Summers Place Auctions Ltd

Summers Place Auctions Ltd

Garden & Natural History

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Viewing 10th & 11th of March 10a.m.- 4p.m. Auction starts at 1p.m. 12th Marchat Summers Place Auctions, The Walled Garden,

Stane Street, Billingshurst, West Sussex, RH14 9ABFor more information and further images please refer to

www.summersplaceauctions.com

Safety at Summers Place Auctions

Summers Place Auctions is concerned for your safety while you are on our premises and we endeavour to display items safely so far as is reasonably practicable. Nevertheless, should you handle any items on view at our premises, you do so at your own risk.

Important Notice

Please note all lots are sold subject to our conditions of business for buyers and Authenticity Guarantee, which are set forth in the centre of this catalogue.

Absentee Bids

Absentee bids can be submitted by post or E-mail. If you are a new client Summers Place Auctions will require proof of identity before the bids can be accepted.Please Post bids to; Summers Place Auction The Walled Garden, Stane Street, Billingshurst, West Sussex, RH14 9AB

Please E-mail bids to; [email protected]

Please E-mail SEALED BIDS only to; [email protected]

For Telephone bidding

+44(0)1403 331 331

Please note there is a 5% surchage for using this facility

Shipping and Transport

We have extensive experience arranging shipping internationally and within the U.K. We would be happy to obtain quotes from leading shippers and facilitate shipping and transport for you.

Condition of Lots

Condition is only noted in the catalogue where an item is severely distressed. We are happy to provide additional images and condition reports on request.

It is essential for buyers to satisfy themselves as to the condition of lots prior to sale and to arrange their own insurance cover against loss or damage immediately after the sale.

Rupert van der Werff

Specialist

+44(0)1403 331 333

[email protected]

Errol Fuller

Curator for Natural History

[email protected]

Letty Stiles

+44(0)1403 331 336

[email protected]

James Rylands

Specialist

+44(0)1403 331 334

[email protected]

Kate Diment

+44(0)1403 331 335 [email protected]

Lindsay Hoadley

+44(0)1403 331 337

[email protected]

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

1

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

1

A Breccia marble column

probably Roman, 1st-3rd Century AD

260cm high by 46cm diameter, now with iron base plate

Provenance: The Robin Symes collection, Bonhams, 7th October 2009, lot 248

Probably ‘Pavonazzetto’ from the Iscehisar quarries in Turkey - see the Corsi Collection of Decorative Stones at Oxford. Corsi describes the stone as:”Breccia persichina. Pale purplish ground that verges on peachy colour with small shiny white markings. There is an urn of this marble under the last altar on the left in the church of S. Antonio de’ Portoghesi. Rarissima!”

£4000-6000

2

2

A pair of carved stone temple lions

Javanese, 17th/18th century

104cm long

£1000-1500

3


3

An early Victorian carved stone lion

66cm high by 95cm long

the back dated 1837

Possibly carved to celebrate the coronation of Queen Victoria in 1837

£800-1200

4

4

† A pair of Edwardian substantial carved Portland stone gate pier balls on bases

circa 1900

104cm high, bases 66cm square

£2500-4000

5

† A similar pair of carved Portland stone gate pier balls on bases

104cm high, bases 66cm square

£2500-4000

5


6

An unusual carved Portland and limestone sundial

circa 1860

with octagonal brass dial

130cm high

£3000-5000

6

7

A pair of Victorian carved stone urns

late 19th century

58cm high

£1500-2500

8

A Victorian carved stone urn

late 19th century

62cm high, the base 60cm square

£600-1000

7


9

After Julien: A composition stone group of Amalthea and the goat

1st half 20th century

185cm high

The original in marble, now in the Louvre, was sculpted by Pierre Julien in 1785 for the Queen’s Dairy at the Château de Rambouillet. In Greek mythology, Amalthea is the most-frequently mentioned foster-mother of Zeus,who with a goat nurtured the infant-god Jupiter in a cave in Cretan Mount Aigaion.

£1000-2000

8

10

A composition stone stag

2nd half 20th century


£1500-2500

9


11

A pair of rare Coalbrookdale cast iron occasional tables

last quarter 19th century

with diamond registration stamp

53cm diameter

This table is illustrated in the 1875 Coalbrookdale catalogue section II page 199 No 50

£3000-5000

10

12

A Coalbrookdale Nasturtium pattern cast iron seat


fully stamped CBDale & Co. and with registration number 195629 and diamond registration stamp

183cm wide

This design, number 1958629 was registered and patented at the Public Records Office by Coalbrookdale on the 1st of March 1866 and is seat number 44 in their 1875 catalogue of castings. (See engraving)

£3000-5000

11


13

A pair of Coalbrookdale Nasturtium pattern cast iron seats


en suite to the previous lot, fully stamped CBDale & Co. with registration no. 195629 diamond registration number and pattern no. 44.

This design, number 1958629 was registered and patented at the Public Records Office by Coalbrookdale on the 1st of March 1866 and is seat number 44 in their 1875 catalogue of castings. (See engraving)

£3000-5000

12

14

A rare Handyside foundry cast iron bowl on stand

3rd quarter 19th century

the base stamped Andrew Handyside, Britannia Foundry, Derby

170cm high

Andrew Handyside started the foundry in 1806 and by 1851 the firm had expanded and was operating out of the Britannia Iron Works in Derby. At the Great Exhibition they exhibited a Medici vase, a bacchanalian vase and as well a bronzed iron example of this piece decorated with busts of Peel, Nelson, Watt, Wellington, Stephenson, Scott, Shakespeare and Milton. At the time, the foundry was described as being “from the magnitude of its operations, second to none in England”. The foundry produced a wide range of wares, from large engineering products such as bridges down to a range of garden ornaments including fountains and urns. They produced two catalogues in 1848 and 1874.

This was one of the most elaborate of Handyside’s castings, as demonstrated by it being displayed at the Great Exhibition.

Included in this lot is a volume of the Art journal Illustrated catalogue of the Industry of all Nations 1851, showing a number of pieces from the Great Exhibition at Crystal Palace, in which this urn on stand is engraved on page 6.

£4000-6000

13


15

A Coalbrookdale cast iron fountain


plumbed for water

140cm high

A similar fountain is illustrated in the 1875 Coalbrookdale catalogue section III no. 18

(See engraving)

£2000-3000

14

16

A Coalbrookdale Lily of the Valley pattern cast iron seat

late 19th century

with diamond registration stamp

156cm long

This design, number 171578 was registered and patented at the Public Records Office on the 8th February 1864 by Coalbrookdale and was seat number 36 in their castings catalogue of 1875. (See engraving)

£3500-5000

15


17

A Coalbrookdale Horse chestnut pattern cast iron seat


fully stamped Coalbrookdale Co. and with registration number 217568 the front rail also stamped

190cm wide

The design of this seat number 217568 was registered and patented by the Coalbrookdale Iron Foundry at The Public Record Office on 23rd March 1868 and is number 46 in their 1875 Castings Catalogue Section III page 256 (See engraving)

£4000-6000

16

18

A near set of six Pulham stoneware urns

circa 1870, some stamped (one damaged)

the largest 51cm high by 60cm wide; the smaller 48cm high by 56cm wide

The Pulham company was established in 1820 but made terracotta from around 1846 on into the 20th century, with workshops in Broxbourne, Hertfordshire. By the 1880’s the company was concentrating on garden and landscape ornaments. A catalogue of 1915 indicates that their wares were made of “Pulhamite” stone, which, is considered the best material for all designed stonework in connection with the garden for the following reasons: Pulhamite stone is more

durable than natural stone, for it never decays and never shells or flakes, cement is not used in its composition, it is a lighter substance, making more elegant productions than any other so called artificial stone. This is an important point, as the sides of a Pulhamite vase give more space for soil. It is the colour of light stone. There is nothing deleterious to plant life in it, in fact, owing to the nature of the material, the opposite may be said in its favour. We guarantee its durability, and can refer to work which has been exposed for 70 years. If desired we can reproduce in the antique style, and copies can be made from practically any existing examples.

The company held appointments to H.M. King Edward VII, H.M. King George V and H.M. Queen Alexandria.

£2000-3000

17


19

A rare Swedish stoneware lidded finial


the base stamped Höganas

164cm high

Höganäs in Sweden began as a small fishing village in the parish of Väsby. During the 19th century more industries were established using clay for making ceramic products. Höganäs Keramik began its manufacturing operations in 1909. It is now a design company and a part of Iittala Group, which is also known for BodaNova, Rörstrand and Iittala design brands. This stylish mid-19th century stoneware urn has been extensively copied during the last quarter of the 20th century in both terracotta and composition stone.

It is rare to find a period stoneware original and of such high quality, which predates the more common Höganäs Keramik products.

£3000-5000

18

20

A spelter figure of a fisher girl, possibly by Miroy Frères

French, circa 1880

175cm high

Provenance: Originally in the collection of Lady Brassey of Catsfield, 1839-1887, a well-known writer, traveller and collector, this statue is illustrated in The Sussex County Magazine November 1955, a copy of which is included in the lot.

£2000-3000

19


21

A carved marble figure of a youth supporting a light fitting

late 19th century

signed Walter Emdem Architect & E Mitchell & T Bromfield Sculptors

figure 166cm high, 205cm high overall

This marble sculptural light fitting was almost certainly commissioned by Emden for one of the theatres so popular in the late Victorian and Edwardian eras. It would most probably have stood on a pedestal flanking a staircase.

Walter Lawrence Emden (1847-1913) was one of the leading English theatre and music hall architects in the building boom of 1885 to 1915. Originally studying as a civil engineer,

he joined architects Kelly and Lawes in 1870 in the burgeoning construction of theatres. He was immediately given the commission of designing the Globe Theatre. Emden also became a member of the Strand District Board of Works, a forerunner of local councils, and for seven years acted as chair. In 1890, he was elected to the London County Council.

£5000-8000

20

The following two historically important lots originally formed part of the infamous Berlin Wall.The Berlin Wall was a guarded concrete barrier that physically and ideologically divided Berlin from 1961 to 1989. Constructed by the German Democratic Republic (GDR, East Germany), starting on 13 August 1961, the Wall cut off by land West Berlin from virtually all of surrounding East Germany and East Berlin until government officials opened it in November 1989. Its demolition officially began on 13 June 1990 and finished in 1992.

More than 5,000 escape attempts were made trying to flee life behind the Iron Curtain. Then on November 9, 1989, the first sledgehammers pounded into the concrete to “tear down this wall”. It took 18 months to bulldoze the 140 km (87 mile) structure.

Most of the materials were crushed and recycled into roads. However, some sections were sold, auctioned off or donated as historically important objet d’arts.

A number of large scale installations from the Berlin wall may be seen as far away as the World Trade Centre in Montreal, donated to the city in 1992, to Seoul, South Korea, where a three section portion of the wall stands in Berlin Square. It was brought to Seoul in 2005 as a gift from the City of Berlin to inspire South Koreans to hope for a similar reunification with North Korea in the future.

Closer to home a single section stands outside the Imperial War Museum, London.

For a fuller description of 16 other historically important large scale sections of the Berlin Wall around the world, and further photographs, please see website.

The dismantling of the Berlin Wall in 1990

21


22

An historically important reinforced concrete portion of the Berlin Wall

comprising four sections, with stencilled graffiti by Ben Wagin

PARLAMENT DER BAUME, DENK-STATTE

SICH ZU VEREINEN, HEISST TEILEN LERNEN

(Parliament of Trees, To Unite Means to Learn to Share)

Richard Weizsacker

360cm high, 240cm deep, 468cm wide overall

£12,000-18,000

German artist and environmental activist Ben Wagin painted his powerful messages over these sections of the Wall in 1990 after initial visitors had chipped off the original graffiti - creating a uniquely textured surface. The effect is as dramatic as it is powerful. These sections were part of the memorial to the hundreds of people killed at the Wall trying to escape to freedom, called the Parliament of Trees, in the middle of Berlin opposite the Reichstag. These parts of the original memorial had to be removed to make room for additional constructions. The wall is covered with a quote by the German President at the time, Richard von Weizsäcker, who said: “To unite means to learn to share.” The reverse shows graffiti ‘Berlin November 1989’

23

A similar smaller historically important portion of the Berlin Wall

comprising two sections with stencilled graffiti by Ben Wagin

ERDE, WERDE, ERDE

(Earth to Earth)

360cm high, 240cm deep, 234cm wide

£5000-8000

22

24

Michael Speller

Commitment

Bronze

Signed M Speller 7/12

96cm high by 87cm wide

Michael Speller studied at the Chelsea College of Art and design and works from a studio near Tate Modern in south London. He was named official artist for the BT Art of Sport Programme for The 2012 London Olympics and was for many years a resident artist at The Art Academy, London.

£1200-1800

23


25

After Eneri Prosperi: A bronze group of five children each standing on stepping stones

one with original sculptor’s plaque stamped Bronze Elite by Henri, the rest stamped Leonardo Rossi, the tallest 147cm, the smallest 101cm

Eneri Prosperi was born in Bagni di Lucca in Tuscany in 1910 and later emigrated to America where he founded the Henri Studio in Chicago. Specialising in both composition stone and bronze they produced a wide range of garden sculpture. He died in 1990. This group made up of five individual bronzes would work very well spaced out in a lake or pond which would have been the sculptors original intention.

Although the identity of Leonardo Rossi is unknown, it is believed to be the pseudonym for a foundry copying other studio’s work. These bronzes would appear to have been cast 20-30 years ago and are of a similar quality to another identical group of bronze children by the Eneri Prosperi studio, sold by us, lot 15, 28th March, 2017, hammer price £21,000.

£6000-10,000

24

26

David Wynne

The Breath of Life

Commissioned 1962

Nabresina Marble

490cm high, base of column 100cm diameter

With inscribed pavement surround with glazed metal frames originally housing electric uplighters and a stone plaque with brass giving details of the sculpture.

This iconic sculpture, resembling a totem pole, was originally commissioned in 1962 for the forecourt of Hammersmith House, the London headquarters of the British Oxygen Company. Fittingly, the theme from the second Chapter of Genesis is carved into the circular pavement surround of the sculpture; ‘And the Lord God formed man of the dust of the ground and breathed into his nostrils, the breath of life; and man became a living soul.’

The simple tapering column of Nabresina marble, a form of limestone similar to Portland, has been carved and incised to form a group of three human figures. The lowest figure shows man in the foetal position, as though newly formed from the rock. Upon his bowed back crouches a second figure struggling to inhale the first breathe, wracked by the stresses of his awakening. He supports with his arms the topmost figure, who kneels upright with his face gazing up into the sky.

25


David Wynne OBE, (1926-2014) was one of Britain’s best loved sculptors of the 20th Century. Educated at Stowe School he then served in the Royal Navy during World War II and read Zoology at Trinity College, Cambridge, before taking up sculpture professionally in 1950.

In London alone, Wynne was responsible for a huge number of important public commissions. He carved one of the capital’s best-loved animal figures, Guy the Gorilla, in Crystal Palace Park (1961). He sculpted the iconic Boy with a Dolphin at the Chelsea end of Albert Bridge, (1974) and Girl with a Dolphin outside Tower Bridge, (1973). Elsewhere he sculpted the Tyne God fountain in Newcastle upon Tyne; (1968), Christ and Mary Magdalene at Ely Cathedral;(2000) and a Risen Christ for the front of Wells Cathedral, one of his most famous commissions. (1985)

His portraits included the Queen and the Prince of Wales, (1970) Sir John Gielgud,(1962), Sir Yehudi Menuhin,(1963), Sir Thomas Beecham (who said the piece reminded him of all the mistakes his orchestra had made in the previous 10 years),(1956), the four Beatles(1964) and the Maharishi Mahesh Yogi (whom he introduced to the group), as well as the Derby-winning racehorse Shergar.

In 1973 he designed the linked hands on the 50p pieces that marked Britain’s entry into the European Community. Some of Wynne’s most striking pieces were designed for garden settings. He created works for the Abbey Gardens at Tresco, including Gaia, a sculpture made from South African marble, which has a South African planting around it. The Prince of Wales was so taken by the figure he commissioned a similar piece, called Goddess of the Woods, for his gardens at Highgrove.

Wynne always took particular care in his choice of materials. A commission in 1957 for the façade of the Taylor Woodrow headquarters in London resulted in a distinctive 100ton block of granite being blasted from a Cornish quarry and being worked on in the rough in situ before being precariously transported to Wynne’s studio in Wimbledon. Likewise, when Pepsi Cola gave him carte blanche for a large piece, he spent three weeks in the Rocky Mountains and came out with a plan for a grizzly bear fashioned from a 36-ton block of marble.

Literature: The Sculpture of David Wynne 1949-1967, T.S.R Boase, Michael Joseph, 1968, pages 82-83

Please see our website for further pictures and details.

£20,000-40,000

26

27

A Martins patent Aluminium ejector seat

with maker’s plaque

now mounted on turbine fan base with castors

160cm high

£2000-3000

28

A Gibeon meteorite slice

showing Widmanstatten pattern

17cm by 10cm, 0.8kg

Meteorites have long held a fascination from ancient times onwards.

Recent Research at the McMaster University in Canada and the Max Planck Institute in Germany concluded that Life on Earth began after meteorites splashed into warm little ponds and leached them with essential elements between 3.7 and 4.5 billion years ago.

Often known as shooting or falling stars, due to the fireball that occurs when the meteoroid passes through the atmosphere and often accompanied by a sonic boom, a meteorite is a solid piece of debris that originates in outer space and survives its passage through the atmosphere to reach the surface of a planet or moon.

Confucius, the Chinese philosopher, made the connection between a streak in the sky and the rock in the ground when he made the first description of a meteorite fall in 645 BC.

The oldest known iron artefacts - nine small beads hammered from meteoric iron - were found in northern Egypt and securely dated to 3200 BC and were indeed made long before the Iron Age. Egyptian hieroglyphics even referred to iron as being ‘from the sky’ and Egyptian pharaoh Tutankhamun, who died in 1324 BC, was buried with an iron headrest, bracelet, and dagger from three different meteorites. Some Native Americans treated meteorites as ceremonial objects and the Indigenous peoples used iron-nickel meteorites as a source of iron metal.

£500-800

27


29

A rare Lavochkin V-751 experimental flying laboratory

1960

titanium, stainless steel and aluminium

10.9 metres long

This is a two-stage rocket with an initial solid fuel rocket booster which burned for four seconds and a second stage liquid fuel engine that burnt for a further 22 seconds. This enabled the craft to reach altitudes of 66,000 feet and speeds of Mach 3, the range could be up to 22 miles. This rocket is part of the S-75 family of rockets which were developed in the late 1950‘s in response to combat America‘s long range bombers. The S-75 and its many variants provided much of the air defence of the Soviet Union and numerous other countries which adopted it. Perhaps its most famous moment was the shooting down of Gary Powers U-2 spy plane in 1960.

£8500-11,500

30

A massive Gibeon meteorite piece

Namibia

in custom steel frame

46cm by 32cm by 22cm, 63kg

The Gibeon meteorite was a large nickel iron meteorite that fell over Namibia in prehistoric times. The indigenous Nama people used pieces

that they found to make tools. The first European to come across pieces was a Captain Alexander in 1836 and he sent samples to London which were analysed by John Herschel who could confirm their extra-terrestrial origin. Pieces are found

over a large area of some 275km by 100km and rightly their removal and export was banned. The largest pieces found, up to 500KG, have been incorporated

into a fountain in the capital, Windhoek and are a designated National monument. They were found near the village of Gibeon leading to the naming of the meteorite after that place.

£25,000-30,000

28

31

A male gorilla skull

29cm, (A10 ref: 575282/01) together with a female gorilla skull, 25cm (A10 ref 575282/02)

£1000-1500

29


32

An impressive 12 point Wapiti trophy on shield

dated October 1930

width of antlers 102cm

£400-600

30

33

A large collection of blue tropical butterflies under glass dome

34cm high

£400-600

34

A collection of colourful tropical butterflies under glass dome

modern

30cm high

£200-300

35

A collection of modern blue tropical butterflies under glass dome

33cm high

£200-300

31


36

A collection of twenty nine Collector urchins (Tripneustes gratilla) in a case


£300-500

37

A collection of sea urchins and seaweed in a case


£300-500

38

A collection of sea urchins and a crinoid in a case


£150-250

32

39

A large tiger iron/mahogany jasper freeform

102cm high, 70kg

£1200-1500

40

A botryoidal Grape agate chalcedony

Sulawesi, Indonesia


£1200-1800

33


41

A sunset jasper freeform

Southern Africa

26cm wide, 24kg

£450-650

42

A large freestanding red jasper specimen

Southern Africa

66cm high, 55kg

£900-1200

34

43

An Arietites Bucklandi ammonite

Monmouth beach, Lyme Regis, Jurassic

49cm

£1600-2500

35


44

A malachite specimen

Congo

30cm wide

8.9kg

£900-1200

45

A malachite specimen

Congo

33cm wide

9kg

£800-1200

36

The following lots originally formed the core of a collection of Pleistocene (2.6million-12,000 years ago), Ice Age material in the Mammoth Museum (Museu del Mamut) in Barcelona, which closed in 2016. It was located on the Carrer de Montcada in Barcelona’s Gothic Quarter, in a 12th century Gothic building close to major museums such as the Museu Picasso and the Museu Europeu d’Art Modern.

As well as visitors to the historic city of Barcelona, the museum was also very popular with local school children who were able to touch the prehistoric creatures including the tusks, teeth and mammoth hair. Mammoth remains dating from the last Ice Age had been found near the town of Viladecans just outside

Barcelona. Elsewhere in the Iberian peninsula, as far south as Granada, many Mammoth skeletons were discovered, some of which are more than 25,000 years old. This demonstrates that, like the rest of Europe, modern Spain was once a snow and ice-covered wilderness, a climate in which the Mammoth, and other Ice-Age fauna such as sabre-tooth tigers and bison, flourished, inhabiting the region until the end of the last Ice Age (around 10,000 BC). Included in this sale from the museum, but originating from the Yakutia Province of Siberia are all of the iconic large herbivore mammals from the Ice age, including an extremely rare example of a woolly rhinoceros . The buyer of each lot from the Mammoth museum will receive a promotional poster of the museum.

The Barcelona Mammoth Museum Collection to be sold on a no reserve basis

37


46

A mammoth skull and tusks mounted on iron stand

Pleistocene, Yakutia, Siberia

overall height 180cm by 188cm wide

£6000-10,000

38

47

A half mammoth skull


90cm long

£400-600

48

A partial mammoth skull incorporating two teeth


50cm, together with a mammoth tibia bone, 58cm long, and a partial mammoth pelvis, 70cm long

£400-600

49

A mammoth femur and tibia


femur 108cm long; tibia 104cm long

£250-400

50

A similar mammoth femur and tibia


femur 114cm long; tibia 59cm long

£250-400

39


51

A mammoth skeleton



£50,000-80,000

40

54

A fibreglass cast of Dima the baby mammoth


This realistic cast incorporating faux mammoth hair, was taken from the well-preserved carcass of the baby woolly mammoth (Mammuthus primigenius) named Dima, whose frozen body was found in 1977 in eastern Siberia, Russia. Dima, a male mammoth that lived about 39,000 years ago. He was between 6 and 12 months old when he died, probably by becoming stuck in mud. Scientists have chemically treated the body and have conducted an extensive study of its organs, muscles, brain, heart and cells.

£150-250

52

A mammoth tusk


260cm on outside curve, 18kg

£2000-4000

53

A mammoth humerus bone


84cm long, together with a section of hide, possibly Mammoth, Pleistocene, 82cm long

£300-500

41


55

A mammoth tusk


209cm on outside curve, 11.5kg

£1500-2500

57

A large mammoth tusk with good dual curvature


290cm on outside curve, 42kg

£3000-5000

56

A mammoth femur and humerus


femur 117cm long; humerus 83cm long

£250-400

42

58

The skull and antlers of a Giant Elk (Megloceras giganteus)


120cm wide

Megaloceras Giganteus is in fact an extinct giant red deer species. It is the largest deer species known. During the Pleistocene its range extended throughout Europe, North Asia and North Africa.

£2000-4000

43


59

A musk ox skeleton



£2000-4000

60

A Petroglyph stone panel

Yakutia, Siberia, modern

incised with primitive prehistoric figures and animals


The decoration on this panel is loosely based on the petroglyphs, found in caves the Levante region of Spain and dating to prehistoric times.

£100-200

61

A musk ox skull


53cm long

£100-200

44

64

A collection of Steppe bison horns


together with a collection of reproduction woolly rhinoceros horns

£100-200

62

A Steppe bison skull


94cm long

£300-500

63

A Steppe bison skull


mounted on wooden shield back plate

130cm wide

£400-600

45


65

A rare bison skeleton



The Bos primogenus and Bison antiquus skeletons are very similar and occupy the same chronology and geographical location. This specimen could be either.

£8000-12,000

46

66

A partial cave bear skeleton in matrix


matrix made up in two panels


£2000-4000

67

A collection of Ice Age remains including two Cave bear paws


some laminated mammoth teeth and bone together with a section of mammoth hide and mammoth hair

£300-500

68

A similar collection including two Cave bear paws


laminated mammoth teeth, mammoth hair together with a section of skin with fur, possibly mammoth

£300-500

67 68

47


70

A cave bear skeleton


250cm high

£6000-10,000

69

A collection of three Cave bear teeth


10cm long, two cave bear bacula (penis bones), 20cm and small mammal skull and horns

£150-250

Cave bears were comparable in size to the largest bears today. A large male could weigh 6-800 KG. The name is derived from the fact that their remains are found in caves presumably because they hibernated in caves and lacking any natural predators mortality during hibernation would have been a significant cause. Interestingly Cave bears were almost exclusively vegetarian and this is reflected in their dentition. They died out around 24,000 years ago so it is unlikely man had much of an impact on them as the human population in Europe at that time was very small. Their range was from Britain in the West to the Ural Mountains in the East.

48

71

A woolly rhinoceros skull

Pleistocene

with replica horn

84cm long

See footnote to following lot

£3000-5000

The woolly rhinoceros (Coelodonta antiquitatis) is an extinct species of rhinoceros that was common throughout Europe and northern Asia during the Pleistocene epoch and survived until the end of the last glacial period.

As the last and most derived member of the Pleistocene rhinoceros lineage, the woolly rhinoceros was well adapted to its environment. Stocky limbs and thick woolly pelage made it well suited to the steppe-tundra environment prevalent across the Palearctic ecozone during the Pleistocene glaciations.

The appearance of woolly rhinos is known from mummified individuals from Siberia as well as cave paintings. An adult woolly rhinoceros was typically around 3 to 3.8 metres in length, with an estimated weight of around 1,800–2,700 kg. The woolly rhinoceros could grow to be 2 metres tall, the body size was thus comparable to, or slightly larger than, the extant white rhinoceros.

Two horns on the skull were made of keratin, the anterior horn being 61cm (24in) in length, with a smaller horn between its eyes. The rhino’s entire body was covered with a thick, shaggy coat consisting of two types of hair, a thin dense undercoat and a long rigid covering hair. Cave paintings suggest they may have had a band of darker fur around their midsections.

49


72

An extremely rare and virtually complete woolly rhinoceros skeleton

Pleistocene

with real horns


£50,000-80,000

Cave painting of woolly rhinoceros

50

73

A mammoth humerus


now with cut-away section incorporating six carved mammoth tusk mammoths on wooden stand

£400-600

74

The major elements of an Ice Age horse’s skull


50cm long, together with a quantity of teeth

£200-400

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The follow five lots are all realistic life size models made specifically for the mammoth museum

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A model of a standing baby mammoth


£300-500

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A model of a seated baby mammoth

150cm high

£300-500

77

A model of a Woolly rhinoceros


£1000-2000

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An impressive life size model of a mammoth


£1000-2000

79

A similar impressive life size model of a mammoth


£1000-2000

80

A full mount musk ox

modern

on naturalistically modelled composition and wooden base


See our website for more images

£800-1200

76

7577

80

7978

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

Forthcoming Auction:

1st May 2019 at Sotheby's34-35 New Bond StreetLondon

Entries now invited

Tel 01798 875300 www. gavingardiner.com

Forthcoming Free Valuation Days:

Sotheby's Paris 6th FebruarySotheby's Geneva 13th FebruarySotheby's Edinburgh 26th FebruaryGlasgow 27th FebruarySotheby's London 1st MarchPulborough. Sussex 4th MarchHarrogate, Yorkshire 13th MarchTiverton, Devon 15th March

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

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

Antonio Canova

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

Attributed to Antonio Canova

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

Manner of Antonio Canova

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

After Antonio Canova

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

Italian 18th century

In our opinion a work from that region and of that date.

Probably Italian 18th century

In our opinion a work that is likely to be from that region and/or of that date but less certainty as to the region and/or date than is expressed in the preceding category.

In renaissance style

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

The term signed and/or dated and/or inscribed means that in our opinion the signature and/or date and/or inscription are original to the model or authorized by the sculptor’s studio or editor but not necessarily from the hand of the artist.

The term bearing the signature and/or date and/or inscription means that in our opinion the signature and/or date and/ or inscription have been added at a later date.

Dimensions are given height before width

Condition of lots

Condition is only noted in the catalogue where an item is severely distressed. Prospective purchasers making commission bids without viewing the sale can be given condition reports on any lot on request.

It is essential for buyers to satisfy themselves as to the condition of lots prior to the sale and to arrange their own insurance cover against loss and damage immediately after the sale. Please refer to the Conditions of Business for Buyers.

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

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

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

GUIDE FOR PROSPECTIVE BUYERS1. Buyer’s Premium RatesThe buyer’s premium payable by the buyer of each lot is at a rate of 25% on the first £50,000, then 20% up to £250,000 and 12% on the amount by which the hammer price exceeds £250,000, plus an amount in respect of VAT thereon (see below).

2. VAT on Hammer Price and Buyer’s Premium and VAT Symbols in the CatalogueProperty with no VAT symbol

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

Property with a † symbol

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

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

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

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

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

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

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

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

(i) notify Summers Place Auctions Ltd in writing within three (3) months of receiving any information that causes the Buyer to question the authenticity or attribution of the item, specifying the lot number, date

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Property with a @ symbol

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

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

Property sold with a ‡ or symbol

These items have been imported from outside the EU to be sold at auction under temporary importation. When Summers Place Auctions Ltd release such property to buyers in the UK, the buyer will become the importer and must pay Summers Place Auctions Ltd import VAT at the following rates on the hammer price:

‡ @ 5% @ 20%

Summers Place Auctions Ltd must bear VAT on the buyer’s premium and hence will charge an amount in lieu of VAT at 20% on this premium, which will not be shown separately on the invoice.

VAT Refunds

VAT may be cancelled or refunded on export if strict conditions are met and a fee of £30 plus VAT will be charged for this service. For advice, please contact us on 01403 331 331

Sales and Uses Taxes

Buyers from outside the UK should note that local sales taxes or use taxes may become payable upon import of items following purchase (for example, the Use Tax payable on import of purchased items to certain states of the USA). Buyers should obtain their own advice in this regard.

Artist’s Resale Right

Purchase of lots marked with the following symbol will be subject to payment of the Artist’s Resale Right, at a percentage of the hammer price calculated as follows:

Portion of the hammer price (in) Royalty Rate

From 0 to 50,000 4%

From 50,000.01 to 200,000 3%

From 200,000.01 to 350,000 1%

From 350,000.01 to 500,000 0.5%

Exceeding 500,000 0.25%

The Artist’s Resale Right payable will be the aggregate of the amounts payable under the above rate bands, subject to a maximum royalty payable of €12,500 for any single work each time it is sold. The maximum royalty payable of €12,500 applies to works sold for €2 million and above. Calculation of the artist’s resale right will be based on the Pounds Sterling / Euro reference exchange rate quoted on the date of the sale by the European Central Bank.

Property with a ♠ symbol.

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

3. Before the AuctionPre-sale Estimates

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

It is advisable to consult us nearer the time of sale as estimates can be subject to revision. The estimates printed in the auction catalogue do not include the buyer’s premium or VAT.

Provenance

In certain circumstances, Summers Place Auctions Ltd may print in the catalogue the history of ownership of a work of art if such information contributes to scholarship or is otherwise well known and assists in distinguishing the work of art. However, the identity of the seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded to accommodate a seller’s request for confidentiality or because the identity of prior owners is unknown given the age of the work of art.

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Live Auctions

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

Absentee Bids

If you cannot attend the auction we will be happy to execute written bids on your behalf, so long as you have registered your details with us beforehand. A bidding form may be downloaded from www.summersplaceauc-tions.com website. A bidding form is also printed in the back of the catalogue. This service is confidential. Lots will always be bought as cheaply as is consistent with other bids, the reserves and other commission bids. To avoid confusion, the sale date, lot number and a brief description should be filled in and signed. Commission bids by email without a signature will not be accepted. In the event of identical bids, the earliest received will take precedence. Always indicate a top limit, i.e. the highest price you would bid if you were attending the auction. Don’t forget that buyers premium and any VAT applica-ble will also be added onto your bid if you are successful. “Buy” and unlimited bids will not be accepted. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues. To ensure a satisfactory service please ensure that we receive your bids at least 24 hours beforehand.

Telephone bids

If you cannot attend the auction, it is usually possible to bid on the telephone. You will need to have registered your details with us 5 days before the auction. As the number of telephones is limited, it is necessary to make arrangements on which lots you wish to bid on, at least 24 hours before the sale. We also suggest that you leave a maximum bid which we can execute on your behalf in the event we are unable to reach you by telephone. Please refer to our conditions of business for buyers, which is also printed in the back of our catalogues.

Online Bidding If you cannot attend the auction, you may wish to bid using the.saleroom.com, which will incur an additional 4.95% of the hammer price plus VAT at the rate imposed

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

Condition of LotsAll lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 3 of the Conditions of Business for Buyers.

Electrical and Mechanical Goods

All electrical and mechanical goods are sold on the basis of their artistic and decorative value only, and should not be assumed to be operative. It is essential that any electrical system is checked and approved by a suitably qualified electrician, prior to use.

4. The AuctionAuction speeds vary, and generally average between 50 and 120 lots per hour. The auctioneer will commence and advance the bidding at levels and in increments he considers appropriate (generally in increments of approximately 10% of the previous bid) and is entitled to place a bid or series of bids on behalf of the seller up to the reserve on the lots, without indicating he is doing so and whether or not other bids are placed.

Please note Conditions 5 and 6 of the Conditions of Business for Buyers contain additional information on bidding.

Bidding in Person

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

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Sealed bid

For further information please see pages at the end of this section.

Sale by private treaty

Summers Place Auctions shall, from time to time, be offering some lots for sale by Private Treaty in our architectural portfolio. These will usually comprise larger pieces of an architectural nature, which will require a longer period of planning and consultation than an auction can provide. Additionally if you are looking for a specific piece please let us know and we will use our worldwide network of trade and private clients to help source the most suitable item for you. Please contact us for further information.

Payment

Payment is due in sterling immediately after the sale and before purchases can be released. Payments in person can be made in the saleroom on the day of the auction using mobile banking, debit cards or by cheque. Thereafter payments may also be made by electronic transfer to our bank, by post or by debit card transactions by telephone. Cash will not be accepted.

Sterling Banker’s Draft or Building Society Cheque and Electronic or Wire Transfer

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

Credit/Debit Card

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

Sterling Cheque

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

Collection and Storage

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

RH14 9AB, Monday to Friday between 9.30am and 12.30pm and 2.00pm and 4.00pm. Collection of lots is strictly by prior appointment and must be arranged at least 48hours in advance. If Lots have not been collected within 35 days of the auction date then storage charges may be applied at a rate of £10 per Lot per day. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, Summers Place Auctions accept no responsibility for any damage which may occur, even in the event of Summers Place Auction staff assisting carriers during collection.

Summers Place Auctions also reserves the right to charge storage fees of £10.00 per lot, per week, for any pieces left at Summers Place over a longer period than six months irrespective of whether they have been entered into a sale or not. Shipping

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

CONDITIONS OF BUSINESS FOR BUYERS1. INTRODUCTION

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

(i) these Conditions of Business for Buyers;

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

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

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

2. DEFINITIONS

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

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

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

(iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by Summers Place Auctions Ltd in connection with the conduct of auctions or for any matter relating to the sale of any lot.

(c) Without prejudice to Condition 4(b), any claim against Summers Place Auctions Ltd and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither Summers Place Auctions Ltd nor the Seller shall be liable for any indirect or consequential losses.

(d) Nothing in Condition 4 shall exclude or limit the liability of Summers Place Auctions Ltd or the Seller for death or personal injury caused by the negligent acts or omissions of Summers Place Auctions Ltd or the Seller.

5. BIDDING AT AUCTION

(a) Summers Place Auctions Ltd has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as Summers Place Auctions Ltd requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case Summers Place Auctions Ltd’s prior and express consent must be obtained).

(b) Summers Place Auctions Ltd advises Bidders to attend the auction, but Summers Place Auctions Ltd will endeavour to execute absentee written bids provided that they are, in Summers Place Auctions Ltd’s opinion, received in sufficient time and in legible form.

(c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to Summers Place Auctions Ltd’s other commitments; Summers Place Auctions Ltd is therefore not liable for failure to execute such bids. Telephone bidding may be recorded.

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

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

““Buyer’s Expenses” are any costs or expenses due to Summers Place Auctions Ltd from the Buyer;

“Buyer’s Premium” is the commission payable by the Buyer on the Hammer Price or winning sealed bid price at the rates set out in the Guide for Prospective Buyers;

“Hammer Price” is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; “Purchase Price” is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses;

“Reserve Price” (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot.

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

3. EXAMINATION OF LOTS

(a) Summers Place Auctions Ltd knowledge of lots is partly dependent on information provided by the Seller and Summers Place Auctions Ltd is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions.

(b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of Summers Place Auctions Ltd opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at Summers Place Auctions Ltd absolute discretion.

4. EXCLUSIONS AND LIMITATIONS OF LIABILITY TO BUYERS (a) Summers Place Auctions Ltd shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of Summers Place Auctions Ltd Authenticity Guarantee.

(b) Subject to Condition 4(a), neither Summers Place Auctions Ltd nor the Seller:-

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

7. CONDUCT OF THE AUCTION

(a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable.

(c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer.

(d) Any post-auction sale of lots shall incorporate these Conditions of Business.

8. PAYMENT AND COLLECTION

(a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment Date”).

(b) Title in a lot will not pass to the Buyer until Summers Place Auctions Ltd has received the Purchase Price in cleared funds. Summers Place Auctions Ltd will not release a lot to a Buyer before payment.

(c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a).

(d) The Buyer must arrange collection of lots within 35 working days of the auction. Purchased lots are at the Buyer’s risk from the fall of the hammer.

(e) All packing and handling of lots is at the Buyer’s risk. Summers Place Auctions Ltd will not be liable for any acts or omissions of third party removers or shippers.

9. REMEDIES FOR NON-PAYMENT

Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, Summers Place Auctions Ltd may in its sole discretion exercise one or more of the following remedies:-

(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense;

(b) cancel the sale of the lot;

(c) set off any amounts owed to the Buyer by Summers Place Auctions Ltd against any amounts owed to Summers Place Auctions Ltd by the Buyer for the lot;

(d) reject future bids from the Buyer;

(e) charge interest at 4% per annum above NatWest Bank Base Rate from the

Payment Date to the date that the Purchase Price is received in cleared funds;

(f) re-sell the lot by auction or privately, with estimates and reserves at Summers Place Auction Ltd.’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale;

(g) Exercise a lien over any Buyer’s Property in Sum-mers Place Auctions Ltd’s possession, applying the sale proceeds to any amounts owed by the Buyer to Summers Place Auctions Ltd. Summers Place Auctions Ltd shall give the Buyer 14 days written notice before exercising such lien;

(h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs;

(i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings.

10. FAILURE TO COLLECT PURCHASES

(a) If the Buyer pays the Purchase Price but does not collect the lot within 35 days of the auction, the lot will be stored at the Buyer’s expense and risk at Summers Place Auctions Ltd’s premises or in independent storage.

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(b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, Summers Place Auctions Ltd will re-sell the lot by auction or privately, with estimates and reserves at Summers Place Auctions Ltd’s discretion. The sale proceeds, less all Summers Place Auctions Ltd’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction.

11. DATA PROTECTION

(a) Summers Place Auctions Ltd will use information supplied by Bidders or otherwise obtained lawfully by Summers Place Auctions Ltd for the provision of auction related services, client administration, marketing and as otherwise required by law.

(b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i). 12. MISCELLANEOUS

(a) All images of lots, catalogue descriptions and all other materials produced by Summers Place Auctions Ltd are the copyright of Summers Place Auctions Ltd.

(b) These Conditions of Business are not assignable by any Buyer without Summers Place Auctions Ltd’s prior written consent, but are binding on Bidders’ successors, assigns and representatives.

(c) The materials listed in Condition 1(a) set out the entire agreement between the parties.

(d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect.

(e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of Summers Place Auctions Ltd.

Sealed bid- How it works Our sealed bid auctions close at 4.oopm on the day after the live auction, but are on view at the same time and are included in the same catalogue with an illustration, description and estimate. Clients wishing to leave bids should do so in writig or by emailing a signed scanned page detailing lot numbers, brief description and the bid(s) which they wish to leave. All clients should also have registered with us beforehand and provided photographic identification.

Sealed bids, when placed by telephone, are accepted only at the the caller’s risk and must be confirmed by letter or e-mail to [email protected]. You can also e-mail the completed sealed bid form to [email protected]

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

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

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

Bids will be opened on Thursday 14th March; and sales results will appear on the Summers Place Auctions website. Please be mindful that we will have to process a large number of bids, which does take time. However, we will endeavour to get this accomplished as quickly as possible and will expect to have the results of the sale posted by the end of the day.

If you have never bid in a sealed bid sale before, here are some things to be aware of as regards leaving bids for this auction:

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

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

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

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

In the event of two identically highest bids, the earliest bid received will take precedence.

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

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Sealed bid auction Lots 200-585All sealed bids must be with us, at the latest by 4pm GMT on the 13th March since the bids will be opened on the 14th March. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened. For further information on sealed bids and how they work see our conditions of business.

200

A run of 21.6 metres of iron fencing

8 panels

82cm high, together with two wrought iron gates, early 20th century, each gate 127cm high by 165cm wide, and a late Victorian wrought iron gate, 160cm high by 108cm wide, together with a quantity of other gates and railings see website for extra images

£300-500

201

A pair of carved sandstone griffins

circa 1870

on later composition stone base

80cm high

£400-600

202

A carved stone owl


58cm high

£300-500

203

A carved stone relief of an owl


44cm high

£80-120

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The Easton Lodge Gates and Entranceway

Provenance: The following three Lots originally stood at Easton Lodge, Great Dunmow, Essex, England. It was one of many country houses destroyed during the 20th century. Part of the west wing (rebuilt as a separate house after a fire in 1918 for use as servants’ quarters) still stands; and the Grade II listed gardens designed by Harold Peto have been largely restored and opened to the public.

Designed by Thomas Hopper, Easton Lodge replaced an earlier Elizabethan mansion built in 1597 by Henry

Maynard, which had been destroyed by fire in 1847. The Elizabethan house had itself replaced an earlier hunting lodge, situated by the church, which had been granted to Henry Maynard in 1590 by Queen Elizabeth I.

Most famous of those who lived at the house was Daisy Greville, Countess of Warwick, who was born Frances Evelyn Maynard at Easton Lodge in 1861 and inherited the estate when just four years old. She became a socialite and mistress to King Edward VII, and continued to live at Easton Lodge with her husband, the 5th Earl

Easton Lodge showing one of the open pair of gates

63


of Warwick after her marriage. As a result, the Lodge became famous for its society gatherings. Guests at Easton Lodge included George Bernard Shaw, Gustav Holst, Ramsay McDonald and HG Wells whose family lived in one of the estate properties. He, in turn, received visits from such notables as Dame Ellen Terry, AA Milne and Charlie Chaplin.

In 1918, another fire severely damaged the Jacobean wings of the house. The fire is thought to have been started by one of the Countess’ pet monkeys. Major portions of the Estate were auctioned in 1919/20 and outlying parts had already been sold in the 1890’s. The Jacobean wing of the house was rebuilt after this second fire, and the Countess, having been widowed in 1924, eventually moved into the West Wing where she remained with her beloved animals until her death in 1938.

In 1923, Daisy offered the whole estate to the Labour Party - they declined. She stood for Parliament as Labour candidate for Leamington & Warwick but lost out to Anthony Eden. Such was her commitment that in 1926 she then offered the entire estate to the TUC who were very keen to accept. Plans were made to develop Easton Lodge into a college and university but, after the General Strike in 1926 through which the TUC’s funds were severely depleted, the arrangement had to be abandoned as they were no longer able to finance such an institution.

During World War II the estate was requisitioned by the War Office, leading to the destruction of some 10,000 trees to enable the construction of RAF Great Dunmow (also known as RAF Little Easton) in the former park. The house was largely demolished following its return by the military in 1950.

After 30 years of abandonment the west wing was purchased in 1971 and is now used as a private house. The late 19th century stable cottages and a red brick water tower also remain, and are Grade II listed buildings.

The Gardens of Easton Lodge are the only example in East Anglia of the work of the Edwardian garden designer, Harold Peto. Peto originally trained as an architect and brought to Easton Lodge his passion for Italianate, French and Japanese designs, including

many architectural features. Peto’s 1902 designs for the Countess of Warwick included formal lawns, a sunken Italian garden, a yew walk, a treehouse, a glade and a Japanese garden.

These impressive gates, which were the main in and out gates from the deer park to Easton Lodge, predate Peto’s involvement, but since they incorporate earl’s coronets and a ‘W’ for Warwick, for the 5th Earl of Warwick who moved into Easton Lodge following his marriage to Daisy Greville in 1881, they may have been part of an architectural scheme by the Scottish architect, William Young in 1884 most of which was never realised.

See also our website for an Ordnance survey map showing location of gates.

Detail of cresting of lot 206 incorporating W for the Earl of Warwick

64

204

An impressive pair of Georgian style wrought iron gates

last quarter 19th Century

the gates surmounted by an earl’s coronet flanked by

pilasters with supporting back struts

the gates 260cm high by 320cm wide, the pilasters 300cm high by 50cm wide

The whole approx 450cm wide

£15,000-25,000

65


205

An identical impressive pair of Georgian style gates

last quarter 19th Century

the gates surmounted by an earl’s coronet flanked by pilasters with supporting back struts

the gates 260cm high by 320cm wide, the pilasters 300cm high by 50cm wide

The whole approx 450cm wide

£15,000-25,000

66

206

An impressive Georgian style wrought entranceway,


with a central hinged gate, with overthrow incorporating a ‘W’ for Warwick flanked by railings

the gate 265cms high by 140cm wide, the overthrow 405cm high

the railing pilasters 300cm high, approx 620cm wide

£15,000-25,000

67


a wrought iron panel, 93cm high, a wrought iron panel rectangular, 85cm high by 60cm wide and a cast iron panel in wooden frame, 90cm by 53cm wide (see website for extra images)

£400-600

208

A pair of substantial Georgian style gates

20th century

370cm high by 380cm wide, together with two wrought and cast iron pier crestings, 60cm high by 38cm wide (see website for extra images)

£1000-1500

209

An unusual early Victorian wrought iron entranceway

circa 1840


£800-1200

207

A pair of Art Deco pierced cast iron rectangular panels

95cm by 30cm wide

together with a pair of late Victorian cast iron rectangular panels, 101cm by 28cm, a pair of gothic style cast iron gates, circa 1870, 71cm high by 126cm wide, a pair of Victorian wrought iron rectangular panels, 110cm by 40cm wide,

209

208

68

210

† A pair of lead artichoke finials

modern

on composition stone bases

66cm high

£2000-3000

211

A set of four composition stone balls

modern, 36cm diameter

£800-1200

212

A pair of carved stone gate pier balls and caps

late 19th century

balls 30cm diameter, the caps 64cm square

£250-400

213

† A pair of carved sandstone crowns

modern

42cm high

£400-600

69


214

A set of four composition stone gate pier pineapples


56cm high

£200-400

215

A similar set of four composition stone gate pier pineapples

£200-400

216

A similar set of four

£200-400

217

A similar set of three

£150-250

218

A set of four carved stone finials

French, late 19th century

73cm high

£400-600

219

A pair of carved stone gate pier caps

19th century

38cm high, together with a carved stone gate pier ball on base, 19th century, 40cm diameter, two stone bases, 60cm square, and a rectangular plaque carved from bricks, 39cm high by 55cm wide (see website for extra images)

£300-500

214

215

216

217

70

220

A pair of composition stone gate pier pineapples


90cm high

£600-1000

221

A pair of composition stone finials

late 19th century

on later bases

80cm high

£200-400

222

A composition stone lidded urn


140cm high

After an original designed by William Kent for Alexander Pope’s garden at Twickenham

£400-600

223

A carved grey marble Salomonic column

19th century, 176cm high

£200-400

71


224

A set of three Georgian carved Portland stone corbels

late 18th century


£300-500

225

A carved Travertine marble frieze plaque



£500-800

226

† A substantial carved Portland stone column

19th century, 222cm high

£1500-2500

227

† A similar column

£1500-2500

228

A pair of early Victorian carved stone pediments

mid 19th century


£400-600

72

229

† A pair of carved sandstone wall consoles carved with scrolls

modern

92cm high

£400-600

230

† A similar smaller pair of carved sandstone wall consoles

modern (see website for image)

77cm high

£300-500

231

A pair of carved stone finials

32cm high, together with a carved limestone stool, French 19th century, 40cm long, and a faux bois tree trunk planter, 50cm high

£150-250

232

A pair of Victorian carved stone architectural features carved in high relief with rams’ heads

late 19th century

73cm high

£200-400

233

After Canova: A pair of carved limestone lions

20th century

77cm long

£600-1000

73


234

A late Victorian wrought iron finial

193cm high, together with another cast iron finial 57cm high and a cast iron pump, 2nd half 20th century 107cm high

£200-300

235

A pair of composition stone lions holding armorial shields


30cm high, and another pair of composition stone lions, 20th century, 50cm high, together with a pair of composition stone urns, 30cm high, and a pair of carved white marble urns, and a carved stone mortar

33cm high (see website for extra images)

£200-300

236

A Victorian carved limestone gargoyle

19th century

drilled for water


£250-400

237

A carved limestone mounting block


£400-600

235

74

238

A pair of carved sandstone column pedestals

late 19th century

163cm high

£400-600

239

A similar pair of carved sandstone column pedestals

£400-600

240


£400-600

241


£400-600

242

An Elizabeth II cast iron post office box


60cm high by 26cm wide, together with another post box wall front and a quantity of staircase uprights and a cast iron lintel centred with a bearded man mask and a cast iron ceiling rose. (see website for extra images)

£200-400

243

A pair of wrought iron tree guards

late 19th/early 20th century

190cm high, together with another tree guard

£200-400

238 239

240

241

75


244

† An impressive galvanised steel bridge made by blacksmith Bob Fuller

modern

600cm long; internal width 120cm; handrail height 120cm

£10,000-15,000

245

† A painted steel bridge

with hardwood slats

modern

160cm high by 583cm long by 158cm wide

£3000-5000

244

245

76

246

A bowtop Gypsy caravan

20th century

with fitted interior by renowned Gypsy, Fred Walker, the painted wooden frame with canvas top, hinged hayrack and double stable doors

The similarly painted interior, fitted with bed, cupboards, seats and stove aperture


Included in the lot are the shafts, canvas overcover and 4 steel wheels with rubber tyres for ease of moving.

Provenance: Reputedly, this caravan was bought at Appleby Fair and made by the gypsy legend Fred Walker and painted by the renowned gypsy artist Tom Stephenson.

The gypsy caravan or vardo is a traditional horse-drawn wagon used by British Romani people as their home. Often with a fitted interior containing a stove for cooking and heating it is commonly thought of as being highly decorated,

247

77


intricately carved, brightly painted, and even gilded as in this example. The British Romani tradition of the vardo is seen as a high cultural point of both artistic design and a masterpiece of woodcrafters art. The heyday of the living wagon lasted for roughly 70 years, from the mid-1800s through the first two decades of the twentieth century. The advent of the motor car, combined with the rise in popularity of the cinema, heralded the decline of the fairs and circuses which Gypsy showmen regularly travelled to in their brightly decorated wagons.

£2500-4000

247

A monumental oval composition stone trough

French, mid 20th century

101cm high by 240cm long by 163cm deep

£1500-2500

248

A rectangular carved limestone trough


£1500-2500

249

A rectangular limestone trough


£1500-2500

248

249

78

250

A large carved limestone rectangular trough


£2000-3000

251

Six rectangular composition stone troughs


the larger 72cm

£100-200

79


252

A harlequin set of four carved Cotswold stone staddlestones

the largest 84cm high

£500-800

253

A harlequin set of six staddlestones

average height 64cm

£1200-1800

254

A harlequin set of six staddlestones

including four on circular bases and two on square bases

average height 66cm high, together with two staddlestone bases

£600-1000

255

A set of eight staddlestones

including six circular tapering ones and two with tapering square bases, one lacking top

£1000-1500

252 253

254

255

80

256

A cast iron pump

French late 19th century

with D-shaped basin and wooden back plate

138cm high

£300-500

257

An unusual aluminium sign

mid 20th century


£100-200

258

A wrought iron weathervane

early 20th century

137cm high

£300-500

259

A sheet copper and cast iron cresting of a lion


87cm high

£400-600

260

Two unusually tall limestone staddlestones

100cm high

£500-800

259

258

257

81


261

A painted canvas covered and hardwood kayak

mid 20th century

with softwood slats

425cm long

£400-600

262

A wrought iron and galvanised zinc water bowser

Edwardian

130cm long, together with another water bowser

£150-200

263

A Kenrick Foundry cast iron boot scraper

circa 1840

on associated sandstone base

the boot scraper 24cm wide

£200-400

264

A small cast iron cannon

19th century

on later wooden carriage

barrel 87cm long

£300-500

265

A harlequin set of ten granite and stone weights

18th/19th century

with iron ring handles

34cm high

£500-800

82

266A

A pair of fairground end panels

mid 20th century

each in two sections painted on tin with pastural scenes in a wooden frame

each panel in two sections 224cm high by 248cm wide

These painted panels originally formed part of a fairground shooting gallery range and have been exhibited at various fun fair venues such as Newark fair and the famous Nottingham Goose fair. They are reputedly painted by Sidney Chapman sometime around the middle of the 20th century.

£500-800

267

A Japanese Kasuge lantern

Meiji period (1868-1912)

column and top finial missing

122cm high

£500-800

268

A marble gravestone turban finial

Ottoman, 19th century or earlier

23cm high

£200-400

(See footnote on our website)

266

A pair of Victorian cast iron horses’ heads

with tethering holds

30cm high

£200-400

83


269

A similar marble turban finial

26cm high

£200-400

270


19cm high

£200-400

271


25cm high

£200-400

272


30cm high

£100-200

273

A rectangular carved marble panel

Turkish, 18th/19th century


£200-400

274

† A large wrought iron kadai on stand

modern

148cm diameter, together with a set of three curved benches with wooden tops

£1000-1500

268 269 270 271 272

84

275

A bronze armillary on tapering square limestone pedestal

modern

200cm high

£1500-2500

276

A carved limestone column with copper armillary sphere

modern

376cm high

£1800-2500

277

A marble sundial

circa 1900

with circular bronze plate

114cm high

£1000-1500

278

A carved stone polyhedron

on later stand

62cm high, together with a bronze sundial plate, early 20th century, 26cm diameter

£200-300

85


279

A carved stone wall sundial

19th century

with later bronze gnomon

49cm by 38cm, together with a circular wall sundial, lacking gnomon made up from a millstone, the back bearing the date 1661

59cm diameter

£300-500

280

An Edwardian Portland stone sundial

dated 1906

and with bronze plate, 114cm high

£600-1000

281

† A carved sandstone sundial baluster on stepped base

modern

118cm high, the base 68cm square

£500-800

282

Three armillary spheres in cast wrought iron and copper

late 20th century, see website for extra images


£400-600

279 280 281

282

86

283

A cast iron and copper armillary sundial


96cm high by 78cm diameter

£1000-1500

284

Two copper glazed ships lanterns

late 19th century

one stamped GM Hammar

the larger 52cm high

£300-500

285

A carved marble and brass noon day cannon sundial

modern

20cm diameter

£200-300

87


286

A pair of Verre Eglomise glass roundels

20th century

inscribed Love and Hate, in wooden frames

122cm diameter

£400-600

287

A rare copper and brass bottle carrier

stamped SS Boston, White Star, with central lidded ice container

22cm high by 33cm diameter.

The SS Boston was a 4,989 ton steam passenger ship built in 1924 for Eastern Steamship Lines Inc Portsmouth, USA. This ship was given to Britain & transferred to the Ministry of War in 1942. She was sunk by German U-Boat U-216 at 16:37 hrs 25 Sept 1942. The U-boat captain, Captain, Karl-Otto Schultz believed her to be the much larger Viceroy of India class boat, due to her high superstructure and twin funnels. It is unclear as to why this piece is also stamped White Star, since this was a separate shipping line, most well-known for building the RMS Titanic. In later years the term White Star was adopted by the Cunard Line who bought out the White star line to indicate a higher level of service to passengers.

£300-500

88

288

A Bakelite and marble Cambridge Scientific Instruments Unipivot Galvanomitor

1930’s

now been converted to a Desk lamp

35cm high by 12cm deep by 20cm wide

The Cambridge Scientific company (1878-1968) was founded in 1878 by two Cambridge graduates, Albert Dew-Smith and Horace Darwin to meet the need for new types of instruments for laboratory work in Cambridge University, especially instruments for physiology and physics.

£200-300

289

A wood and Bakelite Weir Electrical instrument company Ampmeter

1950’s

now converted to a desk lamp

31cm high by 9cm deep by 18cm wide

£200-300

290

A brass Four Oaks Kent Gold Medal knapsack sprayer

now polished, lacquered, and converted to a lamp


The Four Oaks Spraying Machinery Company was founded in 1895 by William Charles George Ludford and was situated in Belwell Lane, Four Oaks, Sutton Coldfield. They produced a variety of sprayers and liming machines winning many awards until their closure in the 1950’s sadly due to the plastics industry and a more throwaway society.

The Knapsack sprayer had a capacity of 3 + 3 ¼ gallons and was carried on the back with an operating arm on one side and a lance at the end of a 3 foot best india- rubber tube.

£450-550

89


291

An extremely rare set of SGE Traffic lights

1930’s

82cm long by 35cm wide

SGE (Siemens & General Electric Railway Signal Co) manufactured traffic lights for British roads from the 1930’s until they were replaced by the one piece Mellor design, manufactured by Plessey, GEC, and Monitron in the 1970’s.

The first SGE traffic light in the UK were trialled on the 5th of November 1927 at Princess Square Wolverhampton and was so successful that lights were permanently installed in October 1928. Although these lights were of the American one piece design, SGE decided to revert to the individual adjustable light design such as this one for British roads.

These lights, once a familiar sight on British roads, would have originally been painted black and mounted on a black and white pole, the heavy cast iron head has 3 lights with individual adjustable aspects courtesy of ball and socket type joints giving them the appearance of bowls on stalks. This design from SGE was also used for the first vehicle - actuated road which was installed at the junction of Cornhill and Bishopsgate in London. In appearance it resembled other singling systems already in use at the time with the familiar red, green and amber lights, the dissimilarity was the inclusion of a rubber mat set into the road at each approach to the junction which subsequently reduced the long needless delay of the “fixed time” system. The traffic passing over the rubber matt compressed the detector tube giving an increase of pressure which operated the contacts of the pneumatic contractor.

None of these early SGE lights are in use on public roads in the UK today. A few are in use in private hands such as the East Anglian Transport Museum, and a set are working at Dover Castle. The last remaining set on public roads located at Rewley Road junction in Oxford was removed in 1999. Once replaced by the newer Mellor design all the old SGE lights were exported to Malaysia and Singapore.

This set are now restored and re-wired with individual on/off switches for the green amber and red lights and also signal system in Europe supplied with a custom made wall bracket.

£1500-2000

292

A desk light constructed from a Walsall flame proof light switch

1950’s

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

1930’s


£200-300

90

293

A large rare set of American Eagle” Bubble back” aluminum traffic lights

1950’s

120cm high by 35cm wide by 45cm deep

The lights have been rewired with independent switches for the red, amber and green light, highly polished and lacquered and are supplied with the original hanging bracket which facilitates hanging from a wall bracket or ceiling mount. The hoods can be removed to form a pendant light over a table or bar area.

The Eagle Signal and Sign Company is one of the oldest traffic light manufacturers in the U.S. The company was founded in 1931 in Moline, Illinois. Eagle became one of the market leaders of traffic signal lights, competing with other brands such as Crouse-Hinds and Marbelite, for control of the Midwest American market. During the 1930s and 1940s Eagle manufactured a limited range of lights but often upgraded their designs with minor changes. In the 1950s and 1960s they went on to produce flat-back models and larger 12-inch designs.

£1000-1500

294

A Tilley & Co FL6 Flood light

1940’s


Tilley & Co Manufactured these paraffin lamps at their Hendon factory. They were easily lit and extremely mobile and powerful giving out 3000 candlepower over ¼ mile.

During the Second World War they were used extensively by the RAF, their innovative large design making them ideal for lighting temporary airfields. Many of these airfields were situated in the South of England and used as ALG’S (advanced landing grounds) for the D-Day invasion at locations such as, Appledram, Bognor, Deanland, Selsey and Coolham, which were little more than farm land. Planes could land safely on temporary runways lit either side by these strong floodlights.

£500-700

91


295

A desk light constructed from a Bill Radette machine switch

1950’s

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


£200-300

296

A rare cast iron and brass French wine corker


Original well preserved examples of these highly decorative and one time abundant wine corkers are becoming scarce. This one is fully functioning and retain its original finish.

This particular model, La Meilleure (The Best) was manufactured in Paris in the late 19th/early 20th century. Purchased by the wine cellar supplier and Lemonade makers Maison Gast based in Caen northern France and probably then supplied to a vineyard in the local Loire valley area.

The history of using corks for wine bottles dates back to the 1600 (started by Dom Perignon). It wasn’t until the last quarter of the 19th century that the wine bottling

industry really expanded. Production boomed between 1890 and 1917, the industrial work force more than doubled and by 1930 it had increased fivefold to a total of 10,000 workers.

This particular wine corker would have been in use at a vineyard during that period. Many aspect of French wine making have remained unchanged for centuries, however the advent of mechanical bottling put an end to the use of manual wine corkers and these bespoke corkers were sadly discarded, rendering them now a very scarce piece of French wine making history. Mechanically advanced yet endearingly rustic, this corker perfectly embodies the time honoured traditions of French wine making.

£700-900

92

297

An OKB-2 liquid fuel second stage rocket engine mounted on stand

late 1950’s

104cm high

Designed by the studio of Alexei Mikhailovich Isayev and built by the Soviet aircraft design bureau (OKB). Isayev was granted his own section of OKB in 1947

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

Provenance: Ex Professor Roudakov Air and Space Collection.

£2500-4000

298

A circular topped table incorporating 1930’s aircraft pistons

the central boss engraved Wright Aircraft Engines

102cm diameter

£300-500

93


299

A pair of composition stone urns on pedestals

late 20th century

123cm high, together with another smaller pair of composition stone urns on pedestals, 78cm high

£600-1000

300

A substantial composition stone finial on pedestal

late 20th century

230cm high

£1000-1500

299

299 300

94

301

An elaborate and unusual Savonnerie stone planter

Northern European, early 20th century


£5000-8000

302

A set of four late Victorian terracotta urns on pedestals

circa 1900

66cm high

£200-400

95


303


late 20th century

148cm high

£400-600

304

† A carved sandstone Tulsi planter


£500-800

305

A fire clay rectangular planter on stand, possibly Compton

early 20th century

100cm long

£400-600

96

306

A set of six composition stone urns


56cm diameter

£250-400

307

A similar set of composition stone urns

£250-400

308

A similar set of four composition stone urns

£150-250

309

A similar set of four composition stone urns

£150-250

306

307

308

309

97


310


late 20th century

127cm high

£600-800

311

A set of six composition stone urns


56cm high

£250-400

312

Two pairs of composition stone urns


the larger 57cm diameter, together with a larger urn, 94cm high (see website for extra images)

£200-400

313

† A pair of carved sandstone wrythen fluted two handled urns

modern

42cm high

£300-500

98

314

A pair of Compton style terracotta snake pots


stamped Meon

33cm high

£200-300

315

A terracotta oil storage jar

Southern Mediterranean, early 20th century on iron base plate

166cm high

£800-1200

316

A beehive terracotta oil storage jar

Southern Mediterranean, early 20th century

75cm high

£200-300

317

A terracotta oil storage jar

Southern Mediterranean, late 19th/early 20th century

86cm high

£200-300

315

316 317

99


318

A Pithos terracotta oil storage jar

Southern Mediterranean, early 20th century

92cm high

£250-350

319

† A pair of carved sandstone shallow circular planters

modern

60cm diameter

£250-400320

A pair of terracotta urns on pedestals

early 20th century

90cm high

£150-250

321

A pair of unusual terracotta cylindrical planters

1960’s


£300-500

100

322

Two coppers with handles

French, late 19th century

the larger 48cm high by 85cm wide

£500-800

323

Two similar smaller coppers

the larger 54cm high by 78cm wide

£400-600

324

A collection of four washing coppers

19th century

of riveted construction

the largest 57cm high by 70cm diameter

£800-1200

325

Two washing coppers

19th century

the larger 54cm high by 78cm diameter, together with a pair of cast iron urns, 2nd half 19th century, 40cm diameter

£1000-1200

322

322

101


326

† A pair of Georgian style lead cistern planters

modern


£2000-3000

327

† A pair of Georgian style lead urns

modern

59cm high

£350-550

102

328

A pair of cast iron urns on pedestals



£200-400

329

A pair of rare Victorian cast and wrought iron planters

late 19th century

63cm high

£300-500

330

A pair of cast iron urns


53cm high

£200-400

328 330

329

103


331

Nils Mollerberg: A bronze fountain with two naked figures

signed N Mollerberg 1929, and with founders stamp Otto Meyers EFTR.Fud.

plumbed for water

93cm high

Nils Mollerberg was born in Ekestad, Sweden in 1892. Various sculptures including Youth, the Boxer and Maternity can be seen in Stockholm and Malmo museums.

£3500-5000

104

332

Humphrey Bowden

A copper Ricinus fountain

with three plumbing points

150cm high

Humphrey Bowden studied Physics at Cambridge and then became a professional metallurgist before becoming a professional fountain maker 25 years ago.

This garden fountain is based on the Ricinus (castor oil) plant, with its dramatic spiky leaves. The many-fingered copper leaves, with their scalloped edges, are hand cut and beaten to shape. With a gently curved stem and branches, the whole fountain has a pleasing powerful shape. Water drips from the tips of all the leaves, falling into little pools of water in each leaf on the way down to the pond below. This makes a beautiful and complex gentle splashing sound. Each stream of droplets catches the light.

Early fountain designs were commissioned for show gardens at the Hampton Court and Chelsea Flower shows. Other commissions built up rapidly in the UK, mainly for private gardens, but also for public and commercial spaces. His work is now in several countries in Europe, in North America, the Far East, Africa and Russia. He exhibited annually at the Hampton Court Show for several years.

£1500-2500

105


333

A carved white marble two tier fountain

Italian, circa 1900


£3000-5000

106

334

† A lead wall cistern and fountain

modern

the rectangular tank bearing the date Ano 1755

the cistern 66cm high by 61cm wide by 33cm deep

£1500-2500

335

A carved limestone fountain


the top fish and dolphins drilled for water

160cm high, bowl diameter 92cm

£1200-1800

107


336

A carved white marble wall fountain

late 20th century

the bowl 52cm wide

£400-600

337

A carved limestone fountain and surround

French, modern

plumbed with four lead spouts

200cm high, the octagonal surround 50cm high by 230cm wide

£2000-3000

338

A carved limestone wellhead

66cm high by 100cm square

£800-1200

108

339

A rare Pulham stoneware fountain

early 20th century

70cm high

The Pulham company was established in 1820 but made terracotta from around 1846 on into the 20th century, with workshops in Broxbourne, Hertfordshire. By the 1880’s the company was concentrating on garden and landscape ornaments. The Pulham Garden catalogue of 1915 illustrates the storks element of this fountain in a number of the Pulham fountains, Section IV page 51.

£1000-1500

340

A carved white marble font

Italian 17th/18th century

56cm wide

£300-500

341

A composition stone fountain



£300-500

340

341

109


342

A composition stone wall fountain

modern

the mask drilled for water

47cm high, the basin 170cm wide

£600-1000

343

Two carved granite occasional tables

made up incorporating millstones

60cm and 67cm diameter

£200-400

344

A carved limestone seat


173cm wide

£700-1000

110

345

An unusual Purbeck stone seat

early 20th century

107cm square

£1500-2500

346

A carved white marble seat

Indian, late 19th/early 20th century

157cm long

£150-250

347

A composition stone suite of furniture

comprising table and two curved benches

104cm diameter

£250-400

348

A curved composition stone bench


120cm long

£150-250

345

346

347

348

111


349

A composition stone bench


145cm wide, together with a fireclay sundial, early 20th century, 96cm high

£400-600

350

A suite of child’s hardwood furniture


comprising seat, 90cm long and two chairs, together with a pair of folding deck chairs

£150-250

351

A pair of hardwood Lutyens seats

with maker’s plaque and presentation inscription dated 2005

196cm long

£800-1200

352

A carved hardwood double sun-lounger seat

122cm wide

£600-800

350

351

352

112

353

A large hardwood seat

modern, 340cm wide

£800-1200

354

A suite of teak ship breakers furniture


comprising table and four corner chairs, bearing makers plaque Made by Hughes Bolckow Limited, Blythe, Northumberland of teak taken from SS MAURETANIA

83cm square

£400-600

355

A similar suite of teak ship breakers furniture

with identical makers plaque

£400-600

356

A cast iron seat

20th century, 120cm long

£200-300

357

A cast iron seat

late 20th century

130cm wide

£150-250

354

356

357

355

113


358

Teak Jigsaw Table

76cm high by 160cm long by 90cm wide

£600-1000

359

A carved hardwood chair by Adam Birch

115cm high

Adam Birch grew up on a large farm outside Cape Town, South Africa and his love of trees began as a child, playing in the forests. He studied at the University of Stellenbosch, achieving a Bachelors degree in Fine Arts in

2000, majoring in Applied Graphics, but always dreaming of becoming a full time sculptor. After his studies, he became a tree surgeon, and began to work in his spare time with pieces from the dead trees he was cutting down, transforming them into innovative sculpted furniture.

£500-700

360

A Val d’Osne foundry cast iron seat

circa 1870, 95cm wide

£500-800

114

361

A rare and impressive Coalbrookdale cast iron hall stand


with marble shelf stamped CBDale & Co and the back with registration stamp and number 167496


This rare example of high Victorian art produced by the renowned Coalbrookdale foundry in Ironbridge, Shropshire is illustrated in their 1875 catalogue section II, no 32

(See engraving)

£1500-2500

362

A Coalbrookdale Fern and Blackberry pattern cast iron chair

late quarter 19th century

£300-500

115


363

A cast iron Rams’ head pattern pub table

late 19th century

with veined marble top, 60cm diameter

£300-500

364

A Coalbrookdale Fern and Blackberry pattern cast iron seat

circa 1870

194cm wide (See engraving)

£800-1200

365

A rare cast iron seat with foot rail


135cm wide

19th Century cast iron seats very rarely incorporate a foot rest, which in earlier Regency wrought iron examples, were used to keep ladies crinoline skirts dry.

£400-600

116

367

A Regency reeded wrought iron seat

early 19th century

154cm wide

£1200-1800

368

A set of four wrought iron chairs by Harry Bertoia for Knoll

1960’s

Harry Bertoia (1915-1978), was an Italian-born American artist, sound art sculptor, and modern furniture designer.

In 1937 he received a scholarship to study at the Cranbrook Academy of Art where he encountered Walter Gropius, Ray and Charles Eames and Florence Knoll for the first time. In 1950, he was invited to move to Pennsylvania to work with Hans and Florence Knoll. During this period, he designed five wire pieces that became known as the Bertoia Collection for Knoll which included this design of chair. In Bertoia’s own words, “If you look at these chairs, they are mainly made of air, like sculpture. Space passes right through them.”

£200-400

366

A wrought iron seat

French, circa 1900

132cm wide

£300-500

117


369

A composition stone group of two putti holding fruits


130cm high

£400-600

370

A composition stone group of a girl leaning over a bird bath


160cm high

£500-800

371

A pair of composition stone eagles


54cm high

£400-600

118

372

A pair of carved limestone groups of child musicians on pedestals


147cm high

£1500-2500

373

A pair of composition stone figures in medieval dress


143cm high

£600-1000

374

A composition stone basket planter

mid 20th century

80cm high by 77cm wide, together with a composition stone figure of a boy with a duck, 95cm high

£500-700

119


376

A rare composition stone figure of a shepherdess by Adam and Seeley


later lead butterfly and crook

156cm high

Felix Austin went into business in 1828 having bought moulds from a firm that had gone out of business. He established works in New Road, London, describing himself variously as an architect, statuary mason and sculptor as well as artificial stone maker. His material was not the same as the ceramic body used by Mrs Coade but made from Portland cement, broken stone, pounded marble and coarse sand (The Builder 1868). However, like Mrs Coade, he encouraged leading architects and designers to work for him. Around 1840 he entered into partnership with John Seeley. Seeley had trained at the Royal Academy Schools and also made an artificial stone which he called artificial limestone, before entering into partnership with Austin. In 1841 they published their first catalogue, Pleasure Grounds etc. from their address in New Road. The preface begins “Austin’s Artificial Stone is of a light tint, requires no painting or colouring, will not sustain injury from the severest winter, and, being impervious to wet, is particularly applicable to all kinds of water works. Its superiority is now so thoroughly established, that the most eminent architects and scientific gentlemen have expressed, in their highest terms, their approbation of its durability, and close resemblance to the real stone”.

£3000-5000

375

A pair of glazed earthenware eagles

one early 20th century, the other later

60cm high

£200-300

120

377

A set of three composition stone standing lamps

Italian, 2nd half 20th century

103cm high

£800-1200

378

A carved limestone figure of a squatting monkey

late 19th/early 20th century

38cm high, together with another similar limestone monkey

37cm high

£300-500

379

Four composition stone statues of maidens



£100-200

121


380

† An over-life-size carved stone torso

Indian, 2nd half 20th century

on associated base

120cm high

£600-1000

381

A wood painted template of Georges Remi’s (Hergé) character Tintin and his companion Snowy

106cm by 63cm

These modern wooden templates painted in the ligne Claire (clear line) style made popular by Hergé were made by a

382

383

stage artist from Pinewood studios.

£120-180

382

A similar wood template, 75cm by 52cm

£80-120

383

A similar wood template, 86cm by 35cm

£80-120

384

After the Antique: A monumental plaster bust of Hercules

modern

90cm high

£500-800

122

385

† After Giambologna: A lead figure of Mercury

modern

on composition stone column pedestal

203cm high overall

£1200-1800

386

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

19th century

raised on a socle base

Unique


£500-800

387

After Ben Panting: A plaster horse’s head

inscribed Ben Panting

78cm high

£600-1000

123


388

John Robinson: A bronze group of two baseball players

signed John 1/12 and dated ‘73

43cm long see website

£120-180

389

John Robinson: A monumental bronze resin group of acrobats

signed John

500cm high

This iconic sculpture, arguably John Robinson’s most well-known and acclaimed piece was originally conceived during a trip to Greece in the 1970’s. Based on the original Olympian athletes dating back to the 8th century BC in ancient Greece, John started with a 16inch bronze maquette, which he then scaled up to a monumental scale.

Being very practical, he ingeniously made a joint on the wrist of the upper acrobat, which is reinforced with a steel rod, making transport and erection relatively simple.

The first cast was mounted at the Hyatt Regency hotel in Maui, Hawaii. There are another 7 examples around the world, one of which is located outside the Australian Institute of Sport in Canberra, Australia.

The buyer of this lot will also receive copies of Robinson’s 3 volume autobiography giving details of this sculpture. see also on our website

Provenance: From the estate of the Sculptor John Robinson 1935-2007

Literature: See vol I pages 253, 275, 341, 432, Vol II, 453-455, 465-8, Symbolism, sculptures and Tapestries page 6

£8000-12,000

124

391

Patricia Peeters, Born 1964

Meditation

Bronze with variegated green-brown patination

58cm high

£2000-3000

390

Ludwig Vierthaler (1875-1967): A bronze female nude figure

German, early 20th century

signed L Vierthaler

weathered green patination with traces of gilding to the hair

143cm high

Ludwig Vierthaler first came to prominence around 1906 as a metalwork designer in Munich and for a brief time worked in New York for Tiffany & Company

£600-1000

392

A carved marble abstract figure seated on column

modern

150cm high

£800-1200

125


393

A life size bronze figure of a dray horse


Provenance: Removed from Camden Lock Market due to redevelopment see our website for further details.

£3000-5000

394

Jacques Vanroose

Force

Bronze, Signed

Edition of 100


£1000-1500

395

Christine Baxter

Nixie

Bronze resin

76cm high

£1500-2500

394

395

126

396

Two bronze hares


the jack 82cm high

£1500-2500

397

Christine Baxter

Looking Down Hare

Iron resin

66cm high

£600-1000

398

Christine Baxter

Topsy turvy hare

60cm long

£600-1000

399

James Dorran-Webb

A Good Bask

Driftwood on marble plinth

Signed

Unique


£3000-5000

400

John Cox, Born 1941

Circle of Dolphins

Water feature


£3000-5000

398397

127


128

401

Guy Buseyne, Born 1961

Bronze Figure on steel wall and base

Bronze

Signed and numbered from an edition of 49


£4000-6000

402

Guido Deleu

The Visitor

Bronze


£2000-4000

129


403

Martin Cundell

The Emperor’s Ear

Bronze

Signed

Edition 3 of 5


£3000-5000

404

‡ Isaac Kahn

Repose

Bronze on granite base and ebonised plinth

Signed I. Kahn 9/9

158cm high overall

Isaac Kahn was born in 1950 in Kaunas, Lithuania. When he was 14, he moved to Israel where he enrolled in Art College before moving to Uruguay in 1973 where he continued his studies at the University of Plastic Arts in Montevideo. In 1975 at the age of 25 he presented his first one man exhibition in the exhibition hall of Montevideo where one of his works was purchased by the widow of the President of Uruguay. In 1984 he began working in Italy before settling there in 1991. He opened a gallery in Verona showing his work. He has exhibited widely and his work can now be found in public and private collections in the USA, South America, Israel, Europe, Japan and Korea.

£2500-4000

130

405

Misheck Makaza

Humble and Respect

Opal stone, Unique


£6000-8000

131


406

Thomas Joynes

Halo

Stainless steel on oak plinth, Unique


£4000-6000

407

Ernest Shone-Jones

A carved white marble group of Adam and Eve

signed E. Shone-Jones ARBS 1953

on stone pedestal, the marble 137cm high

£1000-2000

132

408

James Connolly

Natural History

Carrara marble, Signed


£1500-2500

409

Jonathan Loxley, Born 1960

One

Carrara statuary marble


£3000-5000

410

Room Divider

Indonesian hard wood

Unique


£2000-3000

408

409

133


411

David Cooke

Owl in Tree

Bronze owl on bronzed steel stand and galvanised steel base, Edition 1 of 9


£6000-8000

412

David Cooke

Orangutan

Steel and bronze resin on Yorkstone plinth

Edition 1 of 9


£6000-8000

134

413

A sheet metal Wildebeest

modern


£1000-1500

414

David White

Gazelle group

Springstone

Unique


David White was born 1987 in the rural district of Gunguwe in Chiweshe Zimbabwe. After spending two years at Sam Kuvenguhwa studio learning the basic of stone sculpting, he left to start his own home studio where he developed

his own distinctive style and soon making carving his full time occupation. David’s sculptures have sold to collectors and galleries in Zimbabwe, South Africa, United Kingdom, U.S., Germany, Holland, Belgium, New Zealand and Canada.

£800-1200

415

A similar sheet metal Wildebeest


£1000-1500

413 415

135


416

Martyn Barratt

Rain Drop

Kiln formed glass & gold leaf on marble base

Unique

138cm high by 91cm wide by 25cm deep (base), 8cm deep (glass)

Barratt studied wood and stone carving and gilding at London Art School, and an MA in architecture at East London University. His work explores the forms found in fossils, seeds and shells, and he is inspired by the presence and recurrence of these forms in all areas of the natural world. His work has been exhibited internationally and has completed commissions for many prestigious clients including the BBC and the Palace of Westminster. He was elected to the Royal Society of British Sculptors in 1993, and director for the Burghley Sculpture Garden in 1997.

£4000-6000

136

417

Hamish Mackie

Oyster Catcher

Bronze on fossil marble base

Polychrome naturalistic patina signed HAM 2006 2/12

53cm high

Hamish Mackie (born October 1973) is a British wildlife sculptor who works in bronze, silver and any other castable metal using the method. He is considered to be one of the world’s foremost wildlife sculptors. Largely self-taught, Mackie captures his subjects - ranging from livestock to birds via wild animals - by observation in a natural environment, taking detailed photographs and sometimes modelling in plasticine. He has won numerous commissions including works for Jilly Cooper, Charles Saatchi, Ronnie Wood and RSPCA, National Trust, Woburn Abbey, Merrill Lynch, Hiscox and most recently the Berkeley Group Holdings. He has travelled to places including Antarctica, the Falkland Islands, Australia, across Africa and the United Arab Emirates in search of subjects.

£2500-4000

418

Ian Thompson

Pelican with her Piety

Elm

Signed

Unique

88cm high by 79cm wide by 9cm deep (plinth 77cm high by 84cm wide by 38cm deep)

£1800-2500

419

Dick Budden

Reclining form

Bronze


£4000-6000

137


419

138

420

† Wave Bench

Stainless Steel


£1500-2500

421

Ian Gill, Born 1966

Red and blue fork chair

Powder-coated galvanised steel

Signed


£2000-3000

139


422

Martyn Barratt

Trio

Chinese laurel

Signed


£1800-2500

423

Martyn Barratt

Wood Cocoon 2

Chinese laurel, Signed


£1800-2500

140

424

Godfrey Matangira

Life’s Journey

Opal stone, Signed


£4000-6000

425

Tawanda Makore

My Vision

Opal stone

Signed


£1500-2500

141


427

David White

Embrace the Curls

Opal stone


£4000-6000

426

Peter Hayes

Raku Disc

Ceramic on stainless steel mount

Unique


£1200-1800

142

428

Albert Wachi, Born 1963

Seed pod

Springstone and cedar

Signed

127cm high

£1000-2000

429

Munyaradzi Jeche

Heart and Soul

Springstone

Unique


£600-800

430

Innocent Nyashenga

The Flame

Serpentine


£600-800

428

429

143


431

Prosper Katanda

Windjammer

Springstone

Signed


£600-800

432

Girl with Necklace

Opal stone


£400-600

433

Munyradzi Jeche

Looking Deep Inside

Opal stone

Signed

158cm by 63cm by 47cm

£2000-4000

144

434

Ann Vrielinck

Scan

Bronze

Signed from an edition of 49

each 130cm high by 30cm wide by 20cm deep

£2000-4000

435

Barbara Hodgkins

Abstract

Slate and polished steel on black perspex plinth

83cm high, mounted on clear perspex pedestal

50kg

Provenance: MCL Group, 1987 Art & Work Award

£800-1200

145


436

Barbara Hodgkins

Apple slice

Brushed gilt bronze & marble on black perspex base

55cm high on clear perspex pedestal

30kg

Provenance: MCL Group, Mazda Cars Head Office

£800-1200437

Ann Vrielinck

Triumph

Bronze

Signed and numbered from an edition of 49, sold out of edition


£3000-5000

146

438

Peter Hayes

Head

Stoneware ceramic on Portland stone base


£800-1200

439

Regina Heinz

Swirl

Stoneware


£1200-1800

440

Two carved marble birds

Zimbabwe, modern

110cm high

£350-550

147


441

Bywell Sango

Balancing Rocks

Carved from one piece of Cobalt stone

Signed


£6000-8000

148

442

Victor Mataci

Dancer

Springstone


£2000-3000

443

Richard Cresswell

Pebble Squared

Anodised aluminium


£1500-2500

149


444

Charles Thompson, Born 1954

Orbit

Stainless Steel

Unique


£300-500

445

T. Murezva

Family of Faces

Springstone

Unique

Signed


£600-800

150

446

A polychrome painted wood tobacconist’s figure of a Scotsman holding a snuff mull


210cm high

Provenance: Being sold by the administrators of Palmer and Harvey McLane which was a wholesale distributor founded in 1925, who specialised in retail distribution and in particular the distribution of tobacco products. As the company grew, it acquired smaller firms including Singleton & Cole (originally founded in 1871), who competed with Palmer & Harvey in distributing tobacco across the country. Singleton & Cole was acquired from Cavenham Foods in 1968.

From the 17th century onwards statues of gentlemen taking snuff were placed in the doorways of tobacco shops to advertise their

wares and attract custom. Singleton & Cole had a number of these at their retail premises but by the time of their acquisition by Palmer & Harvey, most had disappeared.

It is believed that this figure was originally in the Singleton & Cole branch in Birmingham, but it stood proudly in the Reception area of Palmer & Harvey’s Head Office in Hove for many years, a reminder to customers and staff as to the core of the company’s success and its long relationships with the Tobacco industry.

£1000-1500

447

David Meredith

Frog, Bronze


£600-800

151


448

Ducks in Bulrushes

Bronze


£2000-3000

449

Reginald Price

Giant Anteater

Stoneware

Signed


£1200-1800

152

450

Together We Stand

Serpentine


£100-200

451

Otters

Wood


£300-500

452

Timothy Rukodzi

Loving cats, Serpentine


£200-400

453

Timothy Rukodzi

Curious owls, Springstone


£200-400

153


454

A sheet metal roundel pierced with Tree of Life decoration

modern

84cm diameter

£150-250

455

A similar Tree of Life roundel

£150-250

456

Patricia Ellis

Bronze on oak plinth

Signed

Numbered AP

57cm high by 60cm wide by 42cm deep, plinth 75cm wide

£2000-3000

457

A set of five sheet metal sheep

modern

with lawn spikes

each 52cm high by 56cm long

£500-800

458

Timothy Rukodzi

Relaxing hippo

Opal stone

17cm high by 20cm wide by 34cm long

£200-400

154

459

A large lapis lazuli veneered obelisk

196cm high

£2000-3000

460

A large lapis lazuli veneered table

122cm diameter

on wooden base

£2000-3000

155


461

A lapis lazuli cube

Afghanistan

15cm

10kg

£800-1200

462

A lapis lazuli specimen

Afghanistan

in glass dome

overall 36cm high, 5.8kg

£500-700

463

A lapis lazuli freeform

51cm high, 11kg

£800-1200

464

A lapis lazuli cube

10cm square, 2.7kg

£350-500

462

463

156

465

A jasper bowl

Madagascar

38cm

£800-1200

466

An agate dish

Madagascar

33cm

£300-500

467

A quartz dish

Madagascar

33cm

£400-600

468

A moss agate bowl

39cm wide

£400-600

157


469

A quartz bowl

30cm wide

£300-500

470

A rose quartz bowl

33cm wide

£300-500

471

A nephrite bowl

23cm wide

£300-500

472

A large malachite bowl

38cm wide, together with four smaller malachite bowls, 17cm wide

£500-800

158

473

A shattuckite veneered box

signed and in presentation box

20cm wide by 14cm deep

£2000-3000

474

A crazy lace agate box

Mexico


the agate box 19cm by 12.5cm

£1500-2500

159


475

A chrysocolla veneered box


18.5cm wide by 12cm deep

£2000-3000

476

A malachite box

28cm by 18cm

£500-800

160

477

A serpentine mangano and lapis lazuli veneered table

on iron base

81cm diameter

£1000-1500

478

A square lapis lazuli box

23cm square

£300-500

479

A pair of lapis lazuli boxes

one 14cm, the other 16cm

£250-400

480

A serpentine veneered table

on iron base

81cm diameter

£1000-1500

161


481

A collection of quartz cubes

Madagascar

the largest 8cm

£400-600

482

A collection of 9 garnet polyhedrons

Mysore, India

the largest 12cm

£1000-1500

483

A pair of sodalite cubes on stands

36cm high

£1000-1500

484

A pair of sodalite obelisks

65cm high

£1000-1500

483

162

485

A quartz slice on metal stand

58cm high

£400-600

486

A large obsidian disk

Mexico

51cm diameter

£1500-2500

487

A Chrysanthemum stone on wooden base

35cm overall

£200-400

163


491

An azurite specimen

China

15cm, 0.8kg

£400-600

490

An Angel calcite specimen on stand

Mexico

45cm

£500-800

489

An unusual amethyst cluster

Brazil

24cm high

£300-500

488

A pyrite cluster

Peru

17cm

£500-800

164

492

A polished quartz specimen

Madagascar

43cm, 49.6kg

£2000-3000

495

A pyritised concretion sphere

China

32cm wide

£1200-1500

493

An unusual fluorite specimen

China

17cm, 2.5kg

£250-400

494

A “dog tooth” spar specimen

Somerset, UK

25cm, 18.9kg

£150-250

165


496

A large rose quartz sphere

22cm diameter

£500-800

497

A smokey quartz point

Brazil

23cm

£300-500

498

A large jasper sphere

26cm diameter

£600-1000

499

A polished mookaite specimen

Western Australia

34cm high

£800-1200

166

500

An impressive amethyst geode

Brazil

122cm high

on wooden stand

£3000-5000

501

A labradorite specimen

Madagascar

30cm, 7.9kg

£500-800

167


502

A pair of pink onyx lamps

30cm high

£300-500

503

A pink tourmaline cluster

Brazil

18cm, 3.2kg

£300-500

504

A large selenite specimen

Mexico

51cm wide

£800-1200505

A polished amethyst nodule

Brazil

22cm high

£400-600

168

506

A giant quartz agate slice

Brazil

100cm high overall

£2000-3000

507

A stalactitic quartz specimen on stand

Morocco

the specimen 45cm, 11.7kg

£500-700

169


508

A massive quartz agate slice on stand

Brazil

88cm wide

£2000-3000

170

509

A selenite specimen on stand

New Mexico, U.S.A.

50cm high overall

£1000-1500

510

An Orbicular jasper specimen

Madagascar

23cm

£300-500

511

An agate slice on base

Brazil


£600-1000

512

A malachite freeform

Democratic Republic of Congo

12.5cm

£100-200

509

510

511512

171


513

A Lytoceras spp. ammonite

Jurassic, Holzmaden, Germany

43cm

£300-500

514

A Xipheroceras ammonite in Septarian nodule

Lyme Regis, Jurassic

25cm

£400-600

515

A fossil wood slice on stand

Java, Indonesia, Miocene

70cm overall

£400-600

516

A pair of fossil wood slices on stands


the taller 57cm

£400-600

513

514

515

516

172

519

A heteromorph ammonite (Audoulileras spp)

Cretaceous, Russia

on matrix

30cm

£500-800

517

A pecten plaque with numerous specimens on associated matrix

Southern France, Miocene

97cm

£1000-2000

518

A large trilobite plate

China, Devonian

84cm

£1000-2000

520

An ammonite in two polished halves

Madagascan, Jurassic

59cm diameter

£800-1200

173


521

A giant fossil wood sphere


45cm diameter

£2000-3000

522

A crocodile skull in unusual silicified matrix

Morocco, Cretaceous

56cm

£300-500

523

An ammonite plaque on

stand

Jurassic, Holzmaden, Germany

with Lytoceras and Dactylioceras spp.

107cm

£2000-3000

524

A Mastodon tooth

Miocene, Florida

19cm

£200-300

174

525

An unusual cut and polished Derbyshire stalactite section

11cm high

£100-200

528

A rare Cheddar Gorge “flow” stone calcite specimen, 99cm

By repute collected in the 1870s

£500-800

526

A Cyclobatis spp. stingray

Lebanon, Cretaceous, 95 million years ago

46cm by 29cm

£800-1200

527

A fern plaque on stand

Pennsylvania, USA, Carboniferous

53cm high overall

£200-300

175


529

A cut and polished pyritised ammonite in two halves on stands

Upper Volga, Russia, Jurassic

32cm

£1500-2500

530

A large agatised coral cave on base

Florida, USA, Miocene, 8-10 million years ago

61cm wide

£1000-1500

176

532

A fossil wood table on modern metal base


119cm by 58cm

£1000-1500

533

A pair of fossil wood stools


£1000-1500

531

A pair of circular topped occasional tables

the top veneered in Indonesian fossilised wood

51cm diameter

£600-1000

177


534

A very large fossil wood slice

Madagascar, Triassic

99cm

£3000-5000

535

A large fossil wood slice

Arizona, late Triassic

77cm

£3000-5000

178

536

A large green river plaque with Diplomystus and Knightia fish specimens


£4000-6000

179


537

A petrified wood slice with carbon/manganese oxide mineralisation

Indonesia, Triassic

44cm

£80-120

538

A fossil wood slice

Indonesia, Triassic

43cm

£200-300

539

A large Drotops trilobite plaque

Morocco

69cm

£200-400

540

A petrified wood slice with iron and manganese mineralisation

Indonesia, Triassic

37cm

£80-120

541

A Cambropallus type large trilobite

Morocco, Cambrian

on bronze stand

41cm high

£800-1200

537 540

538

539

541

180

542 543 545 547

546

544

542

A large Megalodon tooth

South Carolina, Miocene, 6-8 million years ago

15.2cm on the diagonal

£500-800

543



15cm on the diagonal

£500-800

547

A good Megalodon tooth

South Carolina, U.S.A., Miocene

on stand

the tooth 13cm

£600-1000

546

A collection of seven trilobites including Drotops and Selenopeltis

Morocco, various ages

the largest specimen 15cm

£200-300

544

A collection of trilobites including two ‘doubles’

Morocco

the largest specimen 20cm long

£150-250

545



15cm on the diagonal

£500-800

181


548

A Crinoid (Sea Lily) plaque

Holzmaden, Germany, Jurassic


£400-600

549

A Crinoid (Sea Lily) plaque

Holzmaden, Germany, Jurassic


£200-400

550

A very large Paradoxides trilobite

Morocco, Cambrian, 540 million years ago

on bronze stand

60cm high

£2500-4000

551

A currency disc made from clam shell on stand

Oceanic

29cm high overall, together with a currency disc made from blue coral on stand, Oceanic 29cm high overall

£300-500

552

A pair of shell displays

Indonesia, recent

65cm high

£200-300

548 549

182

555

A Drotops trilobite on matrix

Morocco, Middle Devonian

on bronze stand

specimen 14cm

£500-700

556

An ammonite

Morocco, Jurassic

on bronze swivelling base

33cm high

£800-1200

553555

556

553

Two positive negative trilobites together with another

Morocco, the largest 21cm

£150-250

554

Two pieces of copal with insect inclusions

Central America

the largest 16cm, 0.4kg

£300-500

555

183


557

A good Megalodon tooth on bronze stand

U.S.A, Miocene

21cm high overall, tooth 15cm

£1500-2500

558

A crinoid plaque

Morocco

59cm

£200-400

BACK FRONT

184

559

A group of three Cadoceras sp. ammonites on matrix

these are still in their original nodule

21cm

£500-800

560

An unusual Crinoid with root plaque, (Scyphocrinites elegans)

Morocco, Upper Silurian

80cm

£200-300

561

A crinoid specimen

Morocco, Devonian

on bronze base

38cm high

£400-600

561

560

185


562

A rare and impressive double crinoid plaque

Holzmaden, Jurassic approx 180 million years ago

180cm by 95cm

The fossil locality at Holzmaden in Germany is celebrated for specimens that show beautiful preservation. The rocks they come from are lower Jurassic in age (approximately 180 million years old). Fossils of many kinds of creatures are found at Holzmaden but Crinoids (sea lilies) and ichthyosaurs are among the most sought-after and are perhaps the most desired by collectors.

£25,000-40,000

186

563

A nickel plated cast metal bison skull on stand

modern

92cm high

£600-1000

564

A nickel plated cast metal shark jaw on base

modern

41cm

£300-500

187


565

A massive antique whale vertebrae

With A10 ref 574788/02

88cm wide

From old antique collection

£2000-3000

188

566

An antique hippo skull

65cm

£600-1000

567

A mammoth tusk on stand (Palaeoloxodon antiquus)

Ice Age, found in the Solent in 1968

118cm on outside curve

£600-1000

189


568

Two stalactites carved to resemble bamboo

Chinese, 20th century

the taller 74cm

£1000-2000

569

A pair of fern tree pillars on stands

Java, Indonesia, recent

218cm high

£300-500

190

570

A stalactite on stand

China, probably Euandong Province

88cm high

These stalactites are part of a group that were removed during the construction of the Three Gorges Dam in the late 20th century. The flooding of the caves would have led to the stalactites destruction which was why they were removed.

£600-1000

571

Two wooden tribal shields

20th century

now mounted on iron stands

the larger 133cm high

£300-500

191


572

A collection of phyllacanthus and lila sea urchins under a glass dome

40cm high

£150-250

573

A meteorite

Tindouf, Algeria

class H5, on bronze base

26cm high overall

£1800-2500

192

574

C. W. Hawkins: A rare Buffalo head

American, circa 1900

with three trade labels to rear

74cm high

This lot cannot be imported in to the USA.

£300-500

575

A collection of green sea urchins (strongylocentrotus spp.) under a glass dome

45cm high

£300-500

193


576

A fine decorative fire screen with foliage, butterflies and humming birds

circa 1900

88cm high

£300-500

577

A Victorian dome of colourful tropical birds

circa 1880

63cm high

£300-500

194

578

A mahogany artists supply shop cabinet

circa 1900

with gilt sign George Rowney


George Rowney is one of the few suppliers of artist’s materials to have its origins in the 18th century and it still trades today - albeit no longer in family hands. For many years it was Winsor and Newton’s closest rival and other than that company and Reeves, the only art supply company with significant ongoing overseas’ business.

During the 19th century the company began to advertise heavily and stated that it had testimonials lauding the superiority of its colours from artists as important as Rosa Bonheur, and it even marketed a new colour, Crimson Alizarin, as being light fast. During 1963 Rowney’s was purchased by the Daler Board Company and has traded as Daler Rowney ever since.

This very rare survival dates from around 1900, and would have been used originally to contain and promote Rowney’s products in a retail premises. It is interesting to note that the Daler Rowney Company collection holds a gold name board similar to the one offered here, but does not own an example of the cabinet itself.

£4000-6000

195


579

A Blue-winged Pitta (Pitta moluccensis) in a metal framed glass wall dome

Australian, circa 1890

30cm diameter

Although not labelled this attractive circular dome made for hanging is almost certainly by the well-known 19th century London taxidermist James Gardner and is in his characteristic style

£200-300

580

J Gardner & Sons: A cased Weka (Gallirallus australis)

circa 1900

with label to the rear


The Weka is one of New Zealand’s remarkable flightless birds. Less well known than the kiwi, it is nonetheless an important part of that country’s avifauna. Like the kiwi, however, it is becoming increasingly rare. The fact that a considerable number of New Zealand’s birds became flightless is due to the islands becoming isolated from the rest of the world millions of years ago, which meant that no terrestrial mammals were able to get there. This enabled birds to become the dominant life form and with no mammals to threaten them, they could afford the luxury of very gradually (over millions of years) losing the power of flight. This served many species very well - at least until the arrival of humans several hundred years ago! This arrival completely upset the order of things and the mammals that men and women brought wrought havoc among the flightless and unwary bird species.

£300-500

197


581

Rowland Ward of Piccadilly: A magnificent example of a male Capercaillie (Tetrao urogallu)

circa 1920

in an original all glass case by Rowland Ward with his plaque embedded in the groundwork.


This fine specimen has been beautifully prepared.

Rowland Ward (1848-1912) the most celebrated of all taxidermists, operated from premises in Piccadilly. Here, he catered to Dukes and Duchesses, the rich and famous, and sportsmen the world over. He was so successful, and his reputation so great, that following his own death in 1912, the company he founded stayed in business for another 60 years, despite the general decline in interest in taxidermy through the twentieth century. During this period, the firm employed hundreds of workers, and was always renowned for the high quality of the work produced and the top quality standards maintained by its employees. Ward himself made many innovations in

terms of taxidermy, and always maintained that a good taxidermist was not simply a craftsman but an artist and that he or she should be regarded as nothing less.

£1000-1500

582

Rowland Ward of Piccadilly: A small rare Indian gharial in a typical all glass case

circa 1920

with Rowland Ward label on the bottom of the case

26cm high by 64cm wide by 20cm wide

Although common at the time this case was produced, the gharial is now highly endangered and there may be no more than 200 surviving individuals. As its Latin name (Gavialis gangeticus) suggests, this is a native of Indian rivers and it can grow to a huge size but, curiously, it is not dangerous to man.

£500-700

198

583

Rowland Ward of Piccadilly: A highly unusual all glass case of woodpeckers

early 20th century


The green woodpecker shows a rare colour morph where the normal bright green has turned to a more greyish hue. It is not simply a faded specimen as can be seen from the brightness of plumage shown in the black woodpecker.

£300-500

199


584

Henry Shaw of Shrewsbury: A truly colossal glass dome containing three plumed birds of paradise (Paradises minor)

87cm high

Very few domes of this size survive (this one being upwards of 150 years old); each was hand blown - an exhausting and difficult process. A particularly interesting thing about this item is that at the time of the item’s creation, very few birds of paradise would have reached Britain, so historically this would have been regarded as an exceptional piece. It was assembled by Henry Shaw of Shrewsbury, who was one of the major figures in early Victorian taxidermy, and the small label at the back of the dome’s groundwork is consistent with the style of label he was using in the early 1860s.

£4000-6000

200

585

A full mount Grizzly bear

late 20th century

with A10 ref 575492/01


£3500-5000

✂S

Pl

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New Clients:

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addition we Will require sight of a

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purchases.

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Bids will be executed for the lowest

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GS081

SALE DATE 12 March 2019

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202

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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.

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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.

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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 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 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 post or e-mail up to

The Walled Garden, Summers Place,Billingshurst, West Sussex, RH14 9AB.

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

GUIDE FOR ABSENTEE BIDDERS

up to 11th March 2019

✂

SP

l

Lot No. Lot Description Sealed bid Sterling price(excluding premium & VAT)

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

which govern all purchases at auction, and to pay the published Buyer’s Premium on the hammer price plus

any applicable taxes.

I consent to the use of this information and any other information obtained by Summers Place Auctions.I am aware that all telephone bid lines may be recorded.

Payment is due immediately after the sale in pounds sterling. Full details on how to pay are included in ourGuide 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 bidreceived will take precedence. Bids should be submitted in (£) sterling at least 24 hours before the auction closes.

SEALED BIDDING FORM

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

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

ISSUE NUMBER..............(SWITCH ONLY) 3 LAST DIGIT OF SECURITY CODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

IMPORTANT

The winning bid will be the highestleft on each lot above the reserve.Bids are non sequential and thehighest bid left is the price at whichthe lot is sold plus buyers premiumand any VAT liable. In the event oftwo identical winning bids being lefton the same lot, the earliest receivedbid shall take precedence. SummersPlace Auctions decision on which isthe winning bid shall be final.

Clients wishing to bid on an “eitheror” basis should list the lots they areinterested in with the price they areprepared to pay in order ofpreference with “OR” writtenbetween each one.

New Clients

Please note that weMay contact you to request a bankreference. In addition we willRequire sight of a governmentIssued ID and proof of addressprior to collection of purchases

Summers PlaceAuctions Ltd

Signed _________________________________________ Dated ____________________________

SALE NUMBER GE082

BIDS MUST BE RECEIVED BY 13th March 2019, 4PM BST

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

204

SEALED BID AUCTION LOTS

All sealed bids must be with us, at the latest, by 13th March 4.00pm GMT since the bids will be opened on the 14th March. The winning bid will be the highest left on each lot above the reserve. Bids are non sequential and the highest bid left is the price at which the lot is sold plus buyers premium and any VAT liable. In the event of two identical winning bids being left on the same lot, the earliest received bid shall take precedence. Summers Place Auctions decision on which is the winning bid shall be final. Winning bidders will be invoiced after the bids are opened.

Sealed bids, when placed by telephone, are accepted only at the caller’s risk and must be confirmed by letter or e-mail to the Bid Department.

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

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

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

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

Place Auctions may use it for the above purposes. Summers Place Auctions will not use or process sensitive information for any other purpose without the client’s express consent.

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

Please mail up to arrive before: 13 March, 2019 4.00pm BST. The Walled Garden, Summers Place, Billingshurst, West Sussex, RH14 9AB.

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

Email [email protected]

GUIDE FOR ABSENTEE BIDDERS FOR SEALED BID AUCTION

Invitation to consign to our next Home and Garden auction to be held

on 11th/12th of June 2019 closing for receipt of entries early April

For further details or to ask for a valuation please do not hesitate to contact us on Tel: +44(0)1403 331 331 or E-mail [email protected]

Charles Sargeant Jagger

(1885-1934)

One of a pair of monumental Portland stone groups of Satyrs and Nymphs

£200,000-400,000

To be included in the June sale.

www.summersplaceauctions.com

THE WALLED GARDEN

SUMMERS PLACE

BILLINGSHURST

WEST SUSSEX

RH14 9AB

+44(0)1403 331 331

Summers Place Auctions Ltd

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