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An Unusual 19th Century Folk Art Oil on Canvas painted with three panels set one above another depicting two cows and a prize bull to the centre divided by red bands 56 ins x 32 ins (142 cms x 82 cms). In an carved laurel leaf frame 62½ ins x 39 ins (159 cms x 99 cms).

A Painted Pine Folk Art Box of rectangular form with domed lid, wire handle to the centre, iron hasp & lock-plate. Decorated with naively painted flowers on a black background, 7½ ins x 20 ins x 9 ins (19 cms x 51 cms x 23 cms).

A Painted Pine Folk Art Box of rectangular form with domed lid, wire handle to the centre, iron hasp & lock-plate. Decorated with naively painted flowers on a black background, 11¾ x 25¼ x 13½ ins (30 x 64 x 34 cms).

A Carved Wooden Folk Art Soldier mounted on a turned & ebonised dome base 16½ ins (42 cms) in height.

A folk art childs chair, 19th century, with curved back and plank seat.

A folk art wartime photograph frame inlaid with two soldiers and the date 1808-1908, inset with a photograph of a soldier.

FOLK ART - two figures standing on a bridge, oil on canvas, set in a gilt frame.

A folk art treen washing board with floral painted decoration.

A tole oil can, with painted folk art decoration including buildings in a wooded landscape, 8.25in (21cm) h.

A FOLK ART TYPE CARVED WOODEN HORSE HEAD SNUFF BOX with bone eyes.

A Folk Art carved walking stick, length 99cms

A late 19th century primitive folk art carved wooden doll, possibly depicting a negro slave, with painted socks to lower legs, height 36cm (one arm detached).

* GUDIASHVILI, LADO 1896-1980 Devi Abducting a Beauty signed in Georgian and dated 1942 Oil on canvas, 100 by 67.5 cm. Authenticity certificate from the House Museum of Lado Gudiashvili, Batumi, Georgia, expert Zaur Tsuladze. Fantasies featuring naked female figures first appeared in Gudiashvili’s work during his years in Paris, where between 1919 and 1925 he honed his skills. This was a time of vigorous growth of modernist trends, and Gudiashvili had a natural inclination towards the decorative and expressive qualities of art of the new age. Following his return to Georgia, the artist strove for some time to become part of the development of Soviet art, giving his decorative talents entirely over to portraying the “New Life” he could see around him. However, from as early as the second half of the 1930s, fantasy and romanticism were taking precedence over “real”, social themes. Inspired by the success of archaeologists who had discovered major sites in the Armazi district in Mtskheta, the ancient capital of Georgia, Gudiashvili immersed himself in the world of his country’s legendary past, and in 1940 painted The Walk of Seraphita, one of his largest works. The name of Seraphita, the daughter of Zevakh, the junior Pitiakhsh (governor) of Tsar Farsman, became famous from an inscription that had been discovered on one of the tombs. And although there was no hint of any specific historical details in the artist’s work, this theme provided great scope for fantasy, and the successes of Soviet science, which was still in its infancy, served as the necessary source of inspiration. Henceforth, Gudiashvili would turn repeatedly to images inspired by the historical past and Georgian folklore, and in fact began to create, year after year, his own mythology based on Georgian themes. During the course of each decade the artist painted an entire series of canvases which represented variations on the theme which was close to his heart from the 1920s onwards, that of “maidens and beasts”. Most notably there is an entire gallery of “devis” – perennial characters of national Georgian folk-tales, good or evil spirits, presented in various guises in the works Devi Abducting a Beauty, Before the Stroll, and The Battle of the Amazonians and the Devi (all painted in 1942), Face to Face (1951), Woman with a Lion (1953) etc. Gudiashvili’s bestiary became more defined and, one might say, more aggressive in its symbolism. In place of the former peaceful idyllic scenes, we are now presented with tempestuous movement: here we have women lost in a dance, rearing horses, masks from national theatrical shows, and magnificent folk-tale garments. In place of the former languorous long figures and faces of whirling maidens, we see the substantial forms of full-blooded lovelies glowing with health. The spiritual aspect recedes into the background, giving precedence to physical beauty, sensuality and the overflowing joy of being alive. Gudiashvili’s style itself and the colours employed by him have also undergone significant changes, one of them being the emergence of thickly applied paint, iridescent colours and a “vibrating” surface, which replaced his former “flat” style. The artist himself acknowledged that these fantastic images brought him closer to the history and traditions of his homeland: “I have thought about this so much that I have at times mentally reconciled the forces of good and evil. This is how, for example, I thought of my large canvas The Wedding of the Devis (The Wedding Procession of the Devis, 1954). In this work the gigantic, bizarre Devis have been presented by me as good creatures. Our national creativity embodies an inexhaustible source of fantasy, and this world never ceases to inspire me. Through my portrayal of Devis, I have first and foremost wished to express the desire for our motherland to be without enemies and for these inimical elements to develop a respectful and caring attitude towards the motherland. They ought to love and value its beauty … they ought to examine their consciences and become forces for good, and they ought to strive not to slight our country even through mere clumsiness. The portrayal of the Devis shows them to be full of good and love for people, and they even befriend people. This, of course, is possibly mere fantasy and is not entirely justified – is even unacceptable and unfeasible – but this is a world of fairy tales and I love it ... women are in fact protagonists in almost all my works, for after all woman is the source of life and goodness, and therefore women have also occupied the loftiest position in painting as a whole. For me women are the crowning glory of nature and the personification of its inexhaustible abundance”.

An Early 20th Century Eastern European Painted Pine Candle Box with Drawer, Decorated with Folk Art Motifs and Date 1907.

Hofer (Tamas and Fel, Edit). Hungarian Folk Art, OUP, 1979, num. col. and b & w illusts., some tipped in, orig. cloth in d.j., 4to, together with other art and design, crafts, antiques reference, photography, etc., mostly recent publications, many in d.j., G/VG (3 shelves)

A Folk Art wooden model of a ship (af), in glazed display case, 54 x 38cm.

An 18th/19th Century Folk Art Carved & Polychromed Rooster, standing on a square plinth 16 ins (40 cms) in height.

SCOTTISH FOLK ART WHIRLYGIG 19TH CENTURY modelled as a highland guard, raised on a canted rectangular base 41cm high

A 19th century iron trivet raised on baluster stem and tripod supports, 32cm (12 1/2in) high, together with one other trivet having pierced folk art decoration (2)

Various books on design, advertising, calligraphy and typography, authors to include Eric Gill, Herbert Read (Surrealism) booklets by Neville and Mary Ward, Edward Gordon Craig, Bossert (Folk Art of Primitive Peoples, Decorative Art of Egypt and Asia)

An early 19th century Folk Art walking stick, possibly American, entwined in relief with serpent and naively decorated in pen work with huntsmen, hounds and pine trees, 90cm high, c.1810

CARVED FOLK ART WALKING STICK

Two primitive folk art handpainted sideshow fairground boards depicting bare-knuckle boxers named and dated ` Jago Black 1854` and `Tom Sayers 1852`, oil on pine boards, (2) 172cm high

Two primitive folk art handpainted sideshow fairground boards depicting sailors named and dated `Ben Cox 1867` and `Ben Dyer 1857`, oil on pine boards, (2) 172cm high

Primitive folk art handpainted sideshow fairground board depicting a reclining lady titled and dated `Miss Rosie 1872`, oil on pine board, 78cm long

Primitive folk art handpainted sideshow fairground board depicting a reclining lady titled and dated `Miss Tilly 1878`, oil on pine board, 78cm long

Primitive folk art handpainted sideshow fairground board depicting a reclining lady titled and dated `Lola Ortez 1880`, oil on pine board, 78cm long

Two primitive folk art handpainted canvas fairground pelmets decorated with flora and swags, oil on hessian, (2) each section approximately 360cm long,

Two primitive folk art handpainted canvas fairground pelmets decorated with flora and swags, oil on hessian, (2) each section approximately 360cm long,

Two primitive folk art handpainted canvas fairground pelmets decorated with flora and swags, oil on hessian, (2) each section approximately 360cm long,

Four primitive folk art handpainted fairground wooden pillars decorated with flora in gold and lilac on a black ground, (one missing the capital) (4) 142cm high

Pair of primitive folk art handpainted fairground wooden columns with wing shaped capitals, 235cm high

Four primitive folk art handpainted fairground wooden columns of rectangular sections with egg and dart carved cornices, decorated with a marbled effect, 137cm high

Pair of primitive folk art handpainted fairground wooden columns with wing shaped capitals decorated with a marbled effect, (one reduced) (2) 204cm and 214cm high

Pair of primitive folk art handpainted fairground wooden columns with Corinthian capitals decorated with central shields on a marbled ground, 168cm high

Eight sections of primitive folk art handpainted fairground wooden balustrade each piece approximately 86cm x 256cm

Seven sections of primitive folk art handpainted fairground wooden balustrade each piece approximately 85cm x 200cm

Six large primitive folk art Funfair sideshow pediments handpainted wood construction, each approximately 234cm long

Group of primitive folk art handpainted fairground balustrade and small side column sections.

Two horn Snuff Boxes and a Welsh Folk Art Tea Party, under glass dome

A `folk art` leopard, 20th Century, carved wood, 16cm high.

A Folk Art Chip Carved Treen Box. The lid & handle having a pivoted hinge decorated with a lattice-work rectangular centre bordered by bands of crosses and a chip carved edge. The sides having an incised zig-zag motif. 11½ (29 cms) in height, 6 ins (15 cms) in width, 4 ins (10 cms) in depth.

A Small Late 18th/Early 19th Century Scandinavian Folk Art Chest. The top having two recessed panels centred by an iron handle. The painted front fitted with a heart shaped iron escutcheon above a carved flower-head flanked by two panels emblazoned with hearts pierced by a sword and a three arrows defined against a sunken grove-carved ground, with further flanking panels of bell flowers. Raised on bun feet 11½ ins (32 cms) in height. 21½ ins (55 cms) in width, 12½ ins (32 cms) in depth.

Three Charming 18th Century Folk Art Black Wax Moulds; One scribed with the alphabet in a lacy edged paddle, initialed in the corner A.J. 5¼ ins x 4¾ ins (13.5 cms x 12 cms). One decorated with a baby bound in swaddling cloth & wearing a frilly edged bonnet 4 ins x 1¾ ins (10 cms x 4.5 cms). And One with a pair of lovebirds perched on a pedestal, 2½ ins x 1¾ ins (6.5 cms x 4.5 cms).

A Folk Art Painted Wooden Toy Ark on wheels, 11½ ins (29 cms) in height, 19 ins (48 cms) in length.

An American Indian folk-art carved and painted wood Raven`s head by Errol Ashley

FOLK ART WALKING STICK - a wooden walking stick, the handle carved as the figure of a naked, moustached man, the top of the stick carved "KEPKVPA", 94cms long ++lacks ferule

A RARE FOLK ART CANE WALKING STICK WITH ROOT HANDLE, DECORATED ALONG IT'S ENTIRE LENGTH WITH NATIVE PICTURES OF A LADY AND GENTLEMAN, MILLIPEDES, CROCODILES, SNAKES ETC. POSSIBLY AMERICAN OR AUSTRAILAN AND THOUGHT TO DATE FROM AT LEAST THE EARLY 1800'S

Late nineteenth century Irish folk art wooden dancing doll on board

A carved oak folk art walking cane.

A Late 18th/Early 19th Century Painted Folk Art Dome Top Box. The lid on wire hinges painted with a blossoming tulip tree, flanked by two small birds and similarly painted sides. The front having a delicately cut iron lock-plate above the front panel painted with a blue & white swag. 12 ins (31 cms) in height, 19 ins x 13 ins (48 cms x 33 cms).

A Delightful Early to Mid 18th Century Folk Art Casket of rectangular form with a domed lid on iron strap hinges and tapering sides with diamond shaped escutcheon to the front. The whole painted with panels of flowers and fruiting strawberry plants on a green/black ground within decorated red bordering bands, 6¾ ins (17 cms) high, 8¼ ins (21 cms) wide, 4¾ ins (12 cms) deep.

A folk art porcelain pin dish in the form of a flower head, signed R. Weston, 7cm diameter

A 19th century Folk art diorama, of a cottage and two trees, made from real leaves, seed beads and foliage, 16 x 20ins

European carved 'folk art' shoulder head doll, with wide almond shaped eyes, partial open mouth and carved nose, carved waved hair, on a fabric body with later celluloid hands, later clothing, 36cms

A 19th century naive folk art study of a wild hare, oil on panel, unsigned, 50 cm x 29.5 cm

A polychrome wood model of a butcher's shop, hung with carcasses and joints of meat above the figures of two butchers and the butcher's boy, the butchers each holding meat knives and steels hung from their aprons, the gallery above centred by the Royal Arms in gilt metal, and flanked by potted plants with the living quarters to the back, the four glass windows reverse painted with drapes, in a mahogany veneered glazed case, English, c.1850, 50.2 x 698cm. Literature: James Ayres, 'British Folk Art', Barrie and Jenkins, London 1976. Overlook Press, Woodstock, N.Y. 1977, plate 30 Comparative Literature: Edward H Pinto, 'Treen and other Wooden Bygones', Bell and Human, London 1969, page 208, A comparative example illustrated plate 219 and The Judkyn/Pratt Collection, Christies 8 November 1995, lot 52

A 19th century Scandinavian Folk Art wool winder

Folk Art- A rustic painted pine cradle, 19th century

A Treen Folk Art pipe stopper, with ball and lantern ring and signet, 3 3/4” long