titled with speciesHypsiprymnusBrunii½ and 1.Hylogalea Murina 2.Hylomys Suillus 3.Phascogalea Melasand dated 1849

30cm.; 12ins highby 45cm.; 18inswide, in ebonisedframe.

£800-1200

164

A pair of picturesshowing twodifferent species ofsquirrels

titled with species 1.Sciurus Caticaudatus2. Sciurus Exilis andPteromys Elegans 2/3and dated1849

47cm.;17ins high by29cm.; 11½ins wide,in ebonised frames

£800-1200

163 163

164161 164162

162

A red rumpedchevrotainfrom FernandoPo Island

titled The BlackRumped Gueuei.Cephalophus.Fernando Po anddated 1859,

36cm.; 14inshigh by 58cm.;23ins wide inebonised frame.

£1200-1500

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165

An important NorthQueensland Rain ForestWooden shield


61cm.; 24ins high

£1500-2500

166

A collection of four wooden boomerangs

early 20th century

one with incised decoration and indistinctlysigned and dated

70cm.; 27½ins

£800-1200

167

A Samoan wooden club ofbroad tapering form, carvedon the upper section, theleading edge cut with arobust pattern ofpyramidical nodules

19th century

Provenance: Milton R.Macintosh, Rhode Island,acquired December 1970;

John Woodman HigginsArmoury Collection,inventory no.3627

72cm.; 28½ns long

£150-250

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171

A woven fibre peasant outfit

Japanese 19th century

107cm.; 40ins high

£200-300

170

A shell necklace

Papua New Guinea, 2nd half 20th century


£200-300

169

A Maori carved wood Patou

early 20th century

36cm.; 14ins long

£50-80

168

A ceremonial featherheaddress, containingcassowary feathers andcowrie shells from IrianJaya, once the western halfof New Guinea, containedin a glass-fronted box forwall hanging

1st half 20th century

52cm.; 20½ins high by73cm.; 29ins wide

£500-600

171

170

169

168

167

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172

173

174

172

A Dayak skull with boar's tusks

on ebonised base

26cm., 10ins long

Borneo/South East Asian, early20th century

Dayak peoples were once famousas head hunters and it wascommon practice to carvedesigns onto skulls that wereobtained. In addition to humanskulls, those of orangs and bearswere often used for this purpose.

£900-1200

173

A Dayak carved Orang Utanskull

Borneo/South East Asian,early 20th century

23cm.; 9ins long

£1200-1500

174

An Asmat ancestor skullwith feather headdress andnose piece

New Guinea, early 20th century

on ebonised base

33cm.; 13ins high

£1500-2000

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176175

175

An Asmat ancestor skullwith feather headdress andcoconut shell nose-piece

New Guinea, early 20thcentury

on ebonised base

33cm.; 13ins high

£1500-2000

177

1917

A Dayak carved Sun Bearskull


on ebonised metal stand

29cm.; 11½ins high

£600-800

176

A finely carved Dayak skull


on ebonised base

33cm.; 13ins high

£1200-1500

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179

A carved and glass bead inlaidOrangutan skull

Indonesian, early 20th century

18cm.; 7½ins long

£500-600

178

A male woodenfigure with achimpanzee skull

Congo, 2nd half 20thcentury

75cm.; 29½ins high

£1000-1200

180

A Tetela ceremonial axe made withcrocodile and snake skin binding

Congo, 19th century

42cm.; 16½ins by 20cm.; 8ins wide

£800-1000

181

An Ngwagba butterfly mask,

Congo, circa 1950

30cm.; 12ins

So called because the markssurrounding the eyesresemble the wings of abutterfly

£1200-1500

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182

A Kuba pounder/pestleshaped from ivory andstained

Congo, 1st half 20th century

64cm.; 25ins long

£400-600

183

An important Mangwetumaternity figure carved inivory

Congo, circa 1940

36cm.; 14ins high

£8000-10,000

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184

A Kaniok carved woodenAncestor Doll

Congo, circa 1940

78cm.; 30½ins high

£2000-3000

185

A Pende chiefs woodenwalking stick made in theform of a rifle and anumbrella

Congo, late 19th century

96cm.; 38ins

£600-800

186

A Kuba prestige knife


46cm.; 18ins

£800-1200

187

A Gourd water carrier fromthe Cameroon

Mounted with animal bones,horns and shells

38cm.; 15ins high by 33cm.; 13ins

A similar example can be seenat the Quai Branly, Paris.

£200-300

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188

A Lega necklace made withstained ivory

Congo, circa 1960

approximately 20cm.; 8insdiameter

£500-600

189

A Lega necklace made withboars teeth

Congo, circa 1960

approximately 20cm.; 8insdiameter

£300-400

190

A Songye/Tetela communityor village carved woodfemale figure

Congo, 2nd half 20th century

62cm.; 24½ins high

£3000-4000

189

188

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192

A Chokwe carved woodcircumcision mask withfeather surround, usedbefore, during and after theceremony

Congo, circa 1950

58cm.; 23ins high

£800-1000

193

A Kuba metal alloy prestigeknife


39cm.; 15ins long

£800-1200

194

A pair of ivory figurescarved in Benin styleshowing an oba and hisfavourite

22cm.; 8½ins high

£300-400

191

A rare Suku carved woodgroup for protection againstthunder

This unusual piece dates fromaround 1960 and comes fromthe Congo

76cm.; 30ins high

The body of this piece has ahinged door. Charms werekept within and at times ofthunder the door was openedto release the power of thecharms and allow them to dotheir protective work. Thespirits would then fly to meetthe thunder and counteractit.

£1000-2000

191 193

192

194

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195

A large Vili carved wood fetish in the form of a two-headed dog

Congo, circa 1930

76cm.; 30ins long

£4000-5000

196

A carved wooden fertilityfigure

Ivory Coast, 1st half 20thcentury

193cm.; 76ins high

£1500-2500

197

A Central African RepublicTobo carved wood figure ofa man

circa 1960

30cm.; 12ins high

£500-600

198

A Luba carved woodmaternal figure


66cm.; 26ins

£400-600

195

196 197198

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199

Two mummified dogs and a cat

English

each case 43cm.; 17ins high by 59cm.; 23inswide

In medieval times, creatures like this weresometimes walled up in buildings to bringgood fortune, at other times they are theremains of animals that climbed intorecesses in chimneys. They often did thisseeking warmth and quiet due to illness,and subsequently died. Then, due to drynessand heat they became naturally mummified.

£2000-3000

200

An Egyptian mummified hand

B.C.

in later glass dome

the dome 23cm.; 9ins high by 33cm.; 13ins.wide, the specimen, 18cm.; 7ins long

£2000-3000

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201

A mummified Human head

reputedly Egyptian, Ptolemaic

the case 48cm.; 19ins highsquare

£1000-2000

202

A Felons skull

early 19th Century in antiqueglass dome

the skull inscribed John Parkerhanged for robbing HenburyChurch and De Boudrie’s schoolthe skull has been partiallycut away to serve as ananatomical specimen, thedome 30cm.; 12ins high by30cm.; 12ins wide

sold together with aphotocopied newspapercutting detailing theexecution.

“Execution - On SaturdayJohn Parker, aged 36, andThomas Rodway, aged 30,were executed at the drop, onthe top of the lodge atGlocester Gaol, pursuant tothe sentence at the lateAssized, for a burglary in thedwelling-house of Mrs Grey,at Clifton, near Bristol.Although obdurate at first,they at last became moresensible of their awfulsituation, and died with duepenitence. Parker was born inthe parish of Langley, nearChippenham”.

£2000-3000

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203

A set of carved antlerfragments

Pacific North West

with purchase invoice fromthe 49 Steps Gallery LosAngeles dated 3rd Feb 1971identifying the pieces asWiskram Indian

in wooden frame

21cm.; 8ins.; by 32cm.; 13ins

£1000-1500

204

A pair of White tailed deerantlers

decorated in the late 19thcentury by native peoples ofthe Pacific North West

42cm.; 16½ins high

£100-200

205

A rare pair of Pere Daviddeer antlers

early 20th century

60cm.; 24ins by 33cm.; 13ins

£600-1000

206

203

205204

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208

A pencil drawing of a Micmac Indian entitled “Louis Julian,Micmac Indian of Miramachi” attributed to Major GeneralO’Halloran

circa 1840

23cm.; 9ins high by 19cm.; 7½ins wide

O’Halloran studied the language and customs of the Micmac.He made many notes and drawings of individual members ofthe tribe, all of which are similar in style and execution to thisexample.

£600-800

207

Bellin, Jacques Nicolas(1703-1772) A French WorldMap - Du Globe Terrestre

1784 edition (revised from1755)

published Paris 1784

with early map of Australia,later coloured

framed and glazed


This map is particularlyinteresting as it is one of theearliest depictions of Australiawhere the outline of thecountry is reasonablyaccurately delineated. It wasproduced at a time when theFrench were tryting to viewith British globaldomination.

£300-500

206

A magnificent set of fallowdeer antlers with skull fromthe famous collection of SirEdmund Loder (1849-1920)

£200-300

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209

Antarctic interest acollection of 17 glass slides

one dated 1910 some withprinted titles

8cm.; 3¼ins square

£300-400

210

An album containingtopographical watercoloursand sketches in 19thcentury binding

including some of the Capecolony. Five watercolours onpaper entitled,'A HottentotWarrior'; 'A Hottentot'; 'aYahoo'; and two HottentotWomen. Two oval water-colours: A view of Table Bayand A View of Cape Towntogether with numerouspoems, prints, ink and pencildrawings, a watercolour ofVesuvius, two watercolours ofScotland and sundry othermiscellanea

24cm.; 9½ins high by 20cm.;8ins wide

£800-1200

211

An exceptionally rare set ofcatalogues issued by thecelebrated ethnographicaldealers W. O. Oldman ofBrixton Hill London circa1915

containing descriptions of theOldman stock and includinga large number of originalphotographs depicting theitems Mr. Oldman wasoffering for sale. Thecatalogues are loosely boundinto an album

25cm.; 10ins. high

At one time these catalogueswere issued monthly but, aswith all such ephemera,examples are virtuallyimpossible to find.

£800-1200

212

A rare Napoleonic prisonerof war bone and wooddomino box

probably Peterborough, early19th century

painted on glass with figuresand landscapes, together withanother lid

22cm.; 8½ins wide

£500-600

209

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212

211

210

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215

A mounted Goshawk

with internal trade label forFarjalla 1989 (DoE number087504), naturalisticallymounted, this bird has theappropriate article 10 licencerequired by law


£800-1200

213

A mounted Rough-leggedand Common Buzzard by W A Macleay & Son

in a case with glass front andsides


£800-1200

214

A wall display casecontaining a decorativearrangement of shells

early 20th century

46cm.; 18ins by 62cm.; 24ins

£200-300

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216

A Wild Boar Piglet

mounted on naturalistic base


£300-500

217

A mounted Marlin head

circa 1950

the shield 38cm.; 15ins

£200-300

218

A blue Monkey(Cercopithecus Mitis Elgonis)naturalistically mounted byRowland Ward


with label to bottom


£600-1000

219

A mounted Bittern by Coxof Liverpool

in a glass case with externaltrade label on the underside,1950

64cm.; 25ins high by 50cm.;19½ins wide by 30cm.; 12insdeep

£800-1200

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222

A mounted Great Grey Owl

in a glass case with lead bead,this bird has the appropriatearticle 10 licence required bylaw


£800-1200

220

Two mounted Roe deer trophies

both with ivorine labels oneinscribed “Ian FlemingStelshaw 13th August 1952”the other “EMF StelshawNovember1950” bothmounted by Peter SpicerLeamington Spa, shield

35cm.; 14ins by 18cm.; 7½ins

£800-1200

It is unknown whether thesespecimens relate to the JamesBond author, Ian Fleming

221

A set of five birds of prey

mid 19th century

on turned French stands

£600-1000

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223

A set of four wall hanging Insect display cases

first half 20th century

assembled in a didactic style


£600-1000

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224

Lord Scone’s ‘Cabinet ofCuriosities’

An interesting and curiouscollection that came fromScone Palace, Perthshire (theancient site of the ‘Stone ofScone’) and was assembledbetween 1840 and 1900. Thisfascinating collectioncomprises the followingobjects: a grape shot mounted

224 224

224225

225

225 226

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on a circular marble baselabelled‘ marble from thechimney piece of theGovernor’s house inSevastopol‘; a fragment ofwood labelled, ‘a piece ofwood dug up near theMalakoff (Crimea)‘; a piece ofmarble from Maupika(Crimea); a pen rest made oftwo stags horns with threequill pens; a meerschaumpipe in the form of a bird’shead, the case labelled P.Edwards and Co.; a Victorianinfants silk glove with a labelsaying, ‘glove worn byMargaret Macgregor(afterwards CountessMansfield) when a baby‘; anAustralian aboriginal stonehand axe and an Australianaboriginal grinding stoneboth with labels, ‘found in amound at Wangery District ofVictoria, 1891, WaramboolPublic Museum‘, togetherwith a letter from Hawksdaledated 30th December 1891describing where the objectswere found; an interestingpaper scroll on which is therare photographic record ofLord Scone’s late nineteenthcentury expedition to theNorth Pole with a printedlabel reading,’ I have justreturned from the North Poleand I send a bit of it with myphotographs‘.

This collection was auctionedat Christies King Street inMay 2007 by permission ofthe 7th Earl of Mansfield.

£1500-2000

225

A set of three silver gelatinprints

taken from 19th centurypositive glass slides producedfor the British Museum ofNatural History. One showsthe skull of a porcupine,another the skull of a dolphinand the third shows theexoskeleton of an armadillo

the largest 66cm.; 26ins highby 70cm.; 27½ins wide

£600-1000

226

Three Soda glass specimentanks

19th century

30cm.; 12ins by 61cm.; 24insby 30cm.; 12ins

These were used for bringingback natural historyspecimens from expeditionsabroad

By repute from the NaturalHistory Museum

£200-300

227

A Mahogany 36 drawerdouble ranked collectorscabinet

circa 1880


£1800-2500

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228

A Georgian, mahogany 22 drawerdouble rank collector’s cabinet

19th century

each drawer containing TropicalButterflies and Moths, all in excellentcondition


£2000-3000

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The following 37 lots arefrom a private Englishcollection and the proceedsare being donated to the SueRyder Foundation ThorpeHall restoration fund.

229

A Lanner Falcon (Falcobiarmicus) by RowlandWard

with label to rear of case


£800-1200

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231

A Snowy Owl (BuboScandiacus) by AnthonyArmistead

with label dated 1997


£500-800

230

A pair of Gray Partridge(Perdix perdix)

early 20th century

possibly by Spicer as there is astove in the case withindistinct writing on it.


£200-300

230

231

232

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232

A Long Eared Owl (Asiootus) by Murray & Son ofCarnforth

20th century

with old collection labels toback of case including onefrom Kendall Museum.


£300-500

233

A Buzzard (Buteo buteo) byRowland Ward

with Rowland Ward tradelabel to back of case


£400-600

233

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236

A pair of Barn Owls (Tytoalba) by Anthony Armistead

in wall mounted case, withlabel dated 2010


£500-800

235

Two Woodcock (Scolopax)by Anthony Armistead

in wall mounted glass case,with label and dated 2010


£250-400

234

A Peter Spicer mounted Roe Deer Trophy

mid 20th century

the shield 27cm.; 11ins by 20cm.; 8ins

£100-200

235

236

234

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237

A pair of Merlins (Falcocolumbarius)

mounted under a glass domewith small indistinctlyinscribed stone possiblyindicating they weremounted by Spicer

42cm.; 16ins high

£600-1000

238

A Long Eared Owl (Asiootus)

in a Victorian glass dome

54cm.; 21ins high

£300-500

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239

An unusual part hornmounted on a shield,probably Bongo

together with a lions toothnecklace, Kenya, early 20thcentury, and a Polar Bearpartial skull (Ursusmaritimus) 0536 andOC099, 15cm.; 6ins high

£150-250

240

A Himalayan Bear (Ursusthibeticus) skin


165cm.; 65ins long

£300-500

241

A pair of mountedhippopotamus tusks

the bases inscribed Mara.RDD11th 3rd 1891


£100-150

239

240

241

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242

Wild Boar (Scandinavian)(sus scrofa) OB0019

36cm.; 14ins long

£100-200

243

A Leopard skull (adultmale) C008

28cm.; 11ins high, andanother Cheetah skull (adultfemale) (Aciinonyx jubatus)P1001, 24cm.; 9½ins high

£200-300

244

A Wolf skull (Russian male)(Canis lupus lupos) OA0021

27cm.; 10¾ins high, and aCoyote (European male)(Canis latrans) OA0022,26cm.; 10¾ins high

£100-200

242

244

245

246

243

245

A juvenile horse orzebra skull OA0044

34cm.; 13½ins high

£100-200

246

A water buck skullwith Rowland Wardlabel

38cm.; 15ins togetherwith a Nilgai skull,

£000-000

The following 15 skulls were givento the vendor by Mr Lewicki’swidow. Roman Lewicki was oncechief taxidermist at Rowland WardsLondon headquarters and used theskulls for reference when mountingmammals. All of these skulls are ofantique origin and presumablycame to Rowland Ward’salong with skins thatwere to be preserved.

The referencenumbers are theoriginalRowland Wardinventorynumbers.

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247

249

248

247

A possible record Lion skull(Panthera leo)

mentioned in the RowlandWard archive as being thelargest skull known to themAn002

42cm.; 16½ins high

£500-700

248

A juvenile American BlackBear (Ursus Americanus)Skull OA0026

27cm.; 10¾ins high

£200-300

249

A Tiger skull (Indonesian)(Panthera tigris) TI004

32cm.; 12½ins high

£400-600

250

A Jarvan Tiger skull(Panthera tigris) TI003

31cm.; 12¼ins high

£400-600

251

A Lion skull (Panthera leo)OA038

28cm.; 22ins high

£300-500

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250

251

253252

252

A Leopard (Persian male)(Panthera pardus) L1008

27cm.; 10¾ins high

£200-300

253

A Puma skull (Pumaconcolor) C009

25cm.; 10ins high

£100-200

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254

A sea trout (salmom trutta)possibly by Hardy

mid 20th century

39cm.; 15½ins high by86cm.; 34ins wide

£150-250

255

A glass case of two browntrout (salmo trutta)

early 20th century


£300-500

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256

A Salmon (Salmo salar) inthe style of Malloch ofPerth

the case with inscription“Taken from the spey by HMacMillan July 1909”, weight37lbs

130cm.; 51ins wide

£2000-3000

257

A cased Crucian Carp(Carassius carassius)

early 20th century


£200-300

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260

A Pike (Essox lucius) probably byHardy

late 19th century

9lbs


£500-800

261

A Perch (Perca) with J Cooper label

late 19th century

in bow fronted glass case


£400-600

262

A Perch (Perca) by Spicer

early 20th century

with typical signed stone in the case

36cm.; 14ins high by 55cm.; 22ins long

£400-600

258

A Pike (Essox lucius) probably byHardy

early 20th century

23lbs

42cm.; 16ins high by 119cm.; 47inswide

£500-800

259

A mounted Ruffe (Gymnocephaluscernuus)

recased with inscription to rear thatreads “I confirm that this tiny fish wasstuffed by Mr Cooper”

18cm.; 7ins square

£300-500

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Rowland Ward (1848-1912) the mostcelebrated of all taxidermists,operated from premises inPiccadilly. Here, hecatered to Dukes andDuchesses, the rich andfamous, and sportsmenthe world over. He was sosuccessful, and hisreputation so great, that followinghis own death in 1912, the company hefounded stayed in business for another 60years, despite the general decline in interestin taxidermy through the twentiethcentury. During this period, the firmemployed hundreds of workers, and wasalways renowned for the high quality ofthe work produced and the top qualitystandards maintained by its employees.Ward himself made many innovations interms of taxidermy, and always maintainedthat a good taxidermist was not simply acraftsman but an artist and that he or sheshould be regarded as nothing less.

263

An extremely rare clouded leopard(Neofelis nebulosa) by Rowland Ward

on naturalistic base, pre 1968 with Article10 Certificate


£6000-10,000

see also inside back cover

264

A Puma (Panthera) mounted byRowland Ward

on naturalistic base pre 1968 with Article 10 Certificate


£3000-5000

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265

A Sloth Bear (Melursusursinus) naturalisticallymounted by Rowland Ward

pre 1968

185cm.; 73ins high

£3000-5000

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169

GLOSSARY OF TERMS

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

Please read carefully the terms of the Authenticity Guarantee and theConditions of Business for Buyers set out in this catalogue.

Antonio Canova

In our opinion a work by the artist. In the case of 19th centurysculpture this indicates that the work was made in our opinion eitherby the artist or by a foundry or editor who had the rights to reproducethe artist’s original model either during the artist’s lifetime or for adefined posthumous period. (When the artist’s forenames are notknown, a series of asterisks, followed by the surname of the artist,whether preceded by an initial or not , indicates that in our opinionthe work is by the artist named).

Attributed to Antonio Canova

In our opinion probably a work by the artist but less certainty as toauthorship is expressed than in the preceding category.

Manner of Antonio Canova

In our opinion a work in the style of the artist and of a later date

After Antonio Canova

In our opinion a copy at a later date of a known work by the artist. Inthe 19th century this indicates that in our opinion the work was madeby a foundry or editor at a later date and apparently without exclusiverights.

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 ofthat date but less certainty as to the region and/or date than isexpressed in the preceding category.

In renaissance style

In our opinion a work executed in the style of the renaissance but notnecessarily of that period.

The term signed and /or dated and/or inscribed means that in ouropinion the signature and/or date and/ or inscription are original tothe model or authorized by the sculptor’s studio or editor but notnecessarily from the hand of the artist.

The term bearing the signature and/or date and /or inscription meansthat in our opinion the signature and/or date and/ or inscription havebeen 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 severelydistressed. Prospective purchasers making commission bids withoutviewing 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 lotsprior to the sale and to arrange their own insurance cover against lossand damage immediately after the sale. Please refer to the Conditionsof Business for Buyers.

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170

SUMMERS PLACE AUCTIONS AUTHENTICITY GUARANTEE

If Summers Place Auctions Ltd sells an item which subsequently isshown to be a "counterfeit", subject to the terms below Summers PlaceAuctions Ltd will set aside the sale and refund to the Buyer the totalamount 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 PlaceAuctions Ltd reasonable opinion is an imitation created to deceive asto authorship, origin, date, age, period, culture or source, where thecorrect description of such matters is not reflected by the description inthe catalogue (taking into account any Glossary of Terms). No lot shallbe considered a counterfeit by reason only of any damage and/orrestoration and/or modification work of any kind (including repaintingor over-painting).

Please note that this Guarantee does not apply if either:-

(i) the catalogue description was in accordance with the generallyaccepted opinion(s) of scholar(s) and expert(s) at the date of thesale, or the catalogue description indicated that there was aconflict of such opinions; or

(ii) the only method of establishing at the date of the sale that theitem was a counterfeit would have been by means of processesnot then generally available or accepted, unreasonably expensiveor impractical to use; or likely to have caused damage to the lotor likely (in Summers Place Auctions Ltd reasonable opinion) tohave caused loss of value to the lot; or

(iii) there has been no material loss in value of the lot from its valuehad it been in accordance with its description.

This Guarantee is provided for a period of five (5) years after the dateof the relevant auction, is solely for the benefit of the Buyer and maynot be transferred to any third party. To be able to claim under thisGuarantee, the Buyer must:-

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

(ii) return the item to Summers Place Auctions Ltd in the samecondition as at the date of sale to the Buyer and be able totransfer good title in the item, free from any third party claimsarising after the date of the sale.

Summers Place Auctions Ltd has discretion to waive any of the aboverequirements. Summers Place Auctions Ltd may require the Buyer toobtain at the Buyer's cost the reports of two independent andrecognised experts in the field, mutually acceptable to Summers PlaceAuctions Ltd and the Buyer. Summers Place Auctions Ltd shall not bebound by any reports produced by the Buyer, and reserves the right toseek additional expert advice at its own expense. In the event SummersPlace Auctions Ltd decides to rescind the sale under this Guarantee, itmay refund to the Buyer the reasonable costs of up to two mutuallyapproved independent expert reports.


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GUIDE FOR PROSPECTIVE BUYERS

1. Buyer’s Premium RatesThe buyer’s premium payable by the buyer of each lot is at a rate of25% on the first £50,000, then 20% up to £250,000 and 12% on theamount by which the hammer price exceeds £250,000, plus an amountin respect of VAT thereon (see below).

2. VAT on Hammer Price and Buyer’s Premium and VAT Symbols inthe CatalogueProperty with no VAT symbolWhere there is no VAT symbol, Summers Place Auctions Ltd are able touse the Auctioneer’s Margin Scheme and VAT will not normally becharged on the hammer price. Summers Place Auctions Ltd must bearVAT on the buyer’s premium and hence will charge an amount in lieuof VAT at 20% on this premium, which will not be shown separatelyon the invoice.

Property with a † symbolThese items will be sold under the normal UK VAT rules and VATwill be charged at 20% on both the hammer price and buyer’spremium.

Property with a α symbolIt is assumed that items sold to buyers whose address is in theEuropean Union (EU) will be remaining in the EU. The propertywill be invoiced as if it had no VAT symbol.It is assumed that items sold to buyers whose address is outsidethe EU, will be exported from the EU. The property will beinvoiced under the normal VAT rules (see ‘Property with a †symbol above).

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

VAT RefundsVAT may be cancelled or refunded on export if strict conditions aremet. For advice, please contact Letty Stiles on 01403 331 336

Sales and Uses TaxesBuyers from outside the UK should note that local sales taxes oruse taxes may become payable upon import of items followingpurchase (for example, the Use Tax payable on import of purchased

items to certain states of the USA). Buyers should obtain theirown advice in this regard.

Artist’s Resale RightPurchase of lots marked with the following symbol will besubject to payment of the Artist’s Resale Right, at a percentage ofthe hammer price calculated as follows:Portion of the hammer price (in €) Royalty RateFrom 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 amountspayable under the above rate bands, subject to a maximum royaltypayable of €12,500 for any single work each time it is sold. Themaximum royalty payable of €12,500 applies to works sold for €2million and above. Calculation of the artist’s resale right will be basedon the Pounds Sterling / Euro reference exchange rate quoted on thedate of the sale by the European Central Bank.

Property with a symbol.Some of these items require specialist dismantling and may not beavailable for immediate collection after the sale. Intending purchasersshould check the status of these lots before the sale.

3. Before the AuctionPre-sale EstimatesPre-sale estimates are intended as a guide for prospective buyers but alllots can realise prices above or below the pre-sale estimates. Seller’sconfidential reserves are set no higher than the low pre-sale estimates,except in the rare circumstance in which the reserve has been set in aforeign currency and the exchange rate has fluctuated.

It is advisable to consult us nearer the time of sale as estimates can besubject to revision. The estimates printed in the auction catalogue donot include the buyer’s premium or VAT.

ProvenanceIn certain circumstances, Summers Place Auctions Ltd may print in thecatalogue the history of ownership of a work of art if such informationcontributes to scholarship or is otherwise well known and assists indistinguishing the work of art. However, the identity of the seller orprevious owners may not be disclosed for a variety of reasons. Forexample, such information may be excluded to accommodate a seller'srequest for confidentiality or because the identity of prior owners isunknown given the age of the work of art.


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Condition of LotsAll lots are available for inspection and Condition Reports are availableon request. However, all lots are of an age and type which means thatthey may not be in perfect condition and should be viewed byprospective bidders; please refer to Condition 3 of the Conditions ofBusiness for Buyers.

Electrical and Mechanical GoodsAll electrical and mechanical goods are sold on the basis of theirartistic and decorative value only, and should not be assumed to beoperative. It is essential that any electrical system is checked andapproved by a suitably qualified electrician, prior to use.

4. The AuctionAuction speeds vary, and generally average between 50 and 120 lots perhour. The auctioneer will commence and advance the bidding at levelsand in increments he considers appropriate (generally in increments ofapproximately 10% of the previous bid) and is entitled to place a bid orseries 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 areplaced.Please note Conditions 5 and 6 of the Conditions of Business forBuyers contain additional information on bidding.

Bidding in PersonTo bid at auction you must register with us to obtain a biddingnumber. Before the auction, fill in the form at the registration desk,provide proof of identity, and you may be given a paddle showing yourbidding number. This paddle should be used for bidding. Theauctioneer will note this number when you purchase a lot

Live AuctionsOur live auction are on view 5 days before the sale. Viewing prior tothis may be possible by private appointment. The auction takes placein the gallery with each lot displayed on a plasma screen as it is sold.Prospective purchasers are encouraged to attend the sale and mustregister their details with us beforehand. Bidding is by numberedpaddle. Our sales offer buyers the facility to bid live on line for no additionalfee. Prospective bidders must register and be approved by TheSaleroom.com at least 2 hours before the start of the sale.

Absentee BidsIf you cannot attend the auction we will be happy to execute writtenbids on your behalf, so long as you have registered your details with usbeforehand. A bidding form may be downloaded fromwww.summersplaceauctions.com website. A bidding form is alsoprinted in the back of the catalogue. This service is confidential. Lotswill always be bought as cheaply as is consistent with other bids, thereserves 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. Inthe event of identical bids, the earliest received will take precedence.Always indicate a top limit, i.e. the highest price you would bid if youwere attending the auction. Don’t forget that buyers premium and anyVAT applicable will also be added onto your bid if you are successful.“Buy” and unlimited bids will not be accepted. Please refer to ourconditions of business for buyers, which is also printed in the back ofour catalogues. To ensure a satisfactory service please ensure that wereceive your bids at least 24 hours beforehand. The fax number forabsentee bids is 00 44 (0)1403 331340.

Telephone bidsIf you cannot attend the auction, it is usually possible to bid on thetelephone on lots with a minimum low estimate of £1,000. You willneed to have registered your details with us 5 days before the auction.As the number of telephones is limited, it is necessary to makearrangements on which lots you wish to bid on, at least 24 hoursbefore the sale. We also suggest that you leave a maximum bid whichwe can execute on your behalf in the event we are unable to reach youby telephone. Please refer to our conditions of business for buyers,which is also printed in the back of our catalogues.

Sealed bid auctionsOur sealed bid auction is normally closed one day after the liveauction, but is on view at the same time and is included in the samecatalogue with an illustration, description and estimate. Clientswishing to leave bids should do so in writing, by fax or by emailing asigned scanned page detailing lot numbers, brief description and thebid(s) which they wish to leave. All clients should also have registeredwith us beforehand and provided photographic identification. All bidsmust be with us, at the latest, by the day before the published date ofthe sealed bid auction at which time the bids will be opened. Thewinning bid will be the highest left on each lot above the reserve. Bidsare non sequential and the highest bid left is the price at which the lotis sold plus buyers premium and any VAT liable. In the event of therebeing two identical winning bids being left on the same lot, theearliest received bid shall take precedence. Summers Place Auctionsdecision on which is the winning bid shall be final.

Sale by private treatySummers Place Auctions shall, from time to time, be offering some lotsfor sale by Private Treaty in our architectural portfolio. These willusually comprise larger pieces of an architectural nature, which willrequire a longer period of planning and consultation than an auctioncan provide. Additionally if you are looking for a specific piece pleaselet us know and we will use our worldwide network of trade andprivate clients to help source the most suitable item for you. Pleasecontact us for further information.


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PaymentPayment is due in sterling immediately after the sale and beforepurchases can be released. Payments in person can be made in thesaleroom on the day of the auction and thereafter. Payments may alsobe made by post, card transactions by telephone or electronic transferto our bank. Cash will not be accepted. Summers Place Auctions Ltdwelcome the following methods of payment:

Credit/Debit CardWe are pleased to accept major credit cards (regrettably we are unableto accept American Express or Diners Club card payments), for which asurcharge will be made of 3% of the transaction total. This is to coverthe charge made to us by our bank. There is no charge for paymentsmade by debit card.

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

Sterling Cheque Please note that we require seven days to clear sterling cheques wherethe amount exceeds the cheque card guarantee limit, unless specialarrangements have been made with the auctioneer in advance of thesale (normally the presentation of a letter of guarantee from yourbank). We always reserve the right to hold goods until a cheque iscleared.

Collection and StorageOn receipt of cleared funds, lots can be collected from the WalledGarden, Stane Street, Billingshurst, West Sussex, RH14 9AB byappointment. If you are unable to collect your purchases yourself wewould be delighted to obtain shipping quotes on your behalf. If Lotshave not been collected within 35 days of the auction date thenstorage charges will be applied at a rate of £20 per Lot per week. Buyersare reminded that liability for loss and damage transfers to the buyerfrom the fall of the hammer. Whilst the majority of lots will remain intheir location until collected, Summers Place Auctions accept noresponsibility for any damage which may occur, even in the event ofSummers Place Auction staff assisting carriers during collection.

ShippingWe are happy to arrange shipping quotations and have extensiveexperience in working in conjunction with leading domestic andinternational shippers. There is no charge for arranging quotations.

CONDITIONS OF BUSINESS FOR BUYERS

1. INTRODUCTION(a) The contractual relationship of Summers Place Auctions Ltd andSellers with prospective Buyers is governed by:-(i) these Conditions of Business for Buyers;(ii) the Conditions of Business for Sellers displayed in the saleroom andavailable from Summers Place Auctions Ltd(iii) Summers Place Auctions Ltd ‘s Authenticity Guarantee;(iv) any additional notices and terms printed in the sale catalogue, ineach case as amended by any saleroom notice or auctioneer'sannouncement.(b) As auctioneer, Summers Place Auctions Ltd acts as agent for theSeller. Occasionally, Summers Place Auctions Ltd may own or have afinancial interest in a lot.

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

3. EXAMINATION OF LOTS (a) Summers Place Auctions Ltd knowledge of lots is partly dependenton information provided by the Seller and Summers Place Auctions Ltdis unable to exercise exhaustive due diligence on each lot. Each lot isavailable for examination before sale. Bidders are responsible forcarrying out examinations and research before sale to satisfythemselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating tolots, including descriptions in the catalogue, condition reports orelsewhere are statements of Summers Place Auctions Ltd opinion andnot representations of fact. Estimates may not be relied on as aprediction of the selling price or value of the lot and may be revisedfrom time to time at Summers Place Auctions Ltd absolute discretion.


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4. EXCLUSIONS AND LIMITATIONS OF LIABILITY TO BUYERS(a) Summers Place Auctions Ltd shall refund the Purchase Price to theBuyer in circumstances where it deems that the lot is a Counterfeit,subject to the terms of Summers Place Auctions Ltd AuthenticityGuarantee.(b) Subject to Condition 4(a), neither Summers Place Auctions Ltd northe Seller:-(i) is liable for any errors or omissions in any oral or writteninformation provided to Bidders by Summers Place Auctions Ltd,whether negligent or otherwise;(ii) gives any guarantee or warranty to Bidders and any impliedwarranties and conditions are excluded (save in so far as suchobligations cannot be excluded by English law), other than the expresswarranties given by the Seller to the Buyer (for which the Seller issolely responsible) under the Conditions of Business for Sellers;(iii) accepts responsibility to Bidders for acts or omissions (whethernegligent or otherwise) by Summers Place Auctions Ltd in connectionwith the conduct of auctions or for any matter relating to the sale ofany lot.(c) Without prejudice to Condition 4(b), any claim against SummersPlace Auctions Ltd and/ or the Seller by a Bidder is limited to thePurchase Price for the relevant lot. Neither Summers Place Auctions Ltdnor the Seller shall be liable for any indirect or consequential losses.(d) Nothing in Condition 4 shall exclude or limit the liability ofSummers Place Auctions Ltd or the Seller for death or personal injurycaused by the negligent acts or omissions of Summers Place AuctionsLtd or the Seller.

5. BIDDING AT AUCTION(a) Summers Place Auctions Ltd has absolute discretion to refuseadmission to the auction. Before sale, Bidders must complete aRegistration Form and supply such information and references asSummers Place Auctions Ltd requires. Bidders are personally liable fortheir bid and are jointly and severally liable with their principal, ifbidding as agent (in which case Summers Place Auctions Ltd’s priorand 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 absenteewritten bids provided that they are, in Summers Place Auctions Ltd’sopinion, received in sufficient time and in legible form.(c) When available, written and telephone bidding is offered as a freeservice at the Bidder’s risk and subject to Summers Place Auctions Ltd’sother commitments; Summers Place Auctions Ltd is therefore not liablefor failure to execute such bids. Telephone bidding may be recorded.

6. IMPORT, EXPORT AND COPYRIGHT RESTRICTIONSSummers Place Auctions Ltd and the Seller make no representations orwarranties as to whether any lot is subject to import, export orcopyright restrictions. It is the Buyer's sole responsibility to obtain anycopyright clearance or any necessary import, export or other licence

required by law, including licenses required by law under theInternational Trade in Endangered Species (CITES).

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

8. PAYMENT AND COLLECTION(a) Unless otherwise agreed in advance, payment of the Purchase Priceis due in pounds sterling immediately after the auction (the "PaymentDate"). (b) Title in a lot will not pass to the Buyer until Summers PlaceAuctions Ltd has received the Purchase Price in cleared funds. SummersPlace 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 inCondition 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 ofthe auction. Purchased lots are at the Buyer's risk from the fall of thehammer. (e) All packing and handling of lots is at the Buyer's risk. SummersPlace Auctions Ltd will not be liable for any acts or omissions of thirdparty removers or shippers.

9. REMEDIES FOR NON-PAYMENTWithout prejudice to any rights that the Seller may have, if the Buyerwithout prior agreement fails to make payment for the lot within 5working days of the auction, Summers Place Auctions Ltd may in itssole discretion exercise one or more of the following remedies:- (a) store the lot at its premises or elsewhere at the Buyer’s sole risk andexpense;(b) cancel the sale of the lot;(c) set off any amounts owed to the Buyer by Summers Place AuctionsLtd against any amounts owed to Summers Place Auctions Ltd by theBuyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above NatWest Bank Base Ratefrom the Payment Date to the date that the Purchase Price is received in clearedfunds;(f) re-sell the lot by auction or privately, with estimates and reserves at


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Summers Place Auction Ltd.’s discretion, in which case the Buyer willbe liable for any shortfall between the original Purchase Price and theamount achieved on re-sale, including all costs incurred in such re-sale;(g) Exercise a lien over any Buyer’s Property in Summers Place AuctionsLtd’s possession, applying the sale proceeds to any amounts owed bythe Buyer to Summers Place Auctions Ltd. Summers Place Auctions Ltdshall give the Buyer 14 days written notice before exercising such lien;(h) commence legal proceedings to recover the Purchase Price for thelot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller tocommence legal proceedings.

10. FAILURE TO COLLECT PURCHASES(a) If the Buyer pays the Purchase Price but does not collect the lotwithin 35 days of the auction, the lot will be stored at the Buyer'sexpense and risk at Summers Place Auctions Ltd’s premises or inindependent 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 AuctionsLtd will re-sell the lot by auction or privately, with estimates andreserves at Summers Place Auctions Ltd’s discretion. The sale proceeds,less all Summers Place Auctions Ltd’s costs, will be forfeited unlesscollected by the Buyer within 2 years of the original auction.

11. DATA PROTECTION(a) Summers Place Auctions Ltd will use information supplied byBidders or otherwise obtained lawfully by Summers Place Auctions Ltdfor the provision of auction related services, client administration,marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to

the processing of their personal information and to the disclosure ofsuch information to third parties world-wide for the purposes outlinedin Condition 11(a) and to Sellers as per Condition 9(i).

12. MISCELLANEOUS(a) All images of lots, catalogue descriptions and all other materialsproduced by Summers Place Auctions Ltd are the copyright of SummersPlace Auctions Ltd. (b) These Conditions of Business are not assignable by any Buyerwithout Summers Place Auctions Ltd’s prior written consent, but arebinding on Bidders' successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreementbetween 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 accordancewith English Law, under the exclusive jurisdiction of the EnglishCourts, in favour of Summers Place Auctions Ltd.


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SUBSCRIPTIONS

To subscribe to these catalogues please completethe box below with your debit/credit card andcontact details. Upon lapse of the subscription wewill be in contact to determine if you wish torenew your subscription.

Catalogues are printed approximately 4-5 weeksprior to the sale date and are mailed to subscribersimmediately.

£10 if collected from Summers Place AuctionsGallery

Please tick appropriate box and return to SummersPlace Auctions Ltd

Code Auctions Date Price

GS14 Sculpture & May & £30 Design for the House & OctGarden* 2014

EV14 Evolution Auction May & £30 Design for the House & NovGarden* 2014

EV14 All Sales 2014 £40

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

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Sealed Bid – How it worksFirst you require a catalogue. Once you have the catalogue, you need to register your interest inbidding. This can be done quickly and simply by presenting one of our viewing staff with somephotographic ID (a modern driver’s license or passport is ideal) or by scanning a copy andemailing 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 theenvelope “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 [email protected] . This is a closed mailbox and will not be opened beforethe advertised time. However, we strongly recommend that if you have not viewed the sale inperson, 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 beexercised 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 earliestreceived bid will take precedence), £900 will secure the lot subject to buyer’s premium and VATon the premium.

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

Bids will be opened on Thursday 24th October and sales results will appear on the SummersPlace 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 aspossible 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 regardsleaving bids for this auction:

Every lot in the sale has a fixed reserve, (the minimum price for which the lot can be sold) andthis is never above the low estimate, it can be slightly below, but in the vast majority of cases itis the low estimate.

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

You should consider leaving a bid of an odd amount in pounds, for example, rather thanbidding £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 youreally 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 atany other bids left on the lots, we will do our best to comply with your preferences.

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

An auction price is made up of different components: the winning bid is called the “hammerprice”; 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 aresubject to Artist Resale Right (ARR), which is 4% of the “hammer price”. All lots that haveadditional VAT are clearly marked in the catalogue with a †.



brought him fame and anumber of commissions. Itcombined a tension betweena medieval sense of geometricvolume and the organicwhiplash lines which is asignature of his work andvery much in evidence in thisentranceway which iscomparable to the wroughtiron entranceway of CastelBeranger.

In the Victoria and AlbertMuseum, there is a wroughtiron window grille designedby him for the HotelHenriette in 1899 whichemploys the same strip andangle iron construction andthe same distinctive lineardesign.

£2000-3000

302

A pair of large carvedsandstone gatepier balls

56cm.; 22ins diameter

£1200-1800

301

An Art Nouveau wroughtiron gateway in the mannerof Hector Guimard

early 20th Century


The French architect, HectorGuimard is best known forhis Art Nouveau wrought ironentrance to the Paris Metro.Like many other Frenchnineteenth-century architects,Guimard attended the Écolenationale supérieure des artsdécoratifs in Paris from 1882to 1885 winning awards in allof the competitions includingfour bronze medallions, fivesilver, and the school’sGrande Prix d’Architecture.

After exposure to the ideasand work of EugèneEmmanuel Viollet-le-Duc andVictor Horta he developed hisown distinctive Art Nouveaustyle.

In 1898 He designed theCastel Beranger which

Sealed bid auction lots 301-644

All sealed bids must be with us, at the latest, by 5pm BST on the21st May since the bids will be opened on the 22nd May. Thewinning bid will be the highest left on each lot above the reserve.Bids are non sequential and the highest bid left is the price atwhich the lot is sold plus buyers premium and any VAT liable. Inthe event of two identical winning bids being left on the same lot,the earliest received bid shall take precedence. Summers PlaceAuctions decision on which is the winning bid shall be final.Winning bidders will be invoiced after the bids are opened.

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178 • SCULPTURE & DE S IGN FOR THE HOUSE & GARDEN S EALED B ID AUCT ION 2 4TH OCTOBER 2 0 1 3

304

A rare MacFarlane’s foundrycast iron gate

circa 1880s

stamped MacFarlane’sCastings, Glasgow and London

147cm.; 58ins high by103cm.; 40½ins wide

£500-800

303

A pair of wrought ironentrance gates


224cm.; 88ins high by310cm.; 122ins wide overall

£500-800

305

A copper and cast iron walllight with bracket

circa 1870

112cm.; 44ins high

£500-800

306

A pair of wrought and castiron gates

late 19th century

together with a run ofmatching railings

the gates 94cm.; 37ins highby 167cm.; 66ins wide, therailings approximately824cm.; 324ins long

£500-800

303 one showing

304

305

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308

A pair of wrought iron gates

early 20th century


£1400-1600

309

A pair of small wroughtiron internal gates

Spanish, circa 1900


£800-1200

307

A quantity of wrought ironrailing

20th century

comprising eighteenrectangular panels varioussizes, four rhomboid sectionpanels and a pair of gates.

£1000-1500

306

307

308

309

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180 • GARDEN , DE S IGN & NATURAL H I S TORY S EALED B ID AUCT ION 2 1 S T MAY 2 0 1 4

311 312

310

310

A two very largegranite spheres

modern


£2000-4000

311

A substantial pinelantern

modern

106cm.; 42ins high thetop 82cm.; 32ins square

£1500-2500

312

A patinated copperoctagonal lantern


92cm.; 36ins high

£1200-1800

313

A bronze and copperlantern


80cm.; 31½ins high

£1200-1800

313

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317316

315314

314

A small wrought iron bridge

mid 20th century

183cm.; 72ins long 44cm.;17ins wide by 63cm.; 24½inshigh

£500-800

315

A pair of limestone basketsof fruit

circa 1900

44cm.; 17ins high

£1000-1500

316

A pair of veined marblecolumns

19th century

with associated carvedcomposite order white marblecapitals and bases

208cm.; 82ins high

£1500-2500

317 †

A pair of carved bath stoneIonic Order columns

19th century

250cm.; 98ins high

£400-600

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318

319 320

318

A carved sandstonearchitectural element in theform of an elephant

19th century

51cm.; 20ins high by 54cm.;21ins long, together with acarved architectural corbelfigure of a medievalmusician, 41cm.; 16ins high,a Victorian Gothic stylearchitectural element

carved with a king’s head,circa 1860, 43cm.; 17ins highby 34cm.; 13½ins wide by25cm.; 10ins deep, andanother similar smallerhead of a bearded king,30cm.; 12ins high

Provenance:

By repute, from PanshangerCollection also known as theCowper Collection.

£800-1200

319

A late Victorian cast ironglazed turret clock face

with tin hands

95cm.; 37½ins diameter

£1500-2500

320

A similar clock face

£1500-2500

321

A double glazed leadedstained glass window

1970s


£300-500

321

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322

A cast iron, steel and wooden octagonal pavilion

largely constructed from 19th century architecturalelements, the slate roof with coronet and withreclaimed timber roof lining


Disassembled

Prior to purchase interested parties should consult us on the reconstruction of this pavilion

£12000-18000

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323

A carved stone and wood pergola

modern

277cm.; 109ins high by 457cm.;180ins long by274cm.; 108ins wide

£4000-6000

324

Ruth Moilliet, Born 1971

Sun Canopy II

Stainless Steel and AnodizedAluminium

Signed

400cm.; 157½ins high by 280cm.;110ins diameter

£20000-30000

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325

A massive Italian painted andparcel-giltwood altarpieceframe

mid 16th century, in theSansovino manner


the aperture


Provenance:

The frame was formerly atKedleston Hall, Derbyshire andmay have been brought to thehouse by the connoisseur GeorgeNathaniel Curzon, MarquessCurzon of Kedleston (d.1925)following his inheritance of theestate in 1916. As well as theembellishment of MontacuteHouse Somerset, Lord Curzonwas also involved in therestoration of Tattershall Castle,Lincolnshire and Bodiam Castle,Sussex before bequeathing bothof the to the National Trust.

The temple-pediment frame isdesigned in the 16th centuryRoman fashion and its flutedComposite pillars are flanked byrichly carved pilasters withArcadian nymph hermssupported on voluted and fruit-garland trusses; while itstriumphal-arch keystone isembellished with a cupid-headand festooned with garlands offruit and flowers. The‘Sansovino’ name, attached toframes with decorative scrolls

p177-000:Layout 1 10/04/2014 16:08 Page 186


and ornament as appear onthe side of the present piece,is something of a misnomeras they have little to do withthe Florentine born architectand sculptor JacopoSansovino (d.1570), more ageneralism for the type ofcarved or stucco ornamentprevalent in Venice duringthe mid 16th century whenhe was resident in the city.Venetian altarpiece frames ofthe mid 16th century arenormally carved of stone andmarble. However it is possiblethe present frame wasmanufactured for export.Lorenzo Lotto’s account bookmentions that he often senthis altar paintings togetherwith their wood frames whenundertaking commissions forchurches in the Marches. Theform of one of these is not

dissimilar to the presentexample, for Mogliano, date1548, although rather simpler(see diagram in theinterpretazioni Veneziani, ed DRosand, p. 354) A tabernacleframe in the MetropolitanMuseum, New York(63.273.110), although ofsmaller proportions, showsthe principle elements in acomparable manner.

£10,000-15,000

326

A pair of cast iron signalcannon

early 20th century

barrel length 56cm.; 22ins,carriage length 120cm; 47ins

£1000-1500

327

A rare Boulton & Paul Ltd wooden mobile hen house

early 20th century

the hinges stamped Boulton & Paul Ltd and with internallaying boxes and perchs, roof with later felt

221cm.; 87ins high by 215cm.; 84ins long by 178cm.; 70ins wide

Boulton & Paul were established in Norwich in the early yearsof the 20th century and made a variety of summer houses or‘sunshine rooms’ as they were described. This extremely rarechicken coupe is a hitherto unknown example of their output.

£1000-2000

Comparable examples of frames attributed to Sansovino andillustrated in ‘Il Mobilio’ by Augusto Pedini, published Genoa 1969

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328

329

328

A painted compositionstone faux bois bird cage onstand

French, mid 20th century

208cm.; 92ins high

£500-800

329

A small carved Cotswoldstone mounting block

probably 17th/18th century

64cm.; 17ins high by 60cm.;24ins long

£300-500

330

An unusual ‘estate-made’mahogany dog bed

circa 1900

with original horse hairmattress above drawers

152cm.; 60ins long

By repute built as a dog bedwith original horse hairmattress. The mattress heightis too low and deep for aconventional seat whichwould lend credibility to thistheory.

£700-1000

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331

A pair of substantial castiron boot scrapers

circa 1840

60cm.; 23½ins long

£500-800

332

An unusual late Georgianbootscraper

early 19th century

with rebates on base

142cm.; 56ins wide includingrebates

£400-600

334

A Dutch brass watering can

19th century

with later handle, spoutreduced and repaired,replacement rose

26cm.; 10ins high

£200-300

333

A rare Regency bronze bootscraper

1st quarter 19th century

with opposing griffinmonopediae, cast iron ovalbase and scraper

24cm.; 9½ins high by 34cm.;13½ins long

£600-1000

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335

336, 337 & 338

339

335

A collection of terracottaforcers and planters


the largest planter stampedJohn Matthews, Royal Potteries,Weston Supermare

old damages

51cm.; 20ins high

£400-600

336

A set of four glass bell jars

early 20th century

36cm.; 14ins high

£600-1000

337


early 20th century

36cm.; 14ins high

£600-1000

338


early 20th century

36cm.; 14ins high

£600-1000

339

A Boulton and Paulwrought iron dog run

early 20th century

incorporating two doors andwith makers stamp

213cm.; 84ins high by197cm.; 98ins long by155cm.; 61ins wide

£600-1000

340

A collection of Calcitestalactites

Chinese, Jurassic

155cm.; 60ins high

£1000-1500

341 †

A composition ammonite

modern

54cm.; 21ins wide

£150-250

342

A Pattissons nine holegarden golf course kit

early 20th century

comprising tee markers, cups,and auger in wooden box

56cm.; 22ins wide

£300-500

343

A large Pluviette lawnsprinkler

early 20th century

with patent numbers andbrass fittings

74cm.; 29ins high

£300-500

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343

340

341

344

An unusual wrought ironswing seat

1960’s

seat width 117cm.; 46insoverall height 210cm.; 83ins

£1000-1500

342

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345

A W N Pugin: A raremonumental VictorianGothic cast iron waterhopper

dated 1845


Provenance:

Reputedly designed for thePalace of Westminster andremoved from thecourtyard of anaccommodation blockduring the alterations inthe 1980’s

£1000-1500

Imaginary photo ofthe water hopperbeing used as alavatory cistern

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346

A pair of similar VictorianGothic cast iron cornerhoppers

dated 1844

112cm.; 44ins high by 46cm.;18ins square

Provenance:

See footnote to previous lot

£1200-1800

347

A similar smaller VictorianGothic cast iron cornerhopper

dated 1845

92cm.; 36ins high by 37cm.;14½ins wide

Provenance:

See footnote to previous lot

£600-1000

Imaginary photoof a corner waterhopper being usedas a wall planter

Imaginary photoof a corner waterhopper being usedas an uplighter

346 346

347

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348

349 351

350

348

A large carved granite trough

modern

92cm.; 36ins high by 210cm.; 82½ins wide by105cm.; 41½ins deep

£2000-3000

349

A carved stone urn designed by John Nash

early 19th century

socle and base replaced

137cm.; 54ins high

Provenance:

Removed from Witley Court, Worcestershire,England.

This lidded urn was originally on the parapet ofthe portico of Witley Court, Worcestershire,designed by the architect John Nash in 1805.Witley Court is a Grade I listed building and wasonce one of the great houses of the Midlands buttoday it is a spectacular ruin after being devastatedby fire in 1937.

£1800-2500

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352 353

354

350

A Romanesque style carvedlimestone planter on stand

circa 1900

71cm.; 29ins high by 91cm.;36ins long by 53cm.; 21insdeep

£1500-2500

351

A composition stonepineapple


89cm.; 35ins high

for pedestal see lot 457

£200-400

352

A carved limestone tazzashaped urn on pedestal

modern

132cm.; 52ins high by 90cm.;35½ins diameter

£2000-3000

353 †

A pair of carved sandstonelidded urns on pedestals

modern

245cm.; 96ins high overall

£4000-6000

354

A pair of carved limestonecistern planters

modern


£1500-2500

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355

356

357

355

A pair of compositionstone urns on pedestals

modern

150cm.; 59ins high

£1500-2000

356

A pair of cream glazedd’Anduze planters

modern

with maker’s stamp

60cm.; 23½ins high,together with a largergreen glazed d’Anduzeplanter, 68cm.; 27inshigh

£400-600

357

A set of four faux boiscomposition stoneplanters


together with a largerplanter and two stools

the larger planter 70cm.;28ins high

£800-1200

358

A pair of carvedCotswold stone urns

mid 19th century

71cm.; 28ins high

£1000-1500

359

A pair of compositionstone tazza urns



£400-600

360

A Victorian carvedlimestone urn


94cm.; 37ins high

£1500-2500

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360

358

359 one of a pair

p177-000:Layout 1 08/04/2014 10:07 Page 197


361

362

361

A pair of large compositionstone basket planters



£800-1200

362

A pair of carved Cotswoldstone urns

circa 1840

repairs

74cm.; 29ins high

£1000-1500

363

A pair of unusual Arts andCrafts period carvedCotswold stone urns

20th century

30cm.; 12ins high

£400-600

363

364

A large cast iron urn


on associated compositionstone pedestal

132cm.; 52ins high overall,together with a lead urnand a lead hopper

£600-1000

365 †

A pair of carved sandstoneurns on pedestals

modern


£800-1200

366

A composition stone fontplanter


115cm.; 45ins high

£250-400

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366

367

365

367

A set six Doulton stoneware urns

late 19th century

each foot stamped Doulton Ltd,Lambeth

40cm.; 16ins high

£1500-2000

364

p198-000:Layout 1 08/04/2014 10:35 Page 199


369

369

A rare stoneware planter

circa 1870

possibly Scottish


This unusual piece wouldprobably have been made bya small brick manufacturerswhose normal output wouldhave been both bricks anddrainage pipes, however anumber including Garnkirkhad a small range ofdecorative pieces which theyshowed at exhibitions.

£1000-1500

368

A rare Blashfield stoneware urn

circa 1850

stamped J M Blashfield, Stamford no. 266

85cm.; 33½ins wide


This urn is illustrated as number 266 from aselection of vases, statue, busts from Terra-Cotta’s by J M Blashfields, London publishedby John Weil, 58 High Holborn 1857.

see engraving

£800-1200

p198-000:Layout 1 10/04/2014 16:26 Page 200


371

370

372

370

A pair of cast iron urns onpedestals



£1000-1500

371

A pair of cast iron urns,probably HandysideFoundry


on later composition stonepedestals


£1000-1500

372

A pair of cast iron urns


50cm.; 20ins high

£600-1000

p198-000:Layout 1 08/04/2014 10:36 Page 201


373

375

374

376

373


late 19th /early 20th century

79cm.; 31ins high

£800-1200

374



72cm.; 28ins high

£400-600

375

A pair of steel bomb shapedplanters

mid 20th century

80cm.; 31½ins high

£400-600

p198-000:Layout 1 08/04/2014 10:36 Page 202


377

376

A pair of cast iron urns onpedestals


127cm.; 50ins high

£600-1000

377



58cm.; 23ins, together with asmaller cast iron urn withhandles

£350-550

378

379

378

A rare cast iron basketweave planter



£800-1200

379

A pair of William and Marystyle lead urns

early 20th century

on associated terracottapedestals


£800-1200

p198-000:Layout 1 10/04/2014 16:28 Page 203


380

383

381

382

A large square copperplanter

modern

61cm.; 24ins high by 90cm.;35½ins square

£1200-1800

383



67cm.; 26ins high

£300-500

380

A set of four graduatedcoppers

19th century

with various makers marks

the largest 63cm.; 25insdiameter

£800-1200

381

A large lead ovoid planter

modern

75cm.; 29½ins high by94cm.; 37ins diameter

£1200-1800

382

p198-000:Layout 1 08/04/2014 10:37 Page 204


384

385

386

384

A composition stone poolsurround with York stoneflagging


internal diameter 366cm.;144ins; overall diameterincluding flagging 548cm.;208ins

£2000-3000

385

A carved limestone rivergod fountain mask

modern

40cm.; 16ins high

£300-500

386

A Victorian carved whitemarble fountain

circa 1860

dolphin mouth plumbed forwater

150cm.; 59ins high

£2000-4000

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387

A bronze fountain figure

probably Italian, mid 20th century

dolphin mouth and upturned pitcher plumbed for water,variegated green patination

124cm.; 49ins high

£4000-6000

388

A rare Bromsgrove Guildlead fountain figure of aboy

early 20th century

on composition stonerockwork base

150cm.; 59ins high

The Bromsgrove Guild of

Applied Arts was establishedin 1894 by Walter Gilbertwho took over a foundry inBromsgrove, Worcestershire.It was first involved withdecorative ironwork, but thebusiness soon expanded intoa great many other fields. By1900 Gilbert had gone intopartnership with a MrMcCandlish and had taken

p198-000:Layout 1 08/04/2014 10:38 Page 206


over further premises in thetown which housed bronzeand lead foundries, as well aswood and stone carvingstudios. By 1908 they hadestablished an outlet inLondon, and as a result oftheir most famouscommission, the iron andbronze gates outsideBuckingham Palace, theywere issued with a RoyalWarrant appointing themmetal workers to Edward VII(an honour repeated twoyears later under George V).Unlike the majority of othercontemporary Englishmanufacturers of gardenornaments most of theGuild’s figurative subjectswere modelled in the popularstyles of the day. In 1921the Guild became a limitedcompany, but by this datesome of the members had leftto start companies of theirown. However the Guildcontinued to produce avariety of garden ornamentsfor many years finally closingin 1966.

An identical fountain figurewas situated in theBromsgrove Guild showgarden in Ednall Lane,Bromsgrove and is illustratedin the Bromsgrove Guild AnIllustrated history, edited byQuinton Watt, published1999 by the BromsgroveSociety, page 57.

Literature:

John Davis, Antique GardenOrnament, pp.313-316

£2500-4000

390

A lead fountain

mid 20th century

155cm.; 61ins high

£1200-1800

389

A composition stone fountain

modern

the pineapple finial plumbed for water

140cm.; 55ins high

£1800-2500

p198-000:Layout 1 08/04/2014 10:38 Page 207


391

A small carved limestone wellhead

modern

with wrought iron overthrow

158cm.; 62ins high overall, plinth74cm.; 29ins diameter

£1500-1800

392

A terracotta fountain group of twochildren with an umbrella

late 20th century

umbrella plumbed for water

165cm.; 65ins high

£1500-2500

393

A composition stone wall fountain withlead lion mask plumbed for water

modern


£1500-2500

p198-000:Layout 1 08/04/2014 10:39 Page 208


394

A carved marble Greek style mask

modern

38cm.; 15ins high

£600-1000

396 †

A stoneware fountain byPhilip Thomason

modern

41cm.; 16ins high

£150-250

395 †

A stoneware snail shellwater feature by PhilipThomason

modern

52cm.; 20cm wide

£150-250

397

A Travertine marble wallfountain

Italian, circa 1900

with Rosso Verona marbleinset panel

158cm.; 62ins high

£1000-1500

p198-000:Layout 1 08/04/2014 10:39 Page 209


399

400

400

A small lead fountain groupof a surfer titled Pipeline


the wave plumbed for water,signed Jalenno X

28cm.; 11ins high

£300-500

401

A carved marble waterstoop



£1500-2500

398 †

A carved white marblefountain

modern

after an original at theAlhambra

diameter 260cm.; 102ins,bowl diameter 137cm.; 54ins

£1500-2500

399

A carved marble fishfountain


137cm.; 54ins high

£1200-1800

398

p198-000:Layout 1 08/04/2014 10:39 Page 210


401

403

402

404

403

A cast iron fountain torso


damages

81cm.; 32ins high

This originally formed part ofa larger fountain.

£600-1000

404

A composition stonefountain group

mid 20th century

top bowl plumbed for water

98cm.; 38½ins high

£300-500

402

A Faux Bois compositionstone wellhead overthrow

French 1930’s

124cm.; 49ins high, the base92cm.; 36ins square

£500-800

p198-000:Layout 1 08/04/2014 10:40 Page 211


405

A composition stone seat


249cm.; 98ins long

£800-1200

406

A carved limestone curvedseat

modern

186cm.; 73ins wide

£1000-1500

407

A carved limestone seatwith overscroll arms

modern

200cm.; 79ins long

£1200-1800

p198-000:Layout 1 08/04/2014 10:40 Page 212


408 †

A carved Istrian stonebench

modern

122cm.; 48ins wide

£250-400

409

A painted metal and glassplant stand


180cm.; 71ins high

£2000-3000

410

A Coalbrookdale cast ironstick stand

circa 1870

with lift-out drip tray

stamped Coalbrookdale andwith registration number17442 and diamondregistration stamp


£800-1200

410

408

409

p198-000:Layout 1 10/04/2014 11:32 Page 213


411 414

412415

413

411

A pair of Lutyens style teakseats


169cm.; 66ins wide

£800-1200

p198-000:Layout 1 08/04/2014 10:41 Page 214


412

A painted teak ship breakers seat

with brass plaque inscribed made byHughes ship breaking, Blythe,Northumberland with timberremoved from HMS Powerful

137cm.; 54ins wide

£200-400

413

A matched pair of oak and teakseats

mid 20th century

150cm.; 59ins long

£300-500

414

A Lutyens style teak seat

modern

184cm.; 72ins long together with acoffee table, 93cm.; 37ins long

£400-600

415

A suite of teak furniture

comprising table and four foldingchairs

table length 176cm.; 69ins long by106cm.; 41½ins wide

£400-600

416

A Chair designed for the 1947 Ideal Home Exhibition

Wood

Unique

120cm.; 47ins high by 160cm.; 63ins wide by 40cm.; 16insdeep

£2000-4000

Made to incorporate the two C’s of the Craft Council, in 1947when Gordon Russell was chairman of the council.

p198-000:Layout 1 10/04/2014 17:06 Page 215


417

Nigel Ross

Riorus

Ash

Unique

178cm.; 70ins long by 65cm.;25½ins wide


£4000-6000

418

Kleng Keng

Throne

Carved Hardwood Roots

Unique

113cm.; 44½ins high by110cm.; 43ins wide by 78cm.;30½ins deep

£1200-1800

p198-000:Layout 1 08/04/2014 10:42 Page 216


419

Gerrit Thomas Rietveld, (1888 - 1964)

Red and Blue Chair

Laminated Wood

Sold with original label from theCassini Furniture firm whoproduced and edition of 2000 ofwhich this is numbered 1917,which coincidentally is the yearof is original design.

In the foot note take our theparagraph beginning with Theeffect of and ending structure.

1980s

88cm.; 34½ins high by 80cm.;31½ins wide by 66cm.; 26insdeep

Gerrit Thomas Rietveld(1888–1964) was a Dutchfurniture designer and architect.One of the principal members ofthe Dutch artistic movementcalled De Stijl, Rietveld is famousfor his Red and Blue Chairwhich was designed in 1917 andrepresents one of the firstexplorations by the De Stijl artmovement in three dimensions.

The original chair wasconstructed of unstained beechwood and was not painted untilthe early 1920s. Fellow memberof De Stijl and architect, Bart vander Leck, saw his original modeland suggested that he add brightcolours. He built the new modelof thinner wood and painted itentirely black with areas ofprimary colors attributed to DeStijl movement.

The Museum of Modern Art, whichhouses the chair in its permanentcollection, a gift from Philip Johnson,states that the red, blue, and yellowcolors were added around 1923.

£2000-3000

p198-000:Layout 1 10/04/2014 17:08 Page 217


422

An unusual sheet metalhyena table


113cm.; 44½ins wide

£300-500

420

Alun Heslop

Sanfrancisco 3.3 Stools with surprises below

Elm, Ash, Gate, Orange, Bay Blue

52cm.; 20½ins high by 34cm.; 13½ins wide by34cm.; 13½ins deep

£800-1200


421

Alun Heslop

Walnut top and Cherry legs

86cm.; 34ins high by 123cm.; 48½ins wide by47cm.; 18½ins deep

£800-1200

p198-000:Layout 1 10/04/2014 16:31 Page 218


423 †

Garden armchair

Stainless steel

90cm.; 35ins high

£1000-1500

424 †

Garden armchair

Stainless steel


£2000-3000

425 †

Garden Armchair

Stainless steel

98cm.; 33½ins high by 88cm.; 34½ins deep

£1000-1500

p198-000:Layout 1 11/04/2014 11:16 Page 219


426

Ian Stoney

C.H.A.I.R.

Stainless Steel

Unique


Ian studied Fine Art(Sculpture) at WinchesterSchool of Art, graduating in2011. He was selected for theAffordable Art Fair’s recentgraduate’s exhibition in 2011,showing his piece Synthesisat both Battersea andHampstead shows. He hassubsequently worked oncommissions for a variety ofinternational privatecollections. He currentlylives in London and works asa welder in a sculpturefoundry.

£2000-3000

427

A Coalbrookdale Fern and Blackberry pattern cast iron seat

circa 1870

stamped CBDale and with model number and diamondregistration

150cm.; 59ins long

£1000-1500

p198-000:Layout 1 08/04/2014 10:42 Page 220


428

A wrought iron games seat

early 20th century

122cm.; 48ins long

£400-600

429

A similar wrought irongames seat

early 20th century

123cm.; 48ins long

£400-600

430

A reeded wrought iron seat

mid 19th century

160cm.; 63ins long

£1000-1500

p198-000:Layout 1 08/04/2014 10:43 Page 221


431

432

433 one of a pair

431

A Fiske foundry suite ofFern and Blackberry castiron furniture

American, late 19th century

comprising seat and twochairs

the seat 140cm.; 55ins long

Joseph Winn Fiske establishedan ornamental ironworks in1858. The firm grew quicklyand made all manner ofproducts in cast iron, zinc,wirework and wrought iron.The company specialised ingarden ornament but sadlynot all items were stamped. Itis believed that the Companyceased to trade in 1933.

£1200-1800

432

A pair of Fern andBlackberry pattern cast ironseats

mid 20th century

152cm.; 60ins long

£800-1200

433

A pair of Coalbrookdalestyle Serpent and Grapepattern seats


160cm.; 63ins long

£400-600

434

A reeded wrought iron seat

mid 20th century

restorations

110cm.; 43ins long

£600-800

434

p222-000:Layout 1 08/04/2014 11:20 Page 222

FOR EXTRA IMAGES GO TO www. s umme r s p l a c e a u c t i on s . c om • 2 2 3

435

A Regency reeded wroughtiron seat

early 19th century

147cm.; 58ins long

£2000-3000

436

An Arras wrought iron seat

early 20th century

with maker’s plaque

200cm.; 79ins wide

£1800-2500

p222-000:Layout 1 08/04/2014 11:20 Page 223

224 • SCULPTURE & DE S IGN FOR THE HOUSE & GARDEN S EALED B ID AUCT ION 2 1 S T MAY 2 0 1 4

437

A rare Macauley and Wade Foundry cast ironFour Season

circa 1870

with diamond registration stamps

188cm.; 74ins

old restorations

The design of this seat, number 240338 wasregistered and patented at The Public RecordOffice by Morgan, Macauley and Wade, TheBath Works, Rotherham on 5th April 1870

£2500-4000

438 439

437

p222-000:Layout 1 10/04/2014 16:36 Page 224


439

A similar strapworkseat with treillagecanopy

£2000-4000

440

A wrought iron bench

modern

120cm.; 47ins long

£500-800

441

An unusual wrought ironand wirework swing seat

English, modern

the frame incorporating a19th century wirework buggyseat with makers plaquestamped Pickin & Son,Birmingham Royal letters patent

260cm.; 102ins wide by150cm.; 59ins wide

£2500-4000

438

A wrought ironstrapwork circularseat

English, modern

with treillage canopy

266cm.; 105ins high by182cm.; 72ins diameter

£2000-4000

440

441

p222-000:Layout 1 08/04/2014 11:20 Page 225


442

A suite of wrought iron andupholstered furniturecomprising table and sixchairs

1970’s

shaped rectangular glassetched with foliage

209cm.; 82ins long

£800-1200

443

An unusual wrought ironreclining swing chair

early 20th century

£800-1200

444

An unusual carvedsandstone water table

Indian, 19th century

on three supports

181cm.; 71ins wide

£500-800

445 †

A set of three shiva lingumstones

Indian

on wooden bases

31cm.; 12ins high

£500-800

446

A carved granite stormlantern

Japanese, mid 20th century

76cm.; 30ins high

£300-500

447

A carved granite kasugelantern

Japanese, mid 20th century

164cm.; 65ins high

£600-1000

442 442

443

p222-000:Layout 1 10/04/2014 16:38 Page 226


444

445

447446

p222-000:Layout 1 08/04/2014 11:21 Page 227


448

An anodised iron and chromearmillary sundial on limestonepedestal

modern

183cm.; 72ins high

£1500-2500

449

A Portland stone sundial

early 20th century

with bronze dial

adapted

120cm.; 47ins high

£1000-1500

450

An unusual Georgian style carvedPortland stone sundial

early 20th century

with allegorical scenes probablyrepresenting the seasons, the circular12ins bronze plate signed DavidPullen, Londini, Fecit and bearing thedate 1734 and with a coat of arms

115cm.; 45ins high

£2000-3000

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453

A carved limestone and copper armillary sundial

modern

on stepped base

196cm.; 77ins high, plinth 130cm.; 51ins diameter

£3500-5000

452

A carved marble sundial

1930’s

with later bronze plate


£600-1000

451

A Bath stone cast iron andcopper armillary sundial

made-up

173cm.; 68ins high

£1600-1800

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454

A stainless steel armillarysundial by David Harber

with latitude and longitude

calibrated with hours andworld locations and entitledThe Round House

155cm.; 61ins high

£800-1200

455

A composition stone andiron armillary sundial


170cm.; 67ins high

£500-800

456

A granite sundial withassociated 10inch bronzedial

signed T Blunt Cornhill London


Reputedly formed from oneof the balusters of LondonBridge

£400-600

457

A composition stonepanelled pedestal



£300-500

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458

A pair cast iron urns


now mounted on carvedPortland stone balusterpedestals


£250-400

459

A rare slate wall sundial

probably Welsh, 19th century

with iron gnomon


£800-1200

460

A pair of Victorian graniteand white marble columnpedestals

late 19th century

123cm.; 48ins high

Four further pedestalsavailable by separatenegotiation.

£1500-2500

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461 & 462 463 & 464 465 & 466

461

J Tarron: A carved whitemarble portrait bust of agirl

signed J Tarron and dated1888

58cm.; 23ins high

£500-800

462

A pink Scagliola columnpedestal

early 19th century

diameter 25cm.; 10ins by95cm.; 37ins high

£800-1200

463

After Scheemakers: A carvedwhite marble bust ofWilliam Shakespeare

early 19th century

66cm.; 26ins high

£1500-2500

464

An ebonised and greenScagliola column pedestal

early 19th century

diameter 30cm.; 12ins by130cm.; 51ins high

£1200-1800

465

A carved white marbleportrait bust of a gentleman

mid 19th century

70cm.; 27½ins high

£700-1000

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466

A Sienna Scagliola columnpedestal

early 19th century

diameter 28cm.; 11ins by117cm.; 46 ins high

£1500-2500

467

A carved white marble bustof Caeser Augustus


Bust 43cm.; 17ins high, onassociated white marblecolumn pedestal


£1000-1500

468

A carved white marblegroup of a young satyr

Italian circa 1900

restorations

83cm.; 33ins high

£1500-2500

467 & 466

468

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469

Joseph Gott: A carved marblegroup of a young boy with awhippet

mid 19th century

damages

84cm.; 33ins high

Joseph Gott (1786-1860) JosephGott was apprenticed to JohnFlaxman for two years. In 1805he joined the Royal AcademySchools winning a Silver Medalin 1806 and a Gold Medal in1807.

He spent the majority of hisworking life in Rome where hewas commissioned by a largenumber of wealthy Englishpatrons engaged on the grandTour, including The 6th Duke ofDevonshire.

As well as executing a largenumber of portrait busts,funerary monuments andreligious sculpture, Gottspecialised in the depiction ofdogs, especially greyhounds as inthis group. This is almostcertainly one of the versions ofthe “Boy with a basket, playingwith a greyhound”, listed asbeing sculpted in 1853,originally in the collection of JE Duboys with another laterversion in the Musee des BeauxArts, Angers in 1882 .

Literature; BiographicalDictionary of Sculptors in Britain1660-1851, Ingrid Roscoe, 2009,pp541-547

£2000-4000

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471

A cast iron lawn jockey

American, early 20th century

119cm.; 47ins high

Lawn jockeys were popular inthe United States where theywere placed in yards to eithertether horses, as in theseexamples which have

tethering rings, or holdinglanterns. They are usually oftwo piece construction whichis typical of the castingtechnique of Americanfoundries who diversified intomaking cast iron gardenfigures and animals followingcannon and armamentproduction during theAmerican Civil War. Theywere often painted with theowners racing colours and thebalcony of the 21 Club inNew York City is adorned

with 33 lawn jockeys. The‘21’ was home to the affluent‘horsey’ set as far back as theearly 1930s. To impart theirpersonal stamp on thespeakeasy-turned-restaurant,many breeders begandonating jockeys as symbolsof their private horse farms.Today, many of the brightlypainted figures represent thecountry’s most prominentstables.

£700-1000

470

A carved white marbleportrait bust of George IV

circa 1830

on associated base

72cm.; 28ins high

£800-1200

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473

A rare cast iron family ofdeer

American, 2nd half 19thcentury

comprising buck, doe andfaun

the buck 160cm.; 63ins highby 122cm.; 48ins long

£5000-8000

472

A composition stonereclining deer

modern

with lead antlers


£500-800

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474

A set of four substantial carved limestone musicians on pedestals

Italian, mid 20th century


£12,000-18,000

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475

A monumental carvedlimestone bear


236cm.; 93ins high

£1500-2500

476

A stoneware group of a boyand dog

circa 1900

91cm.; 36ins high

£600-1000

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477

A carved limestone eagle

Italian, 2nd half 20th century

175cm.; 69ins high

£500-800

478

A pair of carved limestone figuresrepresenting Summer and Autumn

Italian, 2nd half 20th century

165cm.; 65ins high

£4000-6000

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479

A carved veined marble torso in theantique style

modern

86cm.; 34ins high

£4000-6000

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480

A pair of carvedlimestone putti planters


120cm.; 47ins high

£4000-6000

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481

A Romanesque carvedsandstone reclining lion

possibly Northern European14th century


£3000-5000

482

An unusual carvedlimestone monkey

late 19th century

47cm.; 18ins high

£400-600

483

A carved stone duck

early 20th century

49cm.; 19ins high

£400-600

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484

A pair of composition stonelions

mid 20th century


£1200-1800

485

A pair of stoneware pelicans

early 20th century

damages

92cm.; 36ins high

Although not stamped, theseare very similar in style tothose produced by Doultonin the early years of the 20thcentury.

£600-1000

486

A pair of composition stoneclassical caryatids


210cm.; 83ins high

£800-1200

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487

488

489

490

p222-000:Layout 1 08/04/2014 11:28 Page 244


487

After Roubiliac: A terracottasleeping cupid

late 20th century

on York stone base

the group 43cm.; 17ins highby 72cm.; 28½ins long

£1000-1500

488

After the Antique: A Pompeian style lead deer

mid 20th century

92cm.; 36ins high by 83cm.;32½ins long

£1500-2500

489

After John Bell: A pair oflead whippets oncomposition stone bases



£600-1000

490

A rare JP White bronze satyr

circa 1930

mounted on a Westmoorlandstone outcrop


Although the firm of JPWhite based at the Pyghtleworks Bedford were primarilyknown for leadwork anddecoration they alsoproduced a limited range ofsmall bronze figures such asthis one is illustrated in their1935 catalogue p.14.

£800-1200

491

After the Antique: A pair of bronze Pompeian deer

Italian, modern

on limestone pedestals

overall 142cm.; 56ins high

£3000-5000

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492


mid 20th century

110cm.; 43ins high

£400-600

494


early 20th century

117cm.; 46ins high

£500-800

495

A lead figure of an Egyptian

early 20th century

80cm.; 31½ high

£500-800

493

A monumental terracottafigure of a Romancenturion

late 19th century

170cm.; 67ins high

Provenance:

By repute removed from the parapet of a building in the Strand, London

£3000-5000

494

495

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496

David Goode

Snail Maker

Bronze, variegated greenpatination, signed DavidGoode, 1995

86cm.; 34ins high

Aged 18, David trained at TheSir Henry Doulton School ofSculpture, specialising inportrait and figurativesculpture. In 1988 David

became a portrait sculptor atthe London Studios ofMadame Tussauds, theyoungest sculptor ever offeredsuch a position, and for sixyears travelled the world forsittings with many famousfigures - some of his mostnotable works for Tussaudsinclude Freddie Mercury, JoanCollins, Madonna, MichaelJackson, Ronald Reagan andYasser Arafat.

£3000-5000

497

David Goode

Sneakweed

Bronze, variegated green/brownpatina

Signed David Goode 199811/50

117cm.; 46ins high oncomposition stone pedestal173cm.; 68ins high overall

£3000-5000

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498

David Norris

Landing Mallards

Bronze, Cast 1987

Signed

240cm.; 94½ins high by240cm.; 94½ins wide by

150cm.; 59ins deep

David Norris studiedsculpture at The RoyalAcademy Schools, winningthe silver medal forportraiture, two bronzemedals and the covetedLandseer prize. Works rangefrom large to small, in the

round and relief, in bronzeand precious metals. Hissubject matter concentrateson the human form andwildlife.

Many works have gone out tothe Middle East. The tallest isa 3 meters high “MallardLanding” fountain for the

Royal Palace Ruwi, whilst thesmallest is designing coinagefor the Oman.

David Norris is a Fellow ofthe Royal Society of BritishSculptors

£20,000-30,000

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499

David Cooke, Born 1970

Leaping and Landing Hare

Bronze, Edition of 9

Signed

95cm.; 37½ins high by91cm.; 36ins wide by 30cm.;12ins deep (landing Hare)

David Cooke has been aprofessional wildlife artistsince graduating in 1992from Leeds MetropolitanUniversity with a degree in3D Design. He grew up inEast Anglia with ready accessto clay thanks to his motherRosemarie Cooke, who is alsoa ceramic sculptor. David hasbeen based at SculptureLounge Studios in Holmfirthsince 2005, and has beenrunning ceramic workshopsthere with BrendanHesmondhalgh since 2006.He regularly exhibits at someof the major UK ceramic andwildlife art shows, such as ArtIn Clay at Hatfield House,Potfest In The Park, Penrithand the annual Society ofWildlife Artists Exhibition atthe Mall Galleries in London.

£6000-8000

500

Vanessa Pooley (born 1958)

Laid Back Balancing Act 1991

monogrammed, dated,numbered 1/6 and withindistinct foundry stamp


Vanessa graduated fromNorwich School of Art with aBA in Fine Arts followed by a post graduate diploma inSculpture from the City andGuilds, London. Exhibitionsinclude; Royal British Societyof Sculptors

Chelsea Flower Show,Thompsons Gallery, London

Voicing Visions - EightyLeading Norwich Artists andPoets Combine, Norwich,Norfolk.

£1000-1500

501

Dan Zaretsky

Bird 1994

Bronze

20cm.; 8ins high

£80-120

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502

Toni Fabris

Comparison

1980

Bronze, with dark brown patina


Toni Fabris was born on the 10May 1915 at Bassano DelGrappa. He studied at theLiceo Artistico and theAccademia di Brera in Milanunder Francesco Messina. In1966 he was invited to show agroup of his works at the 33rdVenice Biennial. In the sameyear, he was invited with five

other Italian artists to exhibit atthe Palazzo della Gran Guardiaat Verona. All of the Fabrispieces in this sale were made inthe 1970’s and show aprogression from his earliermore zoomorphic style into amore angular approach

Literature:

Toni Fabris: Sculpture from 1959-1967 by Agnoldomenica Pica,Edizioni del Milione, 1968.

£1500-2500

The following 8 lots were collected by the late Walter Fontanaduring the 1960s-1980s. He was a senator of the Italian Republicand President of the Italian/Chinese Chamber of Commerce. All ofthe bronzes have recently been given a coating of dark beeswaxwhich in some cases has obscured the original verdi gris patena.

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503

Toni Fabris

“Ventaglio” (Fan)

1979

Bronze

Signed T Fabris 1979

175cm.; 69ins high by112cm.; 44ins wide by67cm.; 26ins deep

This lot is being soldwith a black and whitephotograph certified bythe sculptors son LuigiFabris.

£2000-4000

504

Toni Fabris

“Grande incontro” -(big meeting)

1977

Bronze


This lot is being soldwith 2 black and whitephotographs onesigned by the sculptorsson Luigi Fabris

£2000-3000

505

Toni Fabris

Expansion

1971

Aluminium

340cm.; 134ins high by 180cm.;71ins long by 55cm.; 21½ins wide

This lot is sold with a monograph onthe piece including conceptualphotographs from the Galleria d’artCortina with an appreciation by RobertSanesi together with a black and whitephotograph of the piece certified bythe sculptors son Luigi Fabris.

This piece was acquird by the WalterFontana collection in 1974.

£4000-6000

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506 508

507

506

Anon: Sleeping man

1980’s

Bronze

with indistinct inscription


£600-1000

508

Anon: A bronze stylised dog

circa 1980


£1500-2500

507

Guido Lodigiani

“Chiamato all vita” (Called tolife)

Vicenza stone

Signed Guido Lodigiani 1988

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

This lot is sold with aphotograph signed by thesculptor. It was exhibited atthe Villa Gabrielli in anexhibition in 1988 entitled “II materiale e la forma”.

£1200-1800

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509

Luigi Broggini (1908-1983)

Cavallo “horse”

1966

Bronze, now with dark brown patina

Signed Broggini and foundry stamp Cu-bro Novate

244cm.; 96ins high by 250cm.; 98ins longLuigi Broggini was born in 1908 and studied at the Accademiadi Berera in Milan under Adolfo Wildt other sculptorspatornised by Walter Fontana who also attended theAccademia de Berera including Toni Fabris see lots 502-5.

His first sculptures date back to 1928 and his first exhibitiondemonstrated his impressionist style, which he developed overthe years, often producing over life size pieces as in the presentpiece. His most well known work was the famous six leggeddog which he designed as the logo for the AGIP, the Italian oilcompany. The six legs represent the four wheels of the vehicletogether with the two legs of the driver.He exhibited at the XXV Internazionale Biennale in Venice1950. Primio Fila 1956 works by Broggini figure in museumsand private collections in Italy and elsewhere. This lot is beingsold by a catalogue of Broggini’s works by Alfonso GattoEdizioni delle Ore, Milano 1977 sold with a photograph of thepiece signed by the sculptor and a certified Broggini archivepicture of the piece.

£5000-8000

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510

Victor Halvani, Born Egypt,1930

Hope

Bronze

Signed and Numbered 4 froman Edition of 6


Victor Halvani was born inEgypt to a traditional Jewishfamily. His works reflect hischildhood interest andpassion for ancient Egyptianart, and the beauty andspirituality inspired byBiblical stories. He studied atthe Zamalek Academy of Art,Cairo, and won scholarshipsto further study at the BezalelAcademy of Art, Israel, andHammersmith College of Art,

London. (MA, Sculpture).He has taught and lecturedon Sculpture at Tel Aviv andHaifa Universities, and wasinstrumental in the foundingof Art Learning Programs andArt Workshops in Israel. Hehas also developed a self-titled sculpture park, artist’scolony and foundation inSafed, Israel.Halvani was elected to

represent Israel at theInternational Exposition ofSculpture in Paris, andparticipated in the 2ndBiennial of Sculpture in Israelat the Museum of ModernArt, Haifa. His work has been exhibited,and is held in collections inthe USA, Canada, Japan,Israel, France and London.

£20,000-30,000

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511

Bushra Fakhoury ARBS

The Bell Ringer

Bronze

Signed

53cm.; 21ins high by 58cm.; 23ins wide by 22cm.; 8½ins deep

Bushra Fakhoury studied Art and Education in Beirut and atLondon University where she obtained her PhD in Art-Education in 1983.

Bushra Fakhoury’s work has deep roots in the Hellenisticculture of the Levant, but has also leans to the neo-expressionist art of Europe. Her work shows a steady search fordynamic form, often ironic and grotesque, but invariablyopulent and vehement.

Bushra has been living and working in London since 1979 andexhibits regularly with a number of galleries in the UK & USA.She undertakes commissions and large public sculptures.

£3000-4000

512

Won Lee

Sisyphus

Bronze

Signed 3 of 8


Won Lee studied for aBatchelor of Fine Artsdegree at PepperdineUniversity, Los Angeles,before being awarded aMasters in Fine Art atJohnson State College,in Vermont, USA.

He has exhibited widelyin Toronto, Canada aswell as Mexico and theUnited States.

£3000-5000

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513

516

514 515

513

Stefan Szabo, Born 1978

Woodcutter

Bronze on Slate

Unique

15cm.; 6ins high by 19cm.;7½ins wide by 11cm.; 4½insdeep

£1200-1800

514

Zack Zaltman

Human Form 1989

Signed, dated and numbered1/4 on ebonised base

122cm.; 48ins high

£1200-1800

515

Nicola Godden (born 1959)

Amourette 1993

Edition 7 of 9

Signed and numbered

on wooden base

29cm.; 11½ins high

£400-600

516

Philip Hearsey, Born 1946

Avian I

Bronze



£800-1200

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518517

517

Ann Vrielinck, BornBelgium, 1966

Listen

Bronze

Signed and numbered 7 of 49


Ann Vrielinck was born inVarsenare, Belgium in 1966.She was educated at theAcademy of Fine Arts inBruges, then obtained ahigher degree in Paintingfrom the Sint-Lucas Institutein Ghent after four years ofstudying with the Dan VanSeveren Studio. Vrielincksubsequently completedfurther courses in restorationof paintings and ceramics,then obtained a teachingdegree which has led her backto lecturing at the Academyof Fine Arts. Much of herwork is based around ballet,dance and movement.

£6000-8000

518

Nicola Godden (born 1959)

Sylphidine 1988

Bronze

on ebonised base

Signed and numbered 1 of 9



£3000-5000

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521

522

519

520

519

Geraldine Knight, 1933 - 2008

Pigeons

Bronze


75cm.; 29½ins high by 40cm.; 16ins wide by 32cm.;12½ins deep

Born in 1932 Geraldine Knight studied at theBrighton College of Art; 1949-1952 and then at theRoyal Academy Schools; 1952-1956. After training tobe a sculptor, Geraldine Knight was awarded the Prixde Rome scholarship, enabling her to spend two yearsin Italy. She has produced a variety of sculptures andarchitectural decoration, as well as portrait busts andpublic sculpture as well as working on stage sets andcontributing to building restoration projects. Her lifesize bronze animals include a flock of sheep, exhibitedat the Royal Academy summer exhibition of 1986.From 1960 she taught life drawing and sculpture atthe Sir John Cass School of Art, Twickenham Collegeof Technology and Kingston College of Art.

£2000-3000

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520

John Farnham

Seal 1990

Soapstone

on ebonised base

17½cm.; 7ins long

£80-120

521

Eve Shepherd ARBS SPS, born1976

Cow Boy

Bronze

Signed and Numbered from anedition of 7

23cm.; 9ins high by 9cm.; 3½insdeep

Eve attended the Chelsea Collegeof Art and is currently an electedmember of both The Society ofPortrait Sculptors and The RoyalSociety of British Sculptors.

Exhibiting in places as far afield asSingapore, Israel and Cape Town,Eve’s work has also been seen in avariety of UK locations includingThe Biscuit Factory, The HattonGallery, The Mall Galleries,Sotheby’s, Winchester Cathedraland Cork St London.

£2000-3000

522

Eve Shepherd ARBS SPS, born1976

Lion King

Bronze


15.5cm.; 6ins high by 8cm.; 3insdeep

£2000-3000

524

Edmond Moirignot, French1913-2002

Femme Accroulie

Bronze

Signed and Numbered 2 froman edition of 6

44cm.; 17½ins high by62cm.; 24½ins wide by32cm.; 12½ins deep

£2000-4000

523

Neil Willis

Reclining Figure

Bronze, 1 of 1

28cm.; 11ins high by 78cm.; 30½inswide by 38cm.; 15ins deep

£1500-2500


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525

526527

525

Donald Potter, 1902-2004

Study of a Fox

Carved Wooden Sculpture onIntegral base

Unique


Donald Potter was born nearSittingbourne, Kent. Hejoined the Cubs at the age ofeight and became a keen

City and Guilds of LondonInstitute for teaching and firstrecipient of the President’sAward for a City and Guildsteacher 2003

Liveryman of WorshipfulCompany of Carpenters 2008

QUALIFICATIONS

Associate member of theRoyal British Sculptors’Society.

Certificate of Merit, City andGuilds London Art School1966-68

PGCE London 1964

MA Cantab 1962

£800-1200

527

Brian Willsher (1930-2010)

Abstract Composition

Wood Carving

Unique


£400-600

participant in the scoutingmovement.

He started his wood carvingcareer making totem poles,gates and gateways and verysoon came to the attention ofRobert Baden-Powell, thehead of the scouts. He spentsome time camped at Baden-Powell’s house at Pax Hill,Hampshire where he andundertook carvingcommissions for him, usingvery old fallen oaks, said to

be 1,200 years old. For the1929 World Jamboree, Potterdesigned totem poles for theBritish Dominions ofAustralia, Canada, India,South Africa and NewZealand.

Potter studied under Eric Gillfor six years, and spent hislater career teaching atBryanston School, Dorset,where, as one of his pupils,Sir Terence Conran wasinspired by him.

£800-1200

526

Dick Onians

Curly

Wood

Unique


Educated at Merchant TaylorsSchool and Trinity College,Cambridge, after teaching fora number of years, heenrolled at the City & GuildsLondon Art School atKennington to study carvingand sculpture under WilliamWheeler. Dick returned toteach at the City & GuildsLondon Art School in 1978and has been senior tutor inthe woodcarving departmentsince 1985.

AWARDS

Medal of Excellence from the

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528

Dominic Clare

Black Copper 1994

Elm and copper

45cm.; 17¾ins high

Dominic Clare was Born inAddis Ababa, Ethiopia in1963. He followed a degreecourse in Fine Art at LeedsPolytechnic, and from 1982to 1983 was assistant to thesculptor David Nash. Hespent four years at the BristolSculpture Shed before movingto live in Wales in 1991.

Dominic gathers local woodor sometimes works with steeland slate. At home toorummaging in scrapyards andon the beaches, as much as inthe woods, his ability totransform the salvaged intosomething other, richer, rarerand new, is a testament to hisindividual observations andsensitivity to theenvironment and its detritus.

£300-500

529

Simon Benetton, born Italy 1933

Polarita, Steel

Signed, Unique

158cm.; 62ins high

Simon Benetton was born inTreviso in 1933. He studied atthe Academy of Fine Arts inVenice, and has taught at theAcademy of Fine Arts inMacerata, Italy.

He has exhibited in Italy,Germany, France, England,Spain, Finland, United States,Brazil, China, Austria, Japan,Poland, Czechoslovakia, andBelgium. In 2002 his work“Source of Harmony” wascommissioned and placed atthe stadium entrance for theFootball World Cup in Japan.

£2000-3000

530

Lata Upadhyaya

Reflecting Beauty 3

Copper

36cm.; 14ins high by14cm.; 5½ins wide

Born and raised inIndia, Lata currentlylives and works in theUK. Lata is a visualartist that specialisesin contemporarysculpture and hascompleted masters inFine Art in both Indiaand London. Her workis held in privatecollections throughoutEurope, India andKorea and she travelsextensively andparticipates inInternational artistsresidencies throughoutthe world. The circularmotifs in both thepieces in this salerepresents how thingswhere, how theychanged and howthey have returned tonatural states of whatthey were, beforeLata’s transitionaljourneys to the west.

£800-1200

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532531

531

Jilly Sutton

Off Shore Wind

Limestone Resin

Edition of 9


Jilly Sutton studied at ExeterCollege of Art, and is now afull-time sculptor, drawingher inspiration from the artforms and carvings sheencountered while living inNigeria, and now from theancient trees and woodland

around her home and studioin Devon.

She carves felled trees ordriftwood, creating mostlyfigurative works that hold anevocative beauty and a senseof tranquillity that is at oddswith the size and toughnature of the materials used.The final pieces aresometimes sandblasted at thelocal boatyard to enhance thetexture of the woods grainand finished with limewashpigments, and many of herworks have been cast inbronze or stone resin.

Her portrait of poet laureateAndrew Motion is part of the

National Portrait Gallery`spermanent collection. Shehas exhibited and sold hersculptures around the worldin both public and privatecollections.

£2000-3000

532

Jilly Sutton

Harlequeen

Limestone Resin

Edition of 9


£2000-3000

533

Philip Hearsey, Born 1946

Hawk

Bronze

Signed from an edition of 12

26cm.; 10ins high by 8cm.;3ins wide by 8cm.; 3ins deep

£800-1200

534

Richard Cresswell

Dendrite

Stainless Steel

Unique

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533

534

535

Richard Cresswell

Hanging Zeppelin

Copper Wire, Unique

98cm.; 38½ins high by33cm.; 13ins diameter

£1200-1800

170cm.; 67ins high by 55cm.; 21½inswide by 55cm.; 21½ins deep

Cresswell has a background in designand engineering, prior to his decision totake a career break and study art atWarwick College of Art andBirmingham City University.

His abstract work has always been large,and based on the outdoors, as much ofhis inspiration comes from the naturalworld of plants, trees and the landscapearound him.

His love of the curves and shapes that

are omnipresent in nature, in rivers, rocks, theclouds or the human body is clearly reflectedwithin the style of his work.

Essentially a maker, with a hands-on attitude,Cresswell has worked with a wide variety ofmedia including ice, string, air, photography,video as well as the more traditional wood andmetal, and it is these that he feels most at homewith - his understanding of these materialsallows him the freedom to do almost anythinghe wishes with them.

His current work has seen a shift of emphasis,with metal being the medium of choice as heis not constrained by the size and shape oftimber, and his recently developed metal tiletechnique allows him to work in beautifulorganic three dimensional curves.

£3000-5000

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536

536

Penny Hardy

Blown Away

Mild Steel

Series 3 of 5


Penny studied for afoundation degree at ChelseaSchool of Art, followed by anhonours degree fromMiddlesex Polytechnic inScientific Illustration. She hasworked as a freelanceillustrator for the RoyalBotanic Gardens at Kew, andas a graphic designer beforeturning to sculpting full-time.

Her dance figures expressorganic forms as tensile

elements and are inspired bythe dynamic forms ofcontemporary dancers. As inthis figure, Blown Away, sheuses the flexible, sinuouswrought mild steel to createthe dancer’s raw and exposedmovement as well as theblowing wind by leaving outa lot of mass within thesculpture in which a vision ofmovement is created.

£4000-6000

537

Edward Stein

Big Bang

Bardiglio Carrara Marble

Late 20th century

Unique, Signed


£6000-8000

537

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538

Antony Poels, Born 1950

Cards

Nickel Plated Steel

Unique

104cm.; 41ins high

Antony Poels was born in 1950in Surrey and studiedsilversmithing, design andmanufacture at the Sir JohnCass College. He went on toform his own company‘Honiton Silverware’,designing and making items insilver, bronze, porcelain andpewter for many companiesincluding Royal WorcesterPorcelain and Tiffany. Onmoving to Malvern in 1978,his company progressed to themanufacture of fine qualityreproductions, mainly ofclassical works of art and formany years he reproducedclassical sculptures for AnthonyRedmile in London, many ofwhich were seen in televisionand film productions, notablythe Caesar busts in the film‘Gladiator’.

Having completed a memorialto Diana, Princess of Wales atBurghley House, Stamford, hewas commissioned to designand build the Daniel LambertJump and the Greylag Goosewater jump for the Horse Trialsthere - these are exhibitedannually.

He has also worked closelywith the world famous gardendesigner George Carter,creating many of theautomatons and sculptures in

the highly acclaimed Gardenof Surprises at Burghley House.

£3000-4000

539

John Nicholls

Curbing Form, Portland Stone

Unique, Signed

40cm.; 16ins high by 25cm.;10ins wide by 15cm.; 6ins deep

£800-1200

540

Michael Thacker, Born 1977

Lunar

Lincoln Limestone and GoldLeaf

Unique

80cm.; 31½ins high by 22cm.;8½ins wide by 18cm.; 7insdeep

After studying sculpture atLoughborough University,

Michael went on to studystone masonry and gained ajob as a stone carver andmason at Lincoln Cathedral.The professional skills that hehas acquired over the yearshave given him a deepknowledge and affinity of thetechnical side of the stone thathe works so beautifully with.The architectural influence ofhis working environment isapparent in his geometricsculptures.

Michael also uses referencesfrom natural forms such asseedpods, shells fossils andplant buds. The idea that aform develops and grows fromwithin a hard casing to burstforth and reveal a newappearance is paramount in histhought process. Heunbalances the original and

juxtaposing taut polishedgeometric forms againstroughly textured organicshapes that emerge fromwithin.

His more recent workillustrates his new investigationinto using light and as in thisexample, using the simple actof gilding to reflect oraccentuate light or create aglow that exudes from thecentre of the stone in anotherwise shadowed area.

£2000-3000

538

539

540

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541

542

541

Paul Lewis

Matilda and Partner

Bronze on Salvaged Section ofOld Brighton Pier

Unique


£6000-8000

542

Lynn Warren

Thought Wave

Bronze



£3500-4500

543

Stephen Charlton

Mouse Skater

Bronze, from edition of 9

120cm.; 47ins high by100cm.; 39½ins wide by70cm.; 27½ins deep

£8000-12000

544

Pete Rogers

I See The Moon

Stainless Steel

Unique


Pete Rogers originally trainedin shipbuilding andengineering. He has beenworking as a sculptor since1999 engaged in public art aswell as his own work. Petecompleted an MA in 2009.

£4000-6000

p248-000:Layout 1 08/04/2014 12:01 Page 266


543 544

p248-000:Layout 1 08/04/2014 12:01 Page 267


545

546

547

545

Armando Varela

Couple, Bronze

Signed AV 1 of 9


£1200-1800

546

Anon: Loving Couple


alabaster, on hardwood base

60cm.; 23½ins high

£400-600

548


Allium

Stainless Steel


Ruth studied a Foundation inArt and Design at ManchesterMetropolitan University, andcontinued onto a BA Honourscourse in Fine Art (Sculpture)and then a Masters degree inArt as Environment. She haswon numerous awards,including the AHRBPostgraduate Professional andVocational Award to studyher MA, the North West ArtsBoard, Setting Up SchemeAward and Placement in2001-2003 and Best BespokeAccessory for ‘Allium’ in theDesign and DecorationAwards 2004.

She exhibits at numerousprestigious solo and groupexhibitions throughout theUK and has completedcommissions for KewGardens, The Oasis of theSeas cruise ship, and manyluxury hotels, public gardensand commercialdevelopments.

Moilliet produces highlyfinished metal and glasssculptures inspired by theplant kingdom. In her workshe aims to draw the viewer’sattention to both the overallspectacle and individualbeauty of a flower.

Her work is inspired by herclose study of a particular

547

Andy Decomyn

Barn Owl

Bronze

Edition 1 of 2 A.P


Andy was born inWorcestershire and studied atthe Bourneville College of Artand South StaffordshireCollege before achieving a BAwith honours degree at theBirmingham Institute of Artand Design in 2000

£800-1200

p248-000:Layout 1 08/04/2014 12:07 Page 268


species and the beautiful, intricate forms shediscovers. The finished pieces and thematerials used explore the apparent fragilityof an individual plant contrasted with itsability to sustain existence through ongoinglifecycles.

Her work is inspired by her close study of aparticular species and the beautiful, intricateforms she discovers. The finished pieces andthe materials used explore the apparentfragility of an individual plant contrastedwith its ability to sustain existence throughongoing lifecycles.

£4000-6000

549


Seedhead

Stainless Steel

set of three

the largest65cm.; 25½ins diameter by65cm.; 25½ins

£4000-6000

p248-000:Layout 1 08/04/2014 12:07 Page 269


550 552

553551

p248-000:Layout 1 08/04/2014 12:08 Page 270


550

Meteorite

Sikhote Alin (Siberie)

Siderite (Meteorite ferreuse)

12 Fevrier 1947

29cm.; 11½ins high by43cm.; 17ins wide by 15cm.;6ins deep

£2000-3000

551

Michael Marriott

Split Form No. 3

Stainless Steel

Unique


Marriott studied at St.Martin’sSchool of Art in Londonunder Anthony Caro,Elizabeth Frink and EduardoPaolozzi. He is a fellow of theRoyal Society of BritishSculptors and a member ofthe Society of PortraitSculptors.

He has combined a career as asculptor with teaching parttime including at the Sir JohnCass School of Art, City ofLondon Polytechnic andSwansea University in Wales.

He has exhibited in the UK,USA, Netherlands and Francewith many commissions,both public and private,which include the Flame andSpiral sculptures for the

Women’s Peace CampMemorial Garden, GreenhamCommon, Berkshire, UK anda Stainless Steel/Glasssculpture for Crown House,City Road, London UK.

£1200-1800

552

Patricia Volk

Deity Head

Stoneware

Unique

Signed


£2000-3000

553

William Shakespeare

Shadowcreek

Glass

Unique

85cm.; 33½ins high by75cm.; 29½ins wide by 9cm.;3½ins deep

£4000-6000

554

Zhang Feng, Born 1965

Late Winter

Bronze

Signed AP 1 of 3


£4000-6000

554

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555

Won Lee

Emerge

Bronze


£3000-5000

p248-000:Layout 1 08/04/2014 12:08 Page 272


557556

556

Alan Ross

Seahorse

Steel

Unique

Signed


Alan works mainly in mildsteel taking inspiration from avariety of sources particularlynature and has created a largebody of sculpture based on

fish. His works are in a stylebest described as ‘Direct MetalSculpture’, which uses avariety of techniques, and isnot bound by any traditionor history.

£3000-5000

557

Mark Reed: Candle TreeSculptures

210cm.; 83ins high

£800-1200


p248-000:Layout 1 11/04/2014 11:19 Page 273


558

558 †

Wilfred Pritchard

The Count, Hooded VultureSkeleton

Cloth Cape in a glass displaycase

Signed

Unique


£2000-3000

559

Anon

Leftovers

Bronze, ceramic, paper andwood

Unique

135cm.; 55ins high

£400-600

560

Circular wood glass tablewith stools

table, 60cm.; 23½ins high by90cm.; 35½ins wide by90cm.; 35½ins deep;

stools, 46cm.; 18ins high by36cm.; 14ins wide by 36cm.;14ins deep

£1200-1800

561

A composition stone apple

modern

40cm.; 16ins high

£200-400

562

Apples, Sliced and PartEaten

Stone and Bronze


£1200-1800

559

p248-000:Layout 1 10/04/2014 16:52 Page 274


560

561 562

p248-000:Layout 1 08/04/2014 12:08 Page 275

276 • GARDEN , DE S IGN & NATURAL H I S TORY S EALED B ID AUCT ION 2 4TH OCTOBER 2 0 1 3

The Crowther Collection see page 68

563 †

A classical plaster figure of agirl

19th century

92cm.; 36ins high

£300-500

564 †

After Giambologna: Aplaster torso of Mercury

19th century

on ebonised circular base

107cm.;42ins high

This example has beencovered with shellac lacquerto facilitate the mouldmaking process.

£400-600

565 †

After the Antique: A plasterbust of Ajax

19th century

79cm.; 31ins high

See lot 614 for a lead bust ofAjax made from the mouldtaken from this plaster

£500-800

The following plaster lots are the original models used by Crowther to make moulds for casting

p276-000:Layout 1 08/04/2014 12:40 Page 276


565

567

564563

566

566 †

After Thorwaldsen: A set of fourplaster roundels representing theSeasons

mid 20th century

old repairs


£200-400

567 †

A plaster group of a boy and dog

19th century

in 17th century Low Countries style

74cm.; 29ins high

£300-500

p276-000:Layout 1 08/04/2014 12:40 Page 277


568 †

A plaster model of a child warrior

early 20th century

74cm.; 29ins high

After a Bromsgrove Guild original.

£1000-1500

569 †

After the Antique: Ashellac covered plasterfigure of Venus

late 19th century

with dolphin at her side

107cm.; 42ins high

£300-500

570 †

After J.P White: Aplaster figure of a boyon associated columnpedestal

first half 20th century

145cm.; 57ins high

£300-500

571 †

A conservatory plastercopper and compositionstone armillary sundial

plaster Atlas figure early 20thcentury the rest later

214cm.; 84ins high

£600-1000

p276-000:Layout 1 08/04/2014 12:41 Page 278


572 †

A plaster cast of a hermterminal

mid 20th century

97cm.; 38ins high

This was originally modelledin lead by the BromsgroveGuild. Similar example maybe seen on page 47 of theBromsgrove Guild IllustratedHistory edited by QuentinWatt showing an identicalexample at a BromsgroveGuild garden statuary displaystand in the 1920s.

£250-400

573 †

A shellac covered plastereagle

early 20th century

100cm.; 39ins high

The 18th centuryoriginals in lead stand athe entrance to OsterleyPark, Middlesex

£1000-1500

574 †

A shellac covered plaster modelof Punch

early 20th century

107cm.; 42ins high

This is the original plaster modelfrom which lead copies weremade including lot 64

£1000-1500

p276-000:Layout 1 08/04/2014 12:41 Page 279


575 577

576

575 †

After the Antique: A pair ofplaster classical heads ofwarriors


now mounted on laterebonised bases

36cm.; 14ins high

£250-400

576 †

A plaster lidded urn

early 20th century

based on a Coadestone original


Similar urns are illustrated inthe 1784 Book of CoadeEngravings and this is theoriginal plaster model fromwhich lot 613 the leadfountain bowl was made.

£200-400

577 †

A plaster head of a child

mid 20th century

on ebonised base

26cm.; 10ins high

together with another shellaccovered plaster head onebonised metal base

26cm.; 10ins high

The bust on the left is a scalemodel head taken from theSnake Charmer modelled byLouis Weingartener in theearly 20th century.Weingartener together withWalter Gilbert were theleading modellers for theBromsgrove Guild. He workedfor the Guild from 1904 untilhis untimely death in 1921.

£200-400

p276-000:Layout 1 10/04/2014 16:53 Page 280


580

581 582

578

579

578 †

After Kalide: A plaster torsoof a boy


on associated plaster base

82cm.; 32ins high

This is the original plasterfrom which the lead copies ofKalide’s Boy and Swan weremade.

£200-400

579 †

After Kalide: A plaster wingmounted on later ebonisedbase together with theplaster swan’s head from thesame model


82cm.; 32ins high

This is a model of the swanwing taken from the group ofthe Boy and the Swan byKalide

£200-400

580 †

A copper electrotype eagle

second half 19th century


£500-800

581 †

After Verrocchio: A plastertorso of a boy holding a fishon later ebonised base

86cm.; 34in high

together with a plaster torsoof a girl amongst lillies

61cm.; 24ins high

£250-400

582 †

A plaster model of a putto

early 20th century

on later ebonised base

76cm.; 27½ ins high

together with a plastermodel of a girl holding arose after JP White original

80cm.; 31½ins high

£200-400

p276-000:Layout 1 08/04/2014 12:42 Page 281


583 585

584 586

583 †A pair of plaster models ofseated putti representingAutumn and Winter Probably American, early 20thcentury61cm.; 22ins highThese were possibly supplied bythe Hope lead foundry inAmerica for H.Crowther tomake lead models from.£250-400

584 †A plaster bust of a satyr 2nd half 20th centurytogether with a bust of a girlon later ebonised basethe girl 51cm.; 20ins high; thesatyr 38cm.; 15ins high Both based on Bromsgroveguild originals.£200-400

585 †A pair of plaster copies ofputti representing Autumnand Winter 61cm.; 22ins highThese are copies of the earlierHope models.£200-400

586 †After Giambologna: A plastermodel of Mercury’s foot andthe mask of Aeolus early 20th century75cm.; 29ins hightogether with a plaster modelof the Townley vase69cm.; 27ins high£350-550

p276-000:Layout 1 08/04/2014 12:42 Page 282


588

589

587

587 †

A set of four oval plasterplaques representing theSeasons


63cm.; 25ins high

£400-600

588 †

A pair of lead falcons


on later Portland stone bases

55cm.; 22ins high

£1000-1500

589 †

A pair of lead models ofsquirrels

mid 20th century

tallest squirrel 30cm.; 12inshigh

together with a plaster figureof Robin Hood, 69cm.; 27inshigh

The lead squirrels wereoriginally intended to standon roof ridge tiles.

£200-400

p276-000:Layout 1 10/04/2014 16:55 Page 283


590

591

593

594

592 595

590 †

A bronze lion’s headfountain mask

early 20th century

mouth drilled for water


£150-250

591 †

A pair of plaster circularplaques

depicting cherubs


together with a leadcherub’s head based on aBromsgrove originalmounted on a latercomposition stone base,36cm.; 14ins high

£150-250

592 †

A lead lion’s head roundeltogether with two leadpanthers, a boar’s head anda plaster bracket

20th century

the lion mask roundel 28cm.;11in diameter

£100-200

593 †

A terracotta torso of a RoeDeer

circa 1900

on later stand

69cm.; 27ins long

£150-250

594 †

A plaster grotesque mask

mid 20th century

41cm.; 16cm high

together with a plaster satyrmask

35cm.; 14ins high

£150-250

595 †

A plaster plaque of cherubsand a goat

mid 20th century

30cm.; 12ins high by 53cm.;21ins wide together with asmaller lead plaque ofRebecca at the Well

£150-250

p276-000:Layout 1 08/04/2014 12:44 Page 284


597

598

596 †

A rare composition stonewall plaque of Neptuneattributed to Austin andSeeley


94cm.; 37ins high

£1200-1800

597 †

After Thorwaldsen: A set offour circular lead plaquesrepresenting the Seasons



£2000-4000

598 †

A Georgian style leadcistern

the front circa 1900 andbearing the date 1776 withlater sides and back


£400-600

p276-000:Layout 1 08/04/2014 12:45 Page 285


599 599

600 601

600 †

A lead fountain figure of ayoung Triton by Hope

early 20th century

conch shell plumbed forwater

66cm.; 26ins high

The Hope leadworks wereestablished in the early 20thcentury by Henry Hope inJamestown, New York withshowrooms in Park Avenue,Montreal and Toronto.

£1000-1500

601 †

A lead figure of a young girlon composition stonepedestal

mid 20th century

114cm.; 45ins high

£400-600

599 †

A pair of Georgian leadcisterns

dated 1738 and with theinitials I.S.F., the sides andbacks made up later

51cm.; 20ins high by 72cm.;28½ins long by 33cm.; 13insdeep

The 18th century fronts ofthese cisterns were discoveredby Paul Crowther during theemptying of the vaults underthe front of his premises inChiswick High Road and hehas now made up the backsand sides.

£1500-2500

p276-000:Layout 1 08/04/2014 12:45 Page 286


603

602

602 †


mid 20th century

bearing the date 1721 andinitials MS


£2000-3000

603 †

After John Cheere: A pair oflead musicians

mid 20th century

on composition stonepedestals with applied leadplaques

201cm.; 79ins high

Until his death in 1787, JohnCheere, was the leadingproducer of lead statuary aswell as working in plaster.Contemporary accounts ofhis yard, which was situatedon Hyde Park Corner indicatethat his oeuvre was veryvaried and included rusticfigures as well as classicalstatues and busts fromantiquity.

£4500-7000

p276-000:Layout 1 08/04/2014 12:45 Page 287


605

607

606

604

604 †

A pair of lead peacocks


69cm.; 27ins high

£600-800

605 †

A pair of William and Marystyle lead urns


59cm.; 23ins high

£600-1000

606 †

A unique lead rectangularplanter

early 20th century

24cm.; 9ins high by 60cm.;24ins long by 21cm.; 8½insdeep

This unique piece was basedon an original 19th centuryFrench terracotta example butproved too expensive toreproduce in quantity.

£200-400

607 †


the front circa 1900 with latersides and back


£800-1200

p276-000:Layout 1 08/04/2014 12:46 Page 288


610609

608 †

A pair of lead figures ofchildren


78cm.; 31ins high, oncomposition stone pedestals

128cm.; 50ins high

After original modelsproduced by J P White

£1200-1800

609 †

A lead figure of a girl inElizabethan dress

mid 20th century

on associated stone base

115cm.; 45ins high

This model was taken froman original early 20th centurylead figure at RudyardKipling’s home, Batemans inEast Sussex. This copy wasgranted by specialarrangement with Kipling’sgranddaughter in 1960 inexchange for restoration workon the same figure by JimCrowther, Paul Crowther’sfather.

£600-1000

example was commissionedfor the centrepiece of ChrisBeardshaw’s Gold MedalWinning Chelsea Garden in2009 which was a recreationof Boverage Park CanalGarden designed by ThomasMason and Gertrude Jekyll

for which H. Crowthers Ltdsupplied the original figure.

£1000-1500

610 †

After Verrocchio: A leadfountain figure of a cheruband fish

on plinth

122cm.; 48ins high

Modelled after theRenaissance original inbronze by Verrocchio. Thismodel was producedextensively by the CrowthersLead Foundry and this

608

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611

612

613

611 †

A pair of lead deer

mid 20th century

on composition stonepedestals


These are based on a Romanbronze original discoveredduring the excavations ofPompei.

£2500-4000

612 †

A cylindrical lead planter

early 20th century

decorated with frolickingputti on bun feet


£300-500

p276-000:Layout 1 08/04/2014 12:47 Page 290


615613 †

An lead oval fountain bowl


on composition stone plinth,lions head and centre bowlplumbed for water

55cm.; 21½ins high by65cm.; 25½ins wide

Based on an 18th centuryCoadestone original

£600-1000

614

614 †

After the Antique: A leadbust of Ajax

early 20th century

81cm.; 32ins high

£1500-2500

615 †

After the Antique: A leadmodel of the Warwick urn


on later composition stonebase

urn 86cm.; 34ins wide;130cm.; 51ins high overall

The marble original of thisurn was discovered in 1771.It was purchased by SirWilliam Hamilton and soldafter restoration to the Earl ofWarwick, who for a long timeforbade casts to be made of it.Eventually bronze and castiron replica’s were made and

it was copied on a reducedscale in silver, bronze andterracotta by artists using theprints by Piranese. It isperhaps the most famousantique vase after the Mediciand Borghese urns. By repute,it headed a list of art treasurescompiled by NapoleonBonaparte, to be appropriatedafter the conquest of GreatBritain.

£800-1200

p276-000:Layout 1 10/04/2014 16:57 Page 291


616

617 619

618

616 †

A lead fountain

mid 20th century

on composition stone base,top bowl plumbed for water

180cm.; 71ins high

Based on a 19th centuryCoalbrookdale foundry castiron original

£1500-2500

617 †

A cylindrical lead planter


bearing the date 1766 andwith St. George and thedragon

45cm.; 17½ins high by45cm.; 17½ins diameter

£300-500

618 †

A lead dolphin fountain

early 20th century

with mouth plumbed forwater

34cm.; 13½ins high

£150-250

p276-000:Layout 1 08/04/2014 12:47 Page 292


620 621

622

619 †

A pair of cylindrical leadplanters on ball feet

decorated with frolickingputti, the sides early 20thcentury later made up in toplanters


£300-500

620 †

Three lead plaques

20th century

one decorated with classicalfigures, the other withSagittarius and the laststamped property of theNational Trust.

the largest 27cm.; 10½ inshigh by 45cm.; 18ins long

£300-500

621 †

A lead figure of a girlholding a garland

early 20th century

50cm.; 19½ins high

£400-600

622 †

A rare lead fountain of aTriton


on associated Ketton stonebase

75cm.; 29½ins high

Unearthed during the recentclearing of the vaults. This isnot a model ever produced byH. Crowther and Son and isfrom an unknown foundry.

£1000-1500

p276-000:Layout 1 08/04/2014 12:48 Page 293


624

623625

626

623 †

A unique D-shaped leadplanter

early 20th century

decorated with mask andacanthus

43cm.; 17ins high by 76cm.;30ins long by 52cm.; 20½insdeep

Discovered during the clearout in the vaults. The patterncan also be seen on

625 †

A pair of Belgian fossilmarble rectangularpedestals

19th century

43cm.; 17ins high

£200-400

626 †

A lead rectangular bas reliefplaque of cherubs and agoat

early 20th century

26cm.; 10ins by 53cm.; 21inswide

The original mould was takenfrom an 18th century marblechimney piece tablet.

£150-250

cylindrical lead urnsproduced by the SingerFoundry but both probablyhad their origins in 18thcentury.

£400-600

624 †

A weathered marblepanelled pedestal

92cm.; 36ins high

£200-400

p276-000:Layout 1 10/04/2014 16:59 Page 294


629 & 630

627

628

627 †

A near pair of taperingsquare planters



£300-500

628 †

A rounded rectangularplanter en-suite to theprevious lot

recently made up


£250-350

629 †

A lead fountain mask of aGreen Man

early 20th century

mouth plumbed for water

38cm.; 15ins high

£300-500

630 †

An unusual lead cistern

circa 1900 and later

the front bearing the date1755, plumbed as a wallfountain cistern


£800-1200

p276-000:Layout 1 08/04/2014 12:49 Page 295


631

632 633

634 635

631 †

A set of four figures of puttirepresenting the Seasons

mid 20th century


£800-1200

632 †

After Verrocchio: A leadfigure of the Young Hercules

mid 20th century

on composition stone pedestal

142cm.; 56ins high

£400-600

p276-000:Layout 1 08/04/2014 12:49 Page 296


639

636

633 †

A lead fountain figure ofthe Mannekin Pis

early 20th century

plumbed for water

58cm.; 23ins high

Based on the Manneki Pisfountain in Brussels.

£400-600

634 †

A lead figure of a drummerboy


89 cm 35 high, on flutedcomposition stone pedestal


Base on a Bromsgrove Guildoriginal called the Sentinel.

£800-1200

635 †

A lead figure of a dancinggirl

early 20th century

on later composition stonepedestal

144cm.; 57ins high

£800-1200

636 †

A group of four cylindricallead herb planters

early to mid 20th century

the largest 30cm.; 12insdiameter

£250-350

637 †

A lead urn/birdbath

late 20th century

on associated compositionstone pedestal

81cm.; 32ins high

£400-600

638 †

A pair of lead cranes

late 20th century

61cm.; 24ins high

Based on Japanese originalsfrom the Meiji Period (1868-1912)

£250-350

639 †

A Doulton terracottasundial

early 20th century

with later lead dial appliedwith bees and a snail, thebase stamped DoultonLambeth, London

142cm.; 56ins high

A similar sundial pedestal isillustrated in the early 20thcentury Doulton and Cocatalogue figure 748

£600-1000

637

638

p276-000:Layout 1 10/04/2014 17:00 Page 297

640 †

A lead model of a Frenchrooster

early 20th century

69cm.; 27ins high

£500-800


640

641 643

644

642

642 †

A pair of lead figures ofchildren holding aloft oiljars

early 20th century

48cm.; 19ins high

£600-1000

643 †

A lead and compositionstone sundial

early 20th century

150cm.; 59ins high

£600-1000

644 †

A lead lidded finial


on composition stonepedestal

165cm.; 65ins high

The urn is based on anoriginal cast iron examplefrom the Val d’Osne foundryin the Haute Marne region inFrance.

£1000-1500

END OF SALE

641 †

A lead armorial unicorn’shead

late 20th century

mounted on earlier limestonebase

46cm.; 18ins high

£200-400

p276-000:Layout 1 10/04/2014 17:02 Page 298

2 9 9

[email protected]

www.summersplaceauctions.com

+44 (0) 1403 331331

Take a Seat

Commences 15th AprilEnquiries

Closes 22nd April

Auction

A timed internet auction of antique, contemporary

Over 130 lots

Register your interest at www.the-saleroom.comand designer seating for the house & garden

p299-302:Layout 1 08/04/2014 15:25 Page 299

The Alistair Morris CollectionIntroducing a whole new concept of collecting, Summers Place Auctions are offering a museum quality collectionin its entirety. Presented as one lot in a stand-alone sale dedicated purely to this fascinating and unique collection ofgarden related items.

In what is believed to be a “first”, this sale by sealed bid isa unique opportunity, whether as a private individual,corporation or institution to acquire a complete collectionwhich documents the rise in interest and social history ofgardens and gardening. From their primitive beginningsto the sophistication of the Edwardians and beyond, fewpeople have pursued this subject with the passion andenthusiasm that Alistair Morris has devoted to it. Hewrote the definitive book to the subject; ”Antiques fromthe Garden”, first published in 1996 and was collecting ata time when few others appreciated these objects.

The collection comprises over 1600 items of garden related implements, art and memorabilia.The sale is composed of one lot which is being sold by sealed bid and is expected to reach a six figure sum.

Selected items will be available to view at the Gallery, Summers Place Auctions, from 16th May,and a PDF of the whole collection can be emailed by request.

The remaining items can be viewed strictly by appointment only, close to Summers Place in Sussex.Sealed bids for the entire collection must be with us by 5pm BST on Thursday 22nd May.

A limited edition preview of 500 signed and numbered copies is available from Summers Place Auctions.Cost £5.00 UK./E6.00./$7.00 postage inclusive

The whole collection will be available to view at www.summersplaceauctions.com

We believe that this new marketing concept, which includes promotional preview and international advertising, willbe another option for collectors wishing to dispose of their collections as a whole and in one lot without having theprime pieces cherry picked. It maintains the integrity of the collection as conceived and avoids protractednegotiations.

Alistair Morris is an Art Asset Consultant, author and formerSenior Director of Sotheby's. He formed his collection overmore than 25 years.

A consultant to the Museum of Garden History (now TheGarden Museum) and The National Museum of Gardening.Alistair is a Fellow of the Royal Institution of CharteredServeyors and co-author of numerous books on variouscollection fields.

[email protected]


+44 (0) 1403 331331

Animals in Art

Commences on 29th AprilEnquiries

Closes on 6th May

Auction

A timed internet auction

Register your interest at www.the-saleroom.com

Over 250 lots

3 0 2

p299-302:Layout 1 08/04/2014 15:23 Page 302

Modern and Vintage Sporting GunsAuction at Sotheby's London 16th April 2014

For further information about this sale or to order a catalogue please call:Tel. 01798 875300

View online at www.gavingardiner.com

2014 Sale Dates:

25th August 2014Gleneagles Hotel, Perthshire

10th December 2014Sotheby's New Bond StreetLondon

Gavin Gardiner Limited----------------------------------------------------------------------------------------------------------------Auctioneers of Fine Modern and Vintage Sporting Guns, Rifles and Accessories

/Users/gavin gardiner/Desktop/Garden Stat May 2014.icdk - 28/03/2014 17:16 - 1/1

Fine Instruments13 May 2014

Auction13th May 2014, 2pm Sotheby’s London34/35 New Bond StreetLondon W1A 2AA

On viewSotheby’s LondonGrosvenor Galleries11th May 2014, 12noon - 5pm12th May 2014, 9am - 4.30pm13th May 2014, 9am - 1pm

For more information

or to order a catalogue please contact

+44 (0)20 7042 7337 | [email protected] | www.ingleshayday.com

Violin by Santo Serafin

Venice 1743

Estimate: £200,000 - 300,000

Su

mmers Place

Auctions Ltd

I agree to be bound by Summers Place Auctions Ltd “Condition of Business” as published in the catalogu

ewhich govern all purchases at auction, an

d to pay the published Buyer’s Premium on the ham

mer 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.

Title

First name

Last name

Address

Postcode

Tel

Mobile

Email

Fax

Please write clearly and place your bids as early as possible, as in the event of identical bids, the earliest bid

received will take precedence. Bids should be submitted in (£) sterling at least 24 hours before the auction.

LIVE AUCTION BIDDING FORM

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

TYPE OF CARD AND NUMBER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

EXPIRY DATE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ISSUE NUMBER..............(SWITCHONLY) 3 LASTDIGITOFSECURITYCODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

TELEPHONE NUMBER DURING THE SALE(tel. bids only)

Lot No.

Lot Description

Maximum Sterling price

(excluding premium & VAT)

Signed _________________________________________ Dated ____________________________

Please send this form by post to Summers Place Auctions Ltd, The Walled Garden, Stane Street,

Billingshurst, West Sussex RH14 9AB or by Fax to 01403 331340

SALE NUMBER

GS034 & EL040

SALE DATE 20 MAY 2014

SCULPTURE & DESIGN FOR

THE HOUSE & GARDEN

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.

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.

p305-306 Live Bidding slip:Layout 1 08/04/2014 09:36 Page 305

306

If you are unable to attend an auctionin person, you may give SummersPlace Auctions Bid Departmentinstructions to bid on your behalf bycompleting the form overleaf.

This service is free and confidential.

Please record accurately the lotnumbers, descriptions and the tophammer price you are willing to payfor each lot.

We will try to purchase the lot(s) ofyour choice for the lowest pricepossible and never for more than thetop amount you indicate.

“Buy” or unlimited bids will not beaccepted.

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

Bids must be placed in the same orderas in the catalogue.

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

Please place your bids as early aspossible, as in the event of identicalbids the earliest received will takeprecedence. Wherever possible bidsshould be submitted at least twenty-four hours before the auction.

Where appropriate, your bids will berounded down to the nearest amountconsistent with the auctioneer’sbidding increments.

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

Please note that the execution ofwritten bids is offered as an additionalservice for no extra charge at thebidder’s risk and is undertaken subjectto Summers Place Auctions othercommitments at the time of theauction; Summers Place Auctions

therefore cannot accept liability forfailure to place such bids, whetherthrough negligence or otherwise.

Successful bidders will receive aninvoice detailing their purchases andgiving instructions for payment andclearance of goods.

All bids are subject to the conditions ofbusiness applicable to the sale, a copyof which is available from SummersPlace Auctions. Conditions of Businessparticularly relevant to buyers are alsoset out in the sale catalogue.

We reserve the right to seekidentification of the source of fundsreceived.

In connection with the managementand operation of our business and themarketing and supply of SummersPlace Auctions Companies' services, oras required by law, we may ask clientsto provide personal information aboutthemselves or obtain informationabout clients from third parties (e.g.credit information). If clients provideSummers Place Auctions withinformation that is defined by law as"sensitive", they agree that SummersPlace Auctions may use it for the abovepurposes. Summers Place Auctionswill not use or process sensitiveinformation for any other purposewithout the client's express consent.

In order to fulfil the services clientshave requested, Summers PlaceAuctions may disclose information tothird parties (e.g. shippers). Somecountries do not offer equivalent legalprotection of personal information tothat offered within the EU. It isSummers Place Auctions policy torequire that any such third partiesrespect the privacy and confidentialityof our clients' information and providethe same level of protection for clients'information as provided within theEU, whether or not they are located ina country that offers equivalent legalprotection of personal information.

By signing this Absentee Bid Form youagree to such disclosure. Clients willplease note that for security purposes,Summers Place Auctions premises aresubject to video recording. Telephonecalls e.g. telephone bidding/voicemailmessages may also be recorded.

Please mail or fax up to 19th May 2014.The Walled Garden, Summers Place,Billingshurst, West Sussex, RH14 9AB.

For Bids only:Tel. +44 (0)1403 331 331Fax +44 (0)1403 331 340

GUIDE FOR ABSENTEE BIDDERS

p305-306 Live Bidding slip:Layout 1 08/04/2014 09:36 Page 306

Lot No.

Lot Description

Sealed bid Sterling price

(excluding premium & VAT)

SALE N

UM

BER G

E035

BID

S OPENED O

N

21ST

MAY 2014

SCULPTURE &

DESIGN FOR

THE H

OUSE

& G

ARDEN

I ag

ree to

be bound by Sum

mers Place

Auctions Ltd

“Condition of Business” as publish

ed in the ca

talogu

ewhich govern all p

urchas

es at au

ction, an

d to p

ay the publish

ed B

uyer’s Prem

ium

on the ham

mer p

rice

plu

san

y applica

ble tax

es.

I consent to the use of this inform

ation and any other inform

ation obtained by Summers Place Auctions

I am

aware that all telephone bid lines m

ay be recorded.

Paym

ent is due im

mediately after the sale in pounds sterling. Fu

ll details on how to pay are included in our

Guide for Buyers. If yo

u wish to pay for yo

ur purchases by card please complete the details below and your

Card will be ch

arged.

Title

First nam

eLast nam

e

Address

Postcode

Tel

Mob

ile

Email

Fax

Please write clearly and place you

r bids as early as possible, as in the even

t of iden

tical bids, the earliest bid

received will take preceden

ce. Bids shou

ld be subm

itted in (£) sterling at least 24 hou

rs before the auction closes.

SEALED BID

DIN

G FORM

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

TYPE

OF CARD AND NUMBER

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

EXPIRY DATE.

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

ISSU

E NUMBER

..............(

SWITCH

ONLY) 3

LAST

DIGIT

OFSECURITYCODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

IMPORTANT

The winning bid will b

e the highest

left on each lo

t above the reserve.

Bids are non

sequen

tial and the

highest bid left is the price at which

the lot is sold plus bu

yers premium

and any VAT liable. In the even

t of

two iden

tical w

inning bids being left

on the same lot, the earliest received

bid shall take preceden

ce. Summers

Place Auctions decision on which is

the winning bid shall b

e final.

Clien

ts wishing to bid on an “either

or” basis shou

ld list the lots they are

interested in

with the price they are

prepared to pay in

order of

preference with “OR” written

betw

een each one.

New

Clien

tsPlease note that we

May con

tact you

to request a bank

reference. In addition we will

Require sigh

t of a governmen

tIssued ID and proof of address

prior to collection

of purchases

Sum

mer

s Place

Auctio

ns Ltd

Signed

___

____

____

____

____

____

____

____

____

____

__ Dat

ed ___

____

____

____

____

____

____

_

p307-308 sealed bidding form:Layout 1 08/04/2014 09:35 Page 307

308

SEALED BID AUCTION LOTS 301-644

All sealed bids must be with us, at thelatest, by 21st May 5.00pm BST sincethe bids will be opened on the 22ndMay. The winning bid will be thehighest left on each lot above thereserve. Bids are non sequential andthe highest bid left is the price atwhich the lot is sold plus buyerspremium and any VAT liable. In theevent of two identical winning bidsbeing left on the same lot, the earliestreceived bid shall take precedence.Summers Place Auctions decision onwhich is the winning bid shall be final.Winning bidders will be invoiced afterthe bids are opened.

Sealed bids, when placed by telephone,are accepted only at the caller’s riskand must be confirmed by letter or faxto the Bid Department on +44 (0)1403331 340.

Successful bidders will receive aninvoice detailing their purchases andgiving instructions for payment andclearance of goods.

All bids are subject to the conditions ofbusiness applicable to the sale, a copyof which is available from SummersPlace Auctions. Conditions of Businessparticularly relevant to buyers are alsoset out in the sale catalogue.

We reserve the right to seekidentification of the source of fundsreceived.

In connection with the managementand operation of our business and themarketing and supply of SummersPlace Auctions Companies' services, oras required by law, we may ask clientsto provide personal information aboutthemselves or obtain informationabout clients from third parties (e.g.credit information). If clients provideSummers Place Auctions withinformation that is defined by law as"sensitive", they agree that Summers

Place Auctions may use it for the abovepurposes. Summers Place Auctions willnot use or process sensitiveinformation for any other purposewithout the client's express consent.

In order to fulfil the services clientshave requested, Summers PlaceAuctions may disclose information tothird parties (e.g. shippers). Somecountries do not offer equivalent legalprotection of personal information tothat offered within the EU. It isSummers Place Auctions policy torequire that any such third partiesrespect the privacy and confidentialityof our clients' information and providethe same level of protection for clients'information as provided within theEU, whether or not they are located ina country that offers equivalent legalprotection of personal information.By signing this Sealed Bid Form youagree to such disclosure. Clients willplease note that for security purposes,Summers Place Auctions premises aresubject to video recording. Telephonecalls e.g. telephone bidding/voicemailmessages may also be recorded.

Please mail or fax up to 21st May 2014 5.00pm BST.The Walled Garden, Summers Place,Billingshurst, West Sussex, RH14 9AB.

For Bids only:Tel. +44 (0)1403 331 331Fax +44 (0)1403 331 340

GUIDE FOR ABSENTEE BIDDERS FOR SEALED BID AUCTION

p307-308 sealed bidding form:Layout 1 08/04/2014 09:35 Page 308

Forthcoming Sales in 2014 at Summers Place Auctions

April 22 Internet Sale of SeatingCommences 15

May 6Internet Saleof Animal ArtCommences 29

May 20-21The Garden and NaturalHistory

May 22Alistair Morris CollectionCommences 12

June 17Internet SaleSon et LumiereCommences 10

September 23Internet Sale of InteriorSculptureCommences 16

October 21-22Sculpture and Design forthe House and Garden

November 26EvolutionFor more information please go to


Inside Covers May 2014:Layout 1 11/04/2014 11:25 Page 3

20 & 21 May 2014

Garden, Design & Natural History

GA

RD

EN

, DE

SIGN

& N

AT

UR

AL

HIST

OR

Y

Summers PlaceAuctions LtdTHE WALLED GARDEN

SUMMERS PLACE

BILLINGSHURST

WEST SUSSEX RH14 9AB

01403 331331WWW.SUMMERSPLACEAUCTIONS.COM

20

& 2

1 M

AY

20

14

MAY Cover 2014:Layout 1 08/04/2014 14:46 Page 1

summers place auction may 2014 catalogue

Documents

design natural historygarden

propertyon view

inspectany items

conditions ofbusiness

personto bid

map ofsummersplaceauctions

ft gallery

bidding number