An elephant driver's silvered-copper goad or ankus, 18th century, India, of typical form with tapering point and curved hook, the shaft with reeded decoration, 52.5cm long Provenance: Formerly in the collection of Mark Dineley and then acquired directly from his son, Peter Dineley, who died in 2018. Mark Dineley (1901-1975) was the owner of Bapty & Co., the theatrical and film prop specialists in arms and armour, and spent his lifetime building a vast collection, not only of arms and armour, but also ethnographica, curios and Chinese, Nepalese and Buddhist art. In the interwar period, he gained the nickname of 'One-Pound Dineley', having put the word about to all antique dealers, runners and pickers that he would happily pay one pound for any item which he had never seen before. This resulted in queues of vendors willing to part with all manner of objects and led to some of his most magnificent acquisitions. His son, Peter, inherited the Bapty props company - which remains a leader in its field - along with his father's unique collection. On Peter's subsequent death in 2018 some of the collection was sold off. Shipping Disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country. Condition ReportWear to the silvering throughout. The point is slightly rounded. Knocks and wear.
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'Belsen Trial Depositions 1945', containing two 'Military Government - Germany Military Court - War Criminals Intermis Court Order' for Fritz Klein and Peter Weingartner, followed by original typed witness statements of 138 survivors, some with handwritten amendments, and identified photos of Hessler, Stafer, Kramer, others accused and Capt Peter Chapman,34.5 x 22.5cmProvenance: Formerly in the collection of Mark Dineley and then acquired directly from his son, Peter Dineley, who died in 2018.Mark Dineley (1901-1975) was the owner of Bapty & Co., the theatrical and film prop specialists in arms and armour, and spent his lifetime building a vast collection, not only of arms and armour, but also ethnographica, curios and Chinese, Nepalese and Buddhist art. In the interwar period, he gained the nickname of 'One-Pound Dineley', having put the word about to all antique dealers, runners and pickers that he would happily pay one pound for any item which he had never seen before. This resulted in queues of vendors willing to part with all manner of objects and led to some of his most magnificent acquisitions. His son, Peter, inherited the Bapty props company - which remains a leader in its field - along with his father's unique collection. On Peter's subsequent death in 2018, some of the collection was sold off.Important historical records such as these, loaded with such gravitas, emotion and uncomfortable subject matter, give cause to reflect on the horrors of war and the tyranny of the Nazi regime. We acknowledge that their presentation for sale here may seem distasteful, but we hope that in so doing, they are preserved for future generations, so that they may learn from them and thus prevent the horrors of history from being repeated. Events described in this document are disturbing, however, they display the courage of the individuals mentioned in fighting for justice against their oppressors.Condition ReportKnocks and wear to the board. Some creases and minor surface marks throughout. Please see the additional images of the first few pages.
A tulwar sword, 18th century, the curved blade with three cartouches containing script in gold inlay, complete with a silver-damascened hilt,blade 80.5cm longoverall 94.5cm longProvenance: Formerly in the collection of Mark Dineley and then acquired directly from his son, Peter Dineley, who died in 2018.Mark Dineley (1901-1975) was the owner of Bapty & Co., the theatrical and film prop specialists in arms and armour, and spent his lifetime building a vast collection, not only of arms and armour, but also ethnographica, curios and Chinese, Nepalese and Buddhist art. In the interwar period, he gained the nickname of 'One-Pound Dineley', having put the word about to all antique dealers, runners and pickers that he would happily pay one pound for any item which he had never seen before. This resulted in queues of vendors willing to part with all manner of objects and led to some of his most magnificent acquisitions. His son, Peter, inherited the Bapty props company - which remains a leader in its field - along with his father's unique collection. On Peter's subsequent death in 2018 some of the collection was sold off.Shipping Disclaimer: Buyers must be aware of their country’s shipping and import policies regarding guns, knives, swords, and other offensive weapons prior to purchase. They are required to ensure that the lot can be delivered by a specialist shipper, whether in the UK, Europe or internationally. No compensation will be given to buyers who fail to organise shipping arrangements for goods and weapons due to the prohibitions, restrictions or import regulations of their country.Condition ReportThe tip of the blade is slightly dulled. Surface wear and rubbing throughout. Please see the further additional images.
A folk art plaster model of a house, 19th century, Eastern European, with Moorish-style windows, with a central spired tower, raised on a painted wooden plinth,41cm wide33cm deep43cm highCondition ReportChips and losses to the plaster and paintwork throughout. Some staining and old watermarks to the plinth.
â–´ Hans Schwarz (Austrian-British, 1922-2003) 'Lucifer'signed and dated 'H/Schwarz/49' l.r., oil on paper50 x 64cmProvenance: Purchased from the artist 2001.A painting of the bronze sculpture 'Lucifer', by Sir Jacob Epstein, in situ at Birmingham Museum and Art Gallery.Condition ReportFramed: 57 x 70cmThe painting has been executed on paper which is rippled with some undulations. The work is not sitting completely flat in the frame and there is a small loss to the centre of the bottom edge.
§ Attributed to John Piper OM, CH ( 1903-1992) a group of seven designs for windows mixed media and collage the largest 18 x 15.5cm Provenance: Acquired from Tony Manzaroli by the present owner. Believed to be initial designs for the windows of the Piper Building in Wandsworth, the present lots were acquired from Tony Manzaroli, the design lead for Gillespies Engineers who were responsible for manufacturing the building's glass fibre window panels. Comparable works were exhibited by The Fine Art Society, Edinburgh. Some loose (but still adhered) collaged components. One work on board has been taped to mount, one on board has been glued to mount, one on cardboard has been taped to mount, two have been pasted to card support (card supports with some blemishes) and three remaining have card backboards, though it is not apparent as to how the works have been fixed to the mount boards. One with some grubby marks, though these appear intrinsic to the working practice of the artist. Overall in nice condition. Dimensions: Blue with yellow (on board): 18.5 x 14cm Turquoise (collaged): 15.5 x 12cm Red (collaged): 15 x 11.5cm Dark blue (collaged, on board): 17 x 13cm Royal blue and black (collaged, on cardboard): 18 x 15.5cm Two (mounted as one): each 13 x 9.5cm
§ Chana Orloff (1888-1968), Le Retour, 1945, an impressionistically modelled bronze of a seated male in thought, signed and dated in the bronze, foundry mark for Susse Foundeur to the reverse, unnumbered from the edition of 10 55.5cm high Provenance: Acquired from the artist by David Spier, and thence by descent within the family. The eighth of nine children, Ukrainian-born French-Israeli sculptor, Chana Orloff, left an indelible mark on the landscape of modernist art during the early 20th century. Although best known for her bronze creations, Orloff demonstrated throughout her career her technical proficiency in media including wood, stone, marble and cement.After working and living in Palestine from 1905, in 1910 Orloff's artistic journey took a transformative turn in Paris. Previously pursuing dress-making, in Paris she discovered a passion for sculpture amidst pioneering luminaries including Modigliani, Soutine, Zadkine and Chagall. Despite a brief return to Palestine, Orloff embraced Paris as her home and artistic sanctuary. By 1920, Orloff's works were beginning to garner international acclaim and by 1925 her significance as an artist was acknowledged by the French government, who made her a Chevalier of the Legion of Honour. World exhibitions, including a dedicated room at the Petit Palais in 1937, shortly followed.Following the conclusion of World War II, Orloff returned to France to find her studio sacked and her sculptures mutilated. The present lot, Le Retour, or The Return, marks a significant departure from Orloff’s previous works and demonstrates the profound psychological impacts of warfare, both personally and collectively. Abandoning her characteristic curves and smooth edges, the Le Retour exploits and tortures the medium to express the anxiety of the sitter, which is further echoed by his pensive pose. Having completed the work, Orloff waited for eighteen years before finally exhibiting the work at the Katia Granoff gallery in 1963. In good overall condition with even dark patination, some light abbrasions around the footrim. Un-numbered, but according to the vendor, purchased in Paris in 1971 as part of the edition of ten.
A Continental Art Nouveau cast iron stove, the front and sides with green enamelled tiles, raised on pierced shaped feet80 x 103 x 62cmOverall, in good decorative order, rail is detached, two of the four glass panes have fine cracks, one tile to front with corner chip and crack, tile to lower left drawer also broken, a number of the screws are replacements. Six of the tiles to the right-hand end have chips or cracks. Some surface rust. Weight unknown.
An Art Deco figural lamp, the three gilt spelter maidens raised on a triform base and supporting a spherical glass shade48.5cm highPlease refer to the additional photos for a more accurate sense of the colour of the spelter, which ranges from a gilt to an almost green. There are some visble signs of handling marks, and minor graze to knee. There are some scuffs and marks, principally on the skirts of the ladies, commensurate with age and use. The glass globe is in good condition. Not electrically tested and will require re-wiring for use. Base is baized.
George Kyeyune (1962-) Figural abstract signed and dated 'KYEYUNE 96' (lower right) oil on canvas 65 x 96cm Known as an artist, sculptor and professor, Dr George Kyeyune is today considered one of the foremost painters of everyday life in his native Uganda. Born into a large, traditional Ugandan family in 1962, Kyeyune’s aptitude and enthusiasm for art was evidence early in his childhood – he recalls using the coarse ground as a canvas and drawing pictures on the floor just after it had rained. Upon his graduation in 1981, Kyeyune enrolled at the prestigious Margaret Trowell School of Fine Arts, before obtaining a master’s degree in sculpture from the Maharaja Sayajirao University of Baroda, India and later, from 1999, studying for his PhD in Art History at the School of Oriental and African Studies, having been awarded a scholarship from the Commonwealth Scholarship Commission.Rendered in a typically muddy and organic palette of earthy reds and terrestrial browns, the present lot is characteristic of Kyeyune’s artistic language, which is celebrated for its immediacy and informality.
An Art Deco two-tier walnut coffee table the rounded square tiers on square section legs46 x 68 x 68cmSome movement in the table, but this is largely due to the design rather than any particular fault. Losses of veneer to the leading edges (see photos). Very slightly uneven colour to the top, with one side slightly drier than the other. (see photos)
§ William Roberts RA (1895-1980) The Khamsin - a proof for the tailpiece drawing for Lawrence's Seven Pillars of Wisdomlithograph, unframed21.5 x 30.5cmIn his pamphlet titled Early Years, written in September 1977 and posthumously published in 1982, William Roberts recounted his association with T. E. Lawrence. He recalls, in 1920, Colin Gill, a former Slade School of Fine Art classmate, informing him that "Colonel Lawrence is seeking artists to create portrait drawings for a book he is producing; get in touch with him." Responding to Gill's message, Roberts contacted Lawrence and subsequently contributed several portrait drawings to Seven Pillars of Wisdom, along with a painting depicting Lawrence in his Royal Air Force uniform. The portrait session took place in a room at Coleherne Terrace, Earl's Court, and during various summers, Lawrence generously lent Roberts his small woodman's cottage at Clouds Hill in Dorset.
In the manner of Harry & Lou Epstein, a set of six Art Deco walnut cloud-back dining chairs, including two carvers, each raised on tapered front legs and swept rear legs89 x 46 x 60cmGeneral appearance and structure is good. All chairs - the upholstery is in poor, stained and worn condition. Restoration and retouching to the colour of the veneer margin around the chair backs adjacent to the upholstery. Waterstaining to the base of each leg, consistent with having been regularly set on a wet floor, and many show restaining to the legs. Scratches to the outside backs in places. Losses and and filled repairs to the veneers. One chair is slightly paler and drier than the others consistent with being placed near a window. Please see futher photographs.
Bath Cabinet Makers for Heal's, an Art Deco bleached walnut chest of drawers, with three long graduated drawers raised on tapering legs, stamped numbers to reverse76 x 90 x 50cmThe chest has been completely stripped, most likely dipped, and is therefore very clean. There is no stop on the bottom drawer.
§ Laurence Stephen Lowry RA, RBA (1887-1976) The Cartsigned 'L.S. Lowry' (lower right)lithograph52.5 x 41cmNot examined out of the frame, margins obscured by mount so not available for inspection. Perhaps very slightly toned, but otherwise appears in very nice, clean condition throughout.This is unnumbered from the edition of 850, published by the Fine Art Trade Guild.
A pair of Art Deco well-figured walnut bedside cabinets, each with single drawer above a cupboard below66 x 37 x 38cmGood overall condition. Two small veneer losses to the base of each (around 8mm across) possible old water damage to one, with slightly duller patina. See photographs for condition.
§ Irene Lesley Main (1959-) The Garden of the Mount Nelson, Cape Townsigned and dated 'I L MAIN, 1991' (lower left)oil on board15 x 20cmProvenance:With Main Fine Art, GlasgowFramed dimensions: 39 x 44cm. The frame with a few small knocks and a loss to the lower moldings, otherwise appears in very nice condition.
Charles Hodge Mackie RSA, RSW (1862-1920) The Ducal Palace, Venice, 1911 signed in the plate and bearing the dedication 'To Walter Sickert' woodblock 42 x 54cm Despite his strong connection to Edinburgh, travel served as a crucial wellspring of inspiration for the Scottish artist, Charles Hodge Mackie. In the early stages of his career, financial constraints initially confined his excursions to the local countryside. As his financial circumstances improved, he extended his explorations to rural areas in East Lothian, Fife and the Borders where he engaged in direct landscape painting from nature.By the 1890s, Mackie's artistic horizons underwent further expansion. A pivotal moment occurred in 1892 when he ventured to Brittany and encountered Paul Sérusier, the leader of Les Nabis. This encounter propelled him to subsequent visits to Paris, where he engaged with prominent Symbolist artists, prompting Mackie to experiment with Symbolism in his own artistic practice.Between 1903 and 1904, Mackie embarked on a tour of Spain and increased his time spent in France, portraying scenic farms in Normandy and Picardy. In contrast to his Symbolist period, these later works showcased a more nuanced treatment of color and light, aligning with the preferences of the discerning Scottish art market.However, Venice emerged as a profound fascination for Mackie, marking a significant juncture in his career during his inaugural visit in 1908. Supported by patrons such as Andrew Carnegie, Ernest Auldjo Jamieson, and John James Cowan, Mackie embarked on several extended trips to Venice between 1908 and 1914. During these visits, he produced an extensive body of work, including oil paintings, watercolors, and a notable series of three colored woodcut prints inspired by Venetian vistas.In addition to his versatile artistic portfolio, influenced by his extensive travels and collaborative spirit with fellow artists, Mackie is also esteemed for his contributions to the local artistic community. As a founder member and chairman of the Society of Scottish Artists, he played a pivotal role in fostering and shaping the artistic landscape in his region.
![§ Sir Eduardo Paolozzi CBE (1924-2005) Oxford: January 1945 signed 'Eduardo Luigi Francesco Michele / [amedeo?] Pietro Ernes](https://cdn.globalauctionplatform.com/e09d9ada-5721-45b8-aa37-b10900b788d6/7043bfcb-b048-4bb2-80d3-b11d00d9b314/468x382.jpg)
§ Sir Eduardo Paolozzi CBE (1924-2005) Oxford: January 1945 signed 'Eduardo Luigi Francesco Michele / [amedeo?] Pietro Ernesto Paolozzi' (lefthand margin) lithograph, unframed 16.5 x 22.5cm Dated 1945, the present lot is believed to be the first print ever produced by Sir Eduardo Paolozzi and dates from his student days at The Slade School of Art, which, at this time, had been evacuated to the Ruskin School, Oxford. Unusually signed with his full name, the work is unnumbered from an unknown, though certainly very small, edition size.Observing a typical Oxford scene, the present lot shows a car-full of army personnel glowering at a bespectacled student, typically clad in his sub fusc, as he rides his bicycle through the town. Today known as the ‘Father of British Pop Art’, the present work is certainly wildly different in both style and technique from his later works and offers a valuable insight into his early practice. Work has been stuck down to a secondary paper support. The signature is in blue ink, faded but still very legible. The paper support and secondary support are both age toned throughout, this is largely uniform and even. The work appears to have been trimmed at some point, resulting in a slightly uneven appearance along all edges. Along the right hand edge there is a horizontal tear (approx 1cm) but with no loss of media, a second tear with loss below is only on the secondary support and does not interfere with the image. The lower right hand corner has a dog ear tear, but with no loss of media as it is stuck down. Some grubby marks commensurate with age to the margins and the lower left corner with some pencil shading, it is unclear whether this is by Paolozzi or a later hand. See additional images.
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