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A folk art carved wooden walking stick, in the form of a twisted branch, 87 cm Provenance: Part of a single owner collection of walking sticks and related items

American Folk Art, Bakersfield General Stores, signed Lillian, oil on canvas, 42cm x 66cm, unframed;    G S Sutcliffe, Church, signed, dated, oil on board, 56cm x 120cm;  E B Calvert, Ayres Rock, signed, oil on board, 17cm x 25cm;   R G Cardew, Trees in Winter, signed, label to verso Royal Academy Competition 1945 (4)

Folk art pottery owl lamp

A Victorian folk art watercolour, beadwork and sand collage, third quarter of the 19th century, of a castle flying the Royal Navy's White Ensign,38 x 47cm, framed and glazedCondition ReportSome cockling to the linen ground. A few beaded strands loose. Small irregularities consistent with its manufacture. A loss to the frame's top edge. Some separation to corners. Hanging string in good order.

Folk Art a collection of books concerning folk and naive art, to include Dale (Rodney) Louis Wain, The Man Who Drew Cats, London: William Kimber, 1968, inscribed by Roger Cardinal; Bihalhi-Merin (Oto) Modern Primitives: Naive Painting from the Late Seventeenth Century to the Present Day, London: Thames and Hudson, 1971; Bossert (Helmuth) Folk Art of Europe, New York: Rizzoli, 1990, among numerous other books on the same and related subjects. including references volumes (qty) The Library of Roger Cardinal Roger Cardinal (1940-2019)Roger Cardinal was one of Britain’s most distinguished art historians, best known for defining what is generally known as Outsider Art - that is, art by people with no formal training. He began his career as a lecturer at the French department of the University of Manitoba, Canada, subsequently moving to Warwick University and finally to the University of Kent at Canterbury, where he taught for fifty years and held a professorship.Roger Cardinal was not only a leading authority on Outsider Art, but also on Surrealism. He was a prolific writer and a master of literary style. His eloquent, percipient writings include several books on a wide range of subjects such as Outsider Art (1972), German Romantics in Context (1975) Figures of Reality (1981), Expressionism (1984), The Landscape Vision of Paul Nash (1989), The Cultures of Collecting (1994), and Kurt Schwitters (2011). He also acted as a curator and was a regular contributor to art-historical publications.Cardinal’s interest in art lay in its margins - the neurodiverse, psychotic, uneducated, autistic, self-taught and ‘other’. His fascination with artists such as the violently psychotic Adolf Wölfli lay in their creativity rather than in the sensationalism of their lives. Certainly, it did not lie in the resale value of their work. That outsider art should have its own multimillion-dollar annual fair in New York and specialist departments at Christie’s auctioneers ran quite contrary to Cardinal’s thinking.Much of Roger Cardinal’s library has recently been donated to the Tate Gallery including the handwritten diaries that he kept his whole life. Cardinal often used books as working tools, heavily annotating in the margins - as with many volumes in the current sale. The library offered reflects Cardinal’s varied interests and fluent command of French and German. Alongside a large collection of art reference works in his specialist subjects, we also find collections of books on fairy tales and science fiction.

Fairy Tales a collection of volumes largely concerning fairy tales, to include: Anderson (Graham) Fairytale in the Ancient World, London and New York: Routledge, 2000; Opie (Iona) and Peter Opie The Classic Fairy Tales, London: Oxford University Press, 1974; de Larrabeiti (Michael) The Provencal Tales, London: Pavilion Books, 1988, among other volumes on fairy tales, folk tales and related subjects (qty) The Library of Roger Cardinal Roger Cardinal (1940-2019)Roger Cardinal was one of Britain’s most distinguished art historians, best known for defining what is generally known as Outsider Art - that is, art by people with no formal training. He began his career as a lecturer at the French department of the University of Manitoba, Canada, subsequently moving to Warwick University and finally to the University of Kent at Canterbury, where he taught for fifty years and held a professorship.Roger Cardinal was not only a leading authority on Outsider Art, but also on Surrealism. He was a prolific writer and a master of literary style. His eloquent, percipient writings include several books on a wide range of subjects such as Outsider Art (1972), German Romantics in Context (1975) Figures of Reality (1981), Expressionism (1984), The Landscape Vision of Paul Nash (1989), The Cultures of Collecting (1994), and Kurt Schwitters (2011). He also acted as a curator and was a regular contributor to art-historical publications.Cardinal’s interest in art lay in its margins - the neurodiverse, psychotic, uneducated, autistic, self-taught and ‘other’. His fascination with artists such as the violently psychotic Adolf Wölfli lay in their creativity rather than in the sensationalism of their lives. Certainly, it did not lie in the resale value of their work. That outsider art should have its own multimillion-dollar annual fair in New York and specialist departments at Christie’s auctioneers ran quite contrary to Cardinal’s thinking.Much of Roger Cardinal’s library has recently been donated to the Tate Gallery including the handwritten diaries that he kept his whole life. Cardinal often used books as working tools, heavily annotating in the margins - as with many volumes in the current sale. The library offered reflects Cardinal’s varied interests and fluent command of French and German. Alongside a large collection of art reference works in his specialist subjects, we also find collections of books on fairy tales and science fiction.

American Folk Art a collection of books to include Chotner (Deborah) American Naive Paintings, Washington: National Gallery of Art and Cambridge University Press, 1992; Hollander (Stacy C.) American Radiance, The Ralph Esmerian Gift to the American Folk Art Museum, New York: American Folk Art Museum in association with Harry N. Abrams, 2001; Krug (Don) and Ann Parker Miracles of the Spirit, Folk, Art, and Stories from Wisconsin, with a foreword by Roger Cardinal, Jackson: University Press of Mississippi, 2005, among numerous other books on American folk art, including reference volumes (qty) The Library of Roger Cardinal Roger Cardinal (1940-2019)Roger Cardinal was one of Britain’s most distinguished art historians, best known for defining what is generally known as Outsider Art - that is, art by people with no formal training. He began his career as a lecturer at the French department of the University of Manitoba, Canada, subsequently moving to Warwick University and finally to the University of Kent at Canterbury, where he taught for fifty years and held a professorship.Roger Cardinal was not only a leading authority on Outsider Art, but also on Surrealism. He was a prolific writer and a master of literary style. His eloquent, percipient writings include several books on a wide range of subjects such as Outsider Art (1972), German Romantics in Context (1975) Figures of Reality (1981), Expressionism (1984), The Landscape Vision of Paul Nash (1989), The Cultures of Collecting (1994), and Kurt Schwitters (2011). He also acted as a curator and was a regular contributor to art-historical publications.Cardinal’s interest in art lay in its margins - the neurodiverse, psychotic, uneducated, autistic, self-taught and ‘other’. His fascination with artists such as the violently psychotic Adolf Wölfli lay in their creativity rather than in the sensationalism of their lives. Certainly, it did not lie in the resale value of their work. That outsider art should have its own multimillion-dollar annual fair in New York and specialist departments at Christie’s auctioneers ran quite contrary to Cardinal’s thinking.Much of Roger Cardinal’s library has recently been donated to the Tate Gallery including the handwritten diaries that he kept his whole life. Cardinal often used books as working tools, heavily annotating in the margins - as with many volumes in the current sale. The library offered reflects Cardinal’s varied interests and fluent command of French and German. Alongside a large collection of art reference works in his specialist subjects, we also find collections of books on fairy tales and science fiction.

A UNIQUE 19TH CENTURY FOLK ART OAK ‘MUSHROOM HEAD’, CIRCA 1850–1880. The elongated carving of a face all formed from stylised carved mushrooms, the hair as a mushroom cap with gills visible underneath, above a high forehead formed similarly with an elongated stem as the nose, the eyes are two smaller mushrooms and the mouth with a fuller cap and waisted stem, 48cm high. *CR With natural untouched colour and surface, having a dry patination.

A RARE AND UNUSUAL GEORGE III YEW OCTAGONAL TOP FOUR LEG STOOL, ENGLISH, CIRCA 1750-1780. The octagonal single billet, figured and burr Yew top with chamfered and tapering sides set on four multi chamfer Yew legs, 45.5cm high 29cm wide 29cm deep Note - the stool presents as a more country or folk-art type construction, unusually on four rather than conventional three legs, that in their simplest form offer an easy support on any surface. *CR Nice primitive example, of excellent untouched colour and surface patination.

A Chinese Folk art painting together with a Limited edition print After Moira Huntly.

A 19th Century folk art sailor's naive woolwork 'Woolie' embroidered picture panel A/F, approx 23" wide x 18" high depicting a triple masted sailing ship at sea, mounted in a thick cross cut oak frame A/F, approx 31" wide x 27" high. Location:BWRIf there is no condition report, please request

A Norwegian late 19th century or early 20th century hand painted folk art occasional table and two conforming chairs good condition in keeping with age (3)

A GROUP OF MESOAMERICAN STYLE FIGURES, FOSSILS AND MINERALS, ETC, to include various ceramic figures in seated and standing positions, a decorative wall mask, a studio pottery bowl marked MW, diameter 30cm, a vessel in the form of a tortoise, a folk art style depiction of Jesus at his crucifixion, various rocks, fossils and minerals including amethyst, etc (qty) (Condition Report: af, most figures and tortoise bowl have some damage, loss or repairs, studio pottery bowl appears ok)

Original painting by Christy Zurkuhlen depicting a boy dressed in traditional attire holding a toy horse on a red pull wagon. The artwork reflects Zurkuhlen's signature folk art style, characterized by vibrant colors and a nostalgic theme. Signed by the artist in the bottom left corner. Housed in a vintage wood frame with a beige linen border, the piece exudes charm and period authenticity.Artist: Christy ZurkuhlenIssued: 20th centuryDimensions: 17"W x 21.25"HCondition: Age related wear.

This handpainted pottery vase by Erandi Mexico showcases intricate geometric and floral patterns in a rich color palette of blues, greens, and purples. The finely detailed surface features a combination of textured and smooth glazes, highlighting traditional Mexican craftsmanship. The piece is signed "Erandi Mexico L" near the base, indicating its origin and artisan heritage. A beautifully executed example of Mexican folk art, this decorative vase embodies vibrant cultural aesthetics and skilled pottery techniques.Issued: 20th centuryDimensions: 10.75"HCountry of Origin: MexicoCondition: Age related wear.

A finely crafted bisque porcelain figurine by the Gardner Factory of Imperial Russia, dating to the late 19th century. This detailed sculpture depicts a bearded man seated on a rustic wooden bench, dressed in traditional Russian attire with a loose white tunic, blue trousers, and tall boots. His contemplative expression and naturalistic pose are characteristic of Gardner's craftsmanship, reflecting the realism and folk influence prominent in Russian porcelain art of the period. Marked on the underside with the Gardner factory's red mark, signifying its production during the Imperial era. No. 6Issued: Late 19th centuryDimensions: 6.25"HCountry of Origin: RussiaCondition: Age related wear.

A replica German wooden Folk Art carved freeze, Of a clerical worker sat on a stool at his work station it is carved as if the observer is looking though the window at him It is distressed to look older Stands 41cm x 22cm Condition: As seen View all pictures

An oriental carved hardwood figure of a lady modelled kneeling holding a peacock, height 50cm, together with another smaller, a folk art figure of a bird, and a pair of carved hardstone table candlesticks

E R Proe American folk art circa 1910/20 Disclaimer: These items are listed on the basis they are illustrative of a bygone culture in which there were different social norms. We understand the potential controversy surrounding this type of item but believe that providing transparent information about historical context fosters greater understanding of our complex cultural history.

Crate of collectables; Folk art Hungarian green figure water jug, Royal Doulton Robin Hood plate, French Tin Glaze water jug, Tea for one set by Crown Devon, lustre jugs and many other items

Unique handcrafted wooden elephant figurine with articulated limbs, measuring 9.5"H. This charming piece is intricately carved with a dark finish and features contrasting ivory-toned tusks, toes, and ear embellishments. The movable limbs allow for varied positioning, making it a dynamic display piece. A whimsical and expressive collectible with folk art appeal.Issued: 20th century Dimensions: See DescriptionCondition: Age related wear.

Faye Eleanor Woods Lady II, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Faye Eleanor Woods' sensual paintings act as a love letter to her own experience, full of life's joy, absurdity, humour, loss, and fear. Using raw pigments and acrylic ink, she forces rich colour into the grain of the canvas, blurring edges with copious amounts of water or using thin layers of oil to blend the figures with their backgrounds, creating an ethereal presence. As Woods says, "I try to bring attention to the surreal aspects of life and the way the oddness of experience manifests within individuals and how that manifestation then affects me. In my vulnerability, I crave strange moments of intimacy. I imagine drinking straight from the tap of all emotion, drinking so much of it, I take on too much and I'm sick and everything I spew out ends up in my work." Inherently influenced by British folklore and folk horror, Woods' paintings tell their own tales rooted in corporeal experience which then becomes heightened or exaggerated, resulting in a form of magical realism. A spirit of excess runs throughout the scenes that she depicts. Empowered yet vulnerable, the behaviour of paint sensualises her ruby red mouths, flushed cheeks, pert nipples, and knees rubbed raw. Dancing, leaping, cavorting figures in various states of consciousness or undress partake in a bacchanale that defies the hypocrisy of supposed propriety and convention, challenging the stiff upper lip. Eyes shine with ecstatic bewitchment as her animalistic protagonists dance and leap in a debaucherous state which teeters on the fine line edge between calamity and joy. What is conveyed is the relatable oddness that exists between the magical and the mundane. Education 2017 - 2021 Painting and Drawing BA Hons Solo Exhibitions 2023 The Grass Are Green, The Flowers Is Brown and Crimson, Anima Mundi, Cornwall, UK Group Exhibitions 2024 My Soul Hurts and I Think I Have Tinnitus, Calcio Gallery, London, UK 198th RSA Annual Exhibition, Edinburgh, UK VESSELS, OHSH, London, UK 2023 Ostara, Anima Mundi, Cornwall, UK New Contemporaries, Royal Scottish Academy, Edinburgh, UK Blue Shop Cottage WOP 5, London, UK Intersections, Black White Gallery, London, UK Bodies, Gluttony and Me, Pictorum Gallery, London, UK Neo Gothic, OHSH, London, UK Awards 2021 New Contemporaries RSA Gray's School of Art Purchase Prize 2024 RSA Latimer Award Statement about AOAP Submitted Artwork All four of these works are monoprints made with acrylic. I have been exploring accidental mark-making with my smaller works, and I feel like this experiment captured them perfectly! You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Faye Eleanor Woods Kiss me quick!, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Faye Eleanor Woods' sensual paintings act as a love letter to her own experience, full of life's joy, absurdity, humour, loss, and fear. Using raw pigments and acrylic ink, she forces rich colour into the grain of the canvas, blurring edges with copious amounts of water or using thin layers of oil to blend the figures with their backgrounds, creating an ethereal presence. As Woods says, "I try to bring attention to the surreal aspects of life and the way the oddness of experience manifests within individuals and how that manifestation then affects me. In my vulnerability, I crave strange moments of intimacy. I imagine drinking straight from the tap of all emotion, drinking so much of it, I take on too much and I'm sick and everything I spew out ends up in my work." Inherently influenced by British folklore and folk horror, Woods' paintings tell their own tales rooted in corporeal experience which then becomes heightened or exaggerated, resulting in a form of magical realism. A spirit of excess runs throughout the scenes that she depicts. Empowered yet vulnerable, the behaviour of paint sensualises her ruby red mouths, flushed cheeks, pert nipples, and knees rubbed raw. Dancing, leaping, cavorting figures in various states of consciousness or undress partake in a bacchanale that defies the hypocrisy of supposed propriety and convention, challenging the stiff upper lip. Eyes shine with ecstatic bewitchment as her animalistic protagonists dance and leap in a debaucherous state which teeters on the fine line edge between calamity and joy. What is conveyed is the relatable oddness that exists between the magical and the mundane. Education 2017 - 2021 Painting and Drawing BA Hons Solo Exhibitions 2023 The Grass Are Green, The Flowers Is Brown and Crimson, Anima Mundi, Cornwall, UK Group Exhibitions 2024 My Soul Hurts and I Think I Have Tinnitus, Calcio Gallery, London, UK 198th RSA Annual Exhibition, Edinburgh, UK VESSELS, OHSH, London, UK 2023 Ostara, Anima Mundi, Cornwall, UK New Contemporaries, Royal Scottish Academy, Edinburgh, UK Blue Shop Cottage WOP 5, London, UK Intersections, Black White Gallery, London, UK Bodies, Gluttony and Me, Pictorum Gallery, London, UK Neo Gothic, OHSH, London, UK Awards 2021 New Contemporaries RSA Gray's School of Art Purchase Prize 2024 RSA Latimer Award Statement about AOAP Submitted Artwork All four of these works are monoprints made with acrylic. I have been exploring accidental mark-making with my smaller works, and I feel like this experiment captured them perfectly! You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Kamila Sipika The Garden, 2025 Aquarelle on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Visual artist currently working in The Netherlands and Poland. Nature is rooted at the core of Kamila's creative inspiration as she works with subjects such as ephemerality, decay, tranquillity, folk traditions and timeless plants' symbolism. Her materials of choice are linens and cotton that serve perfectly the natural pigments, oil paints and dying the textiles. Her work encourages viewers to re-consider the relationship between nature and the painting medium. Her practice is founded on the curiosity in the surroundings. She collects a range of objects, primarily from nature, such as stones, seeds, shells, plants, and flowers to dry as a starting point of the creative process. Kamila strongly believes epiphanies can appear hidden in the most ordinary moments, textures, colours, and fragrances. Education Royal Academy of Art, The Hague, Netherlands, 2019 - 2021 Academy of Fine Arts, Warsaw, Poland, 2015-2019, 2021-2022 Group Exhibitions 2024 On Physiognomy of Nature, de Bouwput, Amsterdam (NL), duo show Sidewalk Hussle, collaboration, exhibition event of Orisun Studio, Den Haag (NL) Art Rotterdam Fair (with Rademakers Gallery) (NL) Wandler x Hotel l'Europe, Amsterdam (NL) 2023 Homebound exhibition, Den Haag (NL) Enter Art Fair (with Rademakers Gallery), Copenhagen (DK) Popłyniemy napięci w prąd radosnej energii, Galeria Nanazenit, Warsaw (PL) Springboard Art Fair, Utrecht (NL) Tiny Gallery x Fig, Sofia, Bulgaria 2022 Image Desires, Mysia 3, Warsaw (PL), solo show DAGLICHT, The Grey Space in The Middle, The Hague (NL) 2021 Fata Morgana (digital exhibition, NL) ART The Hague (NL) Graduation Festival, Royal Academy of Art, The Hague (NL) Awards 2024 Mondriaan Artist Start Fund 2023 Piket Prijs Nominatie Stroom PRO Invest 2022 Nominatie Buning Brongers Prijzen Statement about AOAP Submitted Artwork Discovering hidden in the daylight flowers blooming in the soil full of treasures and life, calms the mind of the one who wondered this way. The tactility and the fragrance are easily recognisable and recalled. Each flower carries a different meaning and perhaps a treasure of one's own memories. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Melissa Kime Harvest Folk, 2025 Watercolour and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Melissa Kime studied Fine Art at University College Falmouth and completed The Drawing Year at The Prince's Drawing School (now the Royal Drawing School) in 2012, where she won the Windsor and Newton Prize. She was selected for Bloomberg New Contemporaries 2014 and her work has been featured in Amelia's Magazine. Kime is currently studying on the MA Painting course at the Royal College of Art. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Kamila Sipika Yellow Elder, 2025 Aquarelle on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Visual artist currently working in The Netherlands and Poland. Nature is rooted at the core of Kamila's creative inspiration as she works with subjects such as ephemerality, decay, tranquillity, folk traditions and timeless plants' symbolism. Her materials of choice are linens and cotton that serve perfectly the natural pigments, oil paints and dying the textiles. Her work encourages viewers to re-consider the relationship between nature and the painting medium. Her practice is founded on the curiosity in the surroundings. She collects a range of objects, primarily from nature, such as stones, seeds, shells, plants, and flowers to dry as a starting point of the creative process. Kamila strongly believes epiphanies can appear hidden in the most ordinary moments, textures, colours, and fragrances. Education Royal Academy of Art, The Hague, Netherlands, 2019 - 2021 Academy of Fine Arts, Warsaw, Poland, 2015-2019, 2021-2022 Group Exhibitions 2024 On Physiognomy of Nature, de Bouwput, Amsterdam (NL), duo show Sidewalk Hussle, collaboration, exhibition event of Orisun Studio, Den Haag (NL) Art Rotterdam Fair (with Rademakers Gallery) (NL) Wandler x Hotel l'Europe, Amsterdam (NL) 2023 Homebound exhibition, Den Haag (NL) Enter Art Fair (with Rademakers Gallery), Copenhagen (DK) Popłyniemy napięci w prąd radosnej energii, Galeria Nanazenit, Warsaw (PL) Springboard Art Fair, Utrecht (NL) Tiny Gallery x Fig, Sofia, Bulgaria 2022 Image Desires, Mysia 3, Warsaw (PL), solo show DAGLICHT, The Grey Space in The Middle, The Hague (NL) 2021 Fata Morgana (digital exhibition, NL) ART The Hague (NL) Graduation Festival, Royal Academy of Art, The Hague (NL) Awards 2024 Mondriaan Artist Start Fund 2023 Piket Prijs Nominatie Stroom PRO Invest 2022 Nominatie Buning Brongers Prijzen Statement about AOAP Submitted Artwork Discovering hidden in the daylight flowers blooming in the soil full of treasures and life, calms the mind of the one who wondered this way. The tactility and the fragrance are easily recognisable and recalled. Each flower carries a different meaning and perhaps a treasure of one's own memories. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Ann Carrington Tiddarren, 2024 Beads, brooches, and necklaces on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ann Carrington is part magpie, part alchemist; working in the folk tradition, she creates pieces that take extraordinary amounts of time to complete. Some of the most collectable pieces she has created are part of her Pearly Queens series with coloured buttons sewn onto a crimson, or black background to emulate the 1st Class Royal Mail stamp. Carrington holds an official license from Royal Mail to produce stamp artworks featuring the Queen. Carrington was commissioned to make 'The Royal Jubilee Banner' for the Queen in celebration of her Diamond Jubilee. The banner hung from the stern of the Royal Barge 'The Spirit of Chartwell' as it made its journey up the River Thames on the Diamond Jubilee procession in the summer of 2012. Jacob Rothschild purchased the first Pearly Queen which now forms part of the Rothschild collection and was recently shown alongside Lucien Freud's famous portrait of the Queen at his exhibition 'Power and Portraiture'. The Queen also commissioned one (in red and gold) to accompany the banner made for her Diamond Jubilee. Collectors of Carrington's work include Elton John, Paul Smith and Lulu Guinness. The United Nations invited Carrington to help raise awareness of current issues through her artwork in 2010, her first piece for The UN was presented at their Human Trafficking conference in Luxor, Egypt. August 2016 saw a large retrospective exhibition of Carrington's work open at the Royal College of Art, London. The centrepiece of the exhibition, Devil's Trumpet, a floral sculpture crafted from cutlery, was acquired by the V&A for their collection and is on permanent display in the Silver Gallery. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Thirteen Hand Carved and Hand painted folk art figures. Tallest approx 8 inches tall. See photos

Vintage Hand Painted Mexican Folk art Glazed TerracottaTwin handled charger along with a matching shawl plus a Sadlers Barrel Teapot. See photos.

Late 19th century Welsh folk art painted wooden figure, modelled in traditional costume with tall hat, green mantle and skirt, 21cm high (ex. later base)Sold with original receipt from Tim Bowen Antiques, where dated to "circa 1890" and noted as "unusually small and possibly part of a shop display... No. 22 in Tim Bowen Antiques Winter 2012 Exhibition".

Irish Folk Art carved rootwood shillelagh, circa 1900, the head incised to the two faces 'Top of the Morning' and 'Acushla' (a term of affection literally translated as 'beat of my heart', equating to 'darling'), beside old collection number, the plain stem terminating in a carved shamrock to the tip, 49cm longBristol 1904 Arts (formerly 'Bristol Savages')

A 17TH CENTURY FOLK ART CARVED WOODEN WALKING STICK, with various carved head studies etc., dated 1691, L 95 cm

* RAMSAY GILLIES, BISON folk-inspired sheet metal rotating sculpture of a bison raised on a stepped wooden base, initialled "RG" to base42cm high x 42cm longNote: Ramsay Gillies was born and raised in Edinburgh and attended Edinburgh College of Art, studying Graphic Design, life drawing and sculpture. He spent his working years as a graphic designer in Scotland, Bermuda, New York, Boston, London, coming home to Edinburgh in the mid-seventies. He returned to sculpture around five years ago with a simple resolve to avoid repetition and keep it quirky. He is inspired by the folk art tradition and every piece is unique, fashioned mainly in metal and wood with interesting finishes.

* VICTOR VASARELY (HUNGARIAN/FRENCH 1908 - 1997), CODE, LE SOLEIL NOIR limited edition screenprint on paper, signed and numbered 125/150, from the Book of Poems with Jean Clarence Lambert, dated 1967 label versomounted, framed and under glass image size 38cm x 28cm, overall size 48cm x 36cm Label verso: Open Eye Gallery, Edinburgh.Note: Hungarian-born painter, sculptor, and designer who settled in Paris in 1930 and became a French citizen in 1959, the main originator and one of the leading practitioners of *Op art. He studied in Budapest at the Poldini-Volkman Academy of Painting and the Mühely School (known as the *Bauhaus of Budapest) before he settled in Paris in 1930. For the next decade he worked mainly as a commercial artist, particularly on the designing of posters, showing a keen interest in visual tricks and space illusions. From 1943 he turned to painting and he had his first one-man exhibition in 1944, at Denise *René's gallery. About three years later he adopted the method of geometrical abstraction for which he is best known. Typically he created a hallucinatory impression of movement through visual ambiguity, using alternating positive–negative shapes in such a way as to suggest underlying secondary shapes. His fascination with the idea of movement led him to experiment with *Kinetic art and he also collaborated with architects in such works as his relief in aluminium for Caracas University (1954), and the French Pavilion at ‘Expo '67’ in Montreal, hoping to create a kind of urban folk art. From 1961 Vasarely lived mainly in the South of France, where he founded two museums devoted to his work—the Fondation Vasarely at Aix-en-Provence, which he designed himself, and the Château and Musée Vasarely at Gordes (both are now closed). There are two Vasarely museums in Hungary, in Budapest and his birthplace Pecs. According to his obituary in The Times, ‘To him the artist was simply an artisan who creates his artefacts at will and in volume, so that they can be accessible to the ordinary person’.

* WILLIAM ROBBIE (SCOTTISH 1887 - 1967), TWO CLYDESDALES, PETERHEAD watercolour on paper, signedmounted, framed and under glassimage size 40cm x 52cm, overall size 50cm x 62cm Note: William Robbie was one of thirteen children born to a farmworker and his wife in the Parish of Old Deer (Buchan, Aberdeenshire). He showed artistic promise from an early age, however modest earnings prevented the family from sending Robbie to art school, instead he flourished in the Buchan schools winning several prizes for his work. Clydesdale horses were of prime importance to arable farmers before the advent of the tractor and as such were worthy and prized subjects of the artist's talents. William Robbie focussed on horses and adopted folk art techniques, including using cigarette packet foil to highlight the horse brasses. His horse portraits have been sold by Christie's, Bonhams and in our auctions.

A folk art wooden cradle, 18th century, possibly from Pennsylvania, America, with incised and painted sunflower decoration, 43 x 80 x 35cm

Folk art pottery model of a cockerel, continental, 36cm high

* Folk Art. A wishbone penwipe doll, early-mid 19th century, modelled and painted as a negro woman, with white seed bead eyes, and wearing a green cape over a pink velvet dress, both with pinking shears edging embellished with polychrome seed beads, cream silk ribbon to neck a little frayed, contemporary paper label stitched to front annotated in sepia ink 'once I was a merry thought/growing on a hen/now I am a little slave/made to wipe a pen', length 9 cm QTY: (1)NOTE:A rare negro penwipe doll, judging by the condition never used for its intended purpose of soaking up ink. Long before repurposing became fashionable, it was a necessity, when household items and toys were much more difficult to come by, and in any case, only attainable by the well-off. In the 19th century, and before, it was common to give disposable objects such as bones, feathers, spools and nut shells a new life as functional or ornamental objects, for the home, or as gifts. As well as dolls, wishbones were also used to make dolls' furniture: see The National Museum of Toys and Miniatures for a spinster wishbone doll, and a set of furniture made of wishbones.Founder and director of The National Black Doll Museum, Debra Britt, says that the earliest black dolls to appear in America were wishbone dolls made on slave ships. Although the Slavery Act of 1807 had probably been passed by the time this doll was made, slaves in the colonies were not freed until 1838, and so the debate around slavery was probably still a hot topic when this doll was made; despite this, its creation would not have been controversial as it would be today.

An Early 20th Century Nordic folk art birch duck ale bowl. 24x11x9cm.

A bold and expressive handcrafted metal tribal sculpture, featuring a stylized abstract face with geometric elements. This piece showcases traditional African and Indigenous artistic influences, with squared-off facial features, an elongated neck, and a strong symmetrical design. The sculpture is mounted on a sturdy base, giving it a commanding presence as a decorative or collectible art object. The dark metal finish enhances the textured details, making it a striking addition to any ethnographic, folk art, or modernist collection.Issued: 20th centuryDimensions: 9.5"HCountry of Origin: AfricaCondition: Age related wear.

Ida Bagus (1915-1999), Asian folk art paintings - mythical bests, mixed media gouache on linen. Each signed lower left corner. Terane, Indonesia. Larger frame: H 41cm, W 33cm. (2)

GARFUNKEL ART: (1941- ) American Singer, known for his partnership with Paul Simon in the folk rock duo Simon & Garfunkel. A very fine signed 8 x 10 photograph by Garfunkel, the image showing the singer outdoors, in a youth head and shoulders pose. Signed `Art Garfunkel´ in bold dark blue fountain pen ink to a clear area to the left border of the image. VG

λ DAME LAURA KNIGHT (BRITISH 1877-1970) TWO ROMANY LASSES ON ASCOT HEATH Oil on canvas Signed (lower left) 63.5 x 76.2cm (25 x 30 in.)Provenance: Ian MacNicol, Glasgow John E. Milne Esq., Private Collection, Glasgow, acquired from the above in 1966 John Martin of London, Modern Art from Britain & Ireland, London The Collection of the Bowerman Charitable Trust, acquired from the above in 2001Exhibited: Penzance, Penlee House Gallery & Museum, Laura Knight: In the Open Air,16 June 2012 - 8 September 2012, touring exhibition to Nottingham, Djanogly Art Gallery, 22 September - 4 November 2012; Worcester, Worcester Art Gallery, 17 November 2012 - 10 February 2013 Penzance, Penlee House Gallery & Museum, Laura Knight: A Celebration, 17 May - 16 September 2021 We are grateful to R. John Croft F.C.A. for his assistance in cataloguing this lot which will be included in the Laura Knight Catalogue Raisonne currently being prepared. Gypsy and traveller communities have long cherished the tradition of gathering at racing events, particularly at Ascot and Epsom, as horses have always held significant importance within the traveller community. These occasions, following months of travel, offered a chance for communities to meet and celebrate. The races provided a vibrant backdrop for socialising and an opportunity to display their finest clothes and jewellery. It became tradition to sell flowers and lucky heather to fellow attendees, a tradition that continues to this day.  During the 1930s, Laura Knight regularly attended the races at Epsom Downs and Ascot, initially recommended by her friend Sir Alfred Munnings. Her connection with Ally Bert, wife of a circus performer, led to an introduction to Mr. Sully, who owned a garage. Mr. Sully kindly agreed to chauffeur Knight and her companions in his Rolls Royce, which, with its high roof, accommodated Knight's easel and canvas comfortably. Knight would record from life scenes from these meets, capturing the festivities, characters and everyday life providing a unique insight into these historic meets.  'This Royal meeting was a special occasion for the gipsies [sic.]; they came in their bright satin gala dresses, hair elaborately arranged with curls soaped to their cheeks, their sharp black eyes alert for police as they made a round of parked cars which had passengers standing on top. Out came a crystal from a hidden pocket, and a wheedling voice offered to tell fortunes - forbidden by law. They never bothered Laura at her easel in the Rolls; she was a source of money in another way, for now she asked gipsies [sic.] of different ages to pose for her, and paid them. More important still, they knew that she liked and admired Romany folk' (J. Dunbar, Laura Knight, 1975, p. 143) Laura Knight beautifully captures the essence of Romany life through her paintings. Following on from the races, Knight was welcomed into the travelling community, spending time painting direct from life in Iver. She engaged intimately with the community which lends her work a remarkable authenticity and realism that is both honest and romantic. In the present lot, the Ascot racecourse is depicted in the distance, with the Queen Anne Enclosure visible in the upper right corner. The lawn is scattered with groups of people at leisure, relaxing and resting under the trees. Central to the composition are two female figures: one seated and the other lying with her head resting in the lap of the seated figure. The seated figure wears a striking red cape with primary blue sleeves and a yellow tartan skirt, her auburn curls flowing over her shoulders. The figure lying down has jet black hair with a curl resting on her forehead. Her arms are delicately placed on her friend's knee, her right arm gently entwined with her companion's. The soft pastel shades of her patterned dress create a serene and beautiful contrast. Condition Report: The canvas is not relined. Ultraviolet light reveals some scattered spots of retouching to the tip of the upper left corner, along the edges and to the sky as well as a couple of further small spots. Otherwise, the work is in good condition.Condition Report Disclaimer

Quantity of 13x Gerogian and Victorian trade tokens to include: 1794 Bath somerset - Half penny - Botanical gardens, 1866 Penny folk art engraved as jockey, 1848 Moden toy crown, 1820 half penny sloop token comercial change for upper canada, 1791 Half penny token - Hampshire, Sir Bevois southhampton arms, 1815 1 penny workhouse token - sheffield 'Overseers of the poor', 1700s Anthony Giles on pistol scale pan weight, Victorian - Dunn & Co merchant tailors London token, 1897 Gigantic wheel earls court token / medalion, Penny token for Jackson & Listers Warehouse, Remington typewriter token and further Misstruck token etc. (13)

Large carved wood folk art painted shop sign in the form of a pike, 113cm in overall lengthOverall good condition, appears to be one spit and a couple of losses. Please see additional images on our website

American Folk Art -  woolwork embroidery panel, with American street, shops, mail carts and stars and stripes flag, 39 x 49cm;   a 20th century felt and needlework panel, with Margaret of Anjou, Henry VIII, Queen Elizabeth, Charles I, Queen Ann and George II, 40 x 118cm; others, Alice in Wonderland (3)

American Folk Art, 19th century, Fishing on Summers Day,  oil on canvas, 61cm x 76cm, c.1860

A Folk Art Ship in a Bottle, "The Mary Celeste", 21cms Long

PSYCH, PROG, AND FOLK RARITIES AND REISSUED LP COLLECTION - a collection of 23 Psych, Prog, and Folk rarities and reissued LPs. Collection to include: Fresh Blueberry Pancake - Heavy (white) - Ancient Grease Records (AGR 10), Bill Fay - Time Of The Last Persecution 4 Men With Beards (4m819), Various - Nuggets: Original Artyfacts From The First Psychedelic Era 1965-1968 - Rhino (0 81227 97111 3), Warhorse, The Art Woods, Earth and Fire, The Magic Mixture, The Five Day Week Straw People, The Velvet Underground, Please, Ithaca, Shocking Blue, Trevor Lucas, Pete Brown and His Battered Ornaments, Small Faces, The Gods, Grapefruit, The Who, Fleetwood Mac, Lindsay Muir's Untamed, The Perfumed Garden, Yardbirds (x2). The collection is generally in Ex+ condition.

Collection of Decorative Boxes, Figurines, and CollectiblesThis assortment features a curated group of small collectible items, including boxes, figurines, and decorative objects. Key items and their attributes include:1. **Carved Wooden Box**: - Rectangular form with intricate geometric carvings, including star-like motifs. - Crafted from dark-stained wood, potentially hand-carved, indicative of early-to-mid 20th-century craftsmanship.2. **Octagonal Wooden Box**: - Polished surface with painted floral garland on the lid. - Equipped with a brass clasp, likely a mid-20th-century trinket or jewellery box.3. **Painted and Lacquered Boxes**: - A black lacquer box hand-painted with a snowy village scene, likely Russian or Eastern European. - A smaller painted box featuring birds and floral motifs in vibrant colours, suggestive of traditional folk art, possibly from India or Central Asia.4. **Mother-of-Pearl Box**: - Rectangular with a mosaic-style mother-of-pearl exterior, intended for trinket or jewellery storage.5. **Metallic and Enamel Items**: - A brass or bronze dog figurine. - Elephant figurines in brass and stone, some with red and green enamel or stone accents. - A small engraved cylinder or container with visible verdigris patina, likely vintage.6. **Airplane Model**: - A small metal model resembling a twin-propeller airplane, likely a mid-20th-century decorative or desk item.7. **Postcard**: - A vintage postcard addressed to "Mrs. R.C. Gibson," featuring a visible stamp and handwriting, likely from the mid-20th century.8. **Additional Decorative Items**: - Lacquer and painted boxes with floral and scenic designs. - A red leather coin purse or wallet and a blue fabric drawstring pouch.This collection showcases a mix of mid-20th-century and older handcrafted and decorative items, with examples of traditional art and design from various cultural origins, including Europe, South Asia, and the Middle East.

Collection of Vinyl Record Albums, including David Bowie, Cream etcThis collection includes approximately 60 vintage 12-inch long-playing vinyl albums housed in cardboard sleeves, with visible signs of wear such as edge fraying and creased corners. Spines identify notable albums and artists spanning the late 1960s to the 1980s. Highlights include **"This Is The Moody Blues" (MB 1/2)**, **Queen – A Night at the Opera (EMTC 103)**, **Cat Stevens – Tea for the Tillerman (Island ILPS 9135)**, **Bob Dylan – Highway 61 Revisited (CBS 86061)**, **Fleetwood Mac**, **Steeleye Span – Commoner's Crown (Chrysalis CHR 1071)**, and **Neil Young – After the Gold Rush**. Visible manufacturer catalog numbers and artist information assist date authentication.Additionally, individual covers depict artists like Billy Joel (**"Piano Man" (1973)**, **"Streetlife Serenade" (1974)**, **"The Stranger" (1977)**), Tracy Chapman (**self-titled, 1988**), and Yes (**"Close to the Edge" (1972)**, **"Fragile" (1971)**). Some records include iconic artwork, such as Queen’s **"A Night at the Opera"** with its trademark crest emblem and surreal illustrations on Yes albums by Roger Dean. Other albums reference rock, folk, and pop genres, such as Carly Simon’s **"No Secrets"**, Cat Stevens’ **"Tea for the Tillerman"**, and Rod Stewart’s **"Atlantic Crossing"**.The condition varies, with wear consistent with age. This collection reflects a diverse catalogue of influential music and visual art trends of the era, featuring artists and albums recognised for significant cultural impact.

Collection of Vintage Decorative Items This is a collection of antique and vintage decorative objects from the late 19th to mid-20th century. **Key Items:** 1. **Brass Menorah**: Seven-branched design, ribbed detailing, tapering arms, and a hexagonal base. Likely mid-20th century, associated with Jewish religious traditions. Approx. 20–30 cm in height. 2. **Carved Wooden Box**: Intricately hand-carved relief depicting animals amidst foliage. Rectangular with hinged lid. Likely from Eastern or folk art traditions, dating between mid-19th to mid-20th century. Estimated dimensions: approx. 20–25 cm length, 10–15 cm width, 5–8 cm height. 3. **Small Decorative Trinkets**: - **Donkey-shaped Pin Cushion**: Silver-toned with floral engravings and blue fabric pin cushion. Likely late 19th or early 20th century. - **Ship Figurine**: Nautical-themed item with fabric or metallic accents, potentially a pin cushion or decorative piece. - **Engraved Boxes**: Includes a match safe or card case with botanical engravings and a rectangular brass box. - **Miniature Figurines**: Bird and animal models, crafted in metal with enamel details, one resembling a parrot. - **Circular Metallic Items**: Possibly lids or decorative caps, featuring floral and radial engravings. 4. **Austin Nameplate**: Metallic script emblem associated with the Austin car manufacturer, likely mid-20th century automotive memorabilia. 5. **Open Wooden Box with Compartments**: Medium-sized, polished, divided into three sections. Possibly used for jewellery or small valuables. The collection, featuring brass, silver, and carved wood with patina and varied craftsmanship, reflects different cultural and temporal origins. Likely of interest to collectors or decorative purposes.

**Hand-Carved Wooden Folk Art Suckling Pig with Hinged Lid** A hand-carved wooden folk art piece depicting a suckling pig, crafted from a single solid piece of wood. The pig features a hinged lid forming the top half of its body, revealing a hollow interior suitable for storage or decorative use. The design includes carved legs, ears, a tail, and a snout, with visible wood grain patterns and joints. The piece shows signs of wear and minor wood cracking, indicative of its age and handmade nature. Approximate height is 12 inches. A functional and decorative item for collectors of folk art or rustic woodenware.

**Large Cast Metal Sun Face Decorative Wall Sculpture** A vintage cast metal sun face, featuring a stylised anthropomorphic design with a three-dimensional central face surrounded by 32 radiating wavy rays crafted from twisted metal rods. The central face is sculpted with prominent almond-shaped eyes, a defined nose, and an open slit mouth, suggesting possible functionality or symbolic representation. The face, likely made of brass or a similar alloy, displays a golden patina with weathered oxidation and verdigris, indicative of outdoor use or significant age. Contrasting darker metal rods form the sun rays, enhancing its visual appeal. The overall diameter, including rays, is approximately 60 cm. An ornamental mid-20th-century decorative piece echoing traditional and folk art solar motifs, this item embodies both artistry and symbolic solar representation, making it a striking addition to any collection or setting.

A Folk Art Greek pottery ceramic wall plaque depicting a traditional scene with figures, 30 x 40cm, mounted within frame

A Small Collection of Boxes, including a 19th century turned wooden hair tidy, a Chinese cinnabar lacquer and enamel trinket box, a burr walnut box, a folk art pocket watch case, a Cumbrian turned wooden pill box, etc, together with a mirror and other items (qty)

A green folk art style painted pine spice cupboard, 38cmW

Ten carved and painted Folk Art Punch & Judy Puppets some with wooden limbs and bright costume costume to include Mr Punch, Mrs Punch and child ?, three Kings, three Policemen and the Devil, some A/F contained in a material covered floral box

Architectural Salvage and Folk Art - a 19th century wrought iron well head superstructure, crested by a cockerel, flanked by spires and scrolls, wrythen, arched frame, 172cm high, 99.5cm wide overall

A group of early 20th century child's toys, including a Remanco British-made mangle, a Folk Art mangle, a cast-iron mangle, and a combination washing machine and mangle (4)