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Click here to subscribeA 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 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 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
An Unusual 18th Century Folk Art Painted Pine Hanging Wall Cupboard. The moulded cornice having a chip carved edge and domed central pediment carved with a grotesque face mask above an arch topped door bearing a naive relief-carved man holding a staff with traces of paint-work and the initials J.O.J.Q. below, 20 ins (51 cms) wide, 10 ins (26 cms) deep and 30 ins (76 cms) high.
An 18th/19th Century Folk Art Back Stool. The shaped slot-in back board pierced with a central heart surrounded by chip carved flowers and roundels enriched with nail punched decoration. The square plank seat with moulded edge morticed and wedged with four tapering stick legs, 15 ins (38 cms) wide, 13½ ins (34 cms) deep and 33½ ins (85 cms) high.
A 19th century vernacular 'hedge-row' type windsor chairof primitive construction, the bent wood top rail over vertical splats open arms, serpentine seat, raised on splayed turned legs 'Folk Art' furniture of this kind isoften made by crofters using materials to hand and is relatively scarce. The Caithness area is known particularly for its 'hedge-row chairs.
An early American ebonised and red 'combed' kitchen dresser Probably mid18th century of small proportions, the projecting ebonised cornice above a re-entrant cornered frieze with incised 'cockbead' edge and three shelves grooved for plates and framed by similarly incised and lipped facings ending in downswept shoe pieces, the top with a broad moulded edge above a six-panel front composed of a pair of cupboard doors flanking a central panelled divider, each panel decorated with narrow frame mouldings, on caddy moulded uprights and stem feet, the sides with conforming double panelling 130cm wide, 194cm high, 39cm deep Note: American painted dressers of this type and size are scarce. The stylish features of this example possibly indicate a New England provenance and the use of crisply executed caddy and re-entrant mouldings suggests an early date. The dresser is in its original condition complete with wrought iron plate hooks, which are crimped flat at the ends, and turned pull handles. An escutcheon appears to have been added to the right hand door, but all the escutcheons appear to be of an early date. The dresser is composed of oak framing around pine panels with are chamfered on their internal edges, rather than presenting an outward facing 'fielded' panel. The ebonised highlights to the mouldings are perhaps more accurately described as 'brown painted.' The drawing of a comb across the wet painted surface has achieved a rippled effect, in dark and light wine-red, appealing to the eye as an example of Folk Art, in the medium of vernacular furniture making.
Charles William Stewart 1915-2001 'Saint Demetrios from a wall painting in the Church of Ahioi Anargyroi Kastoria, Macedonia', original costume study; pencil and watercolour, inscribed extensively, and inscribed and dated 28th Sept 1975 on the reverse, 27x19.5cm: together with one other similar costume study titled: 'Sketch of a costume of the Thracian Sarakatsani, in the Museum of Folk Art at Thessaloniki', similarly inscribed and dated, (2)
Incline Press. A Book of Nursery Rhymes, Incline Press, Oldham, 1993,. 205/260 copies, wood engs. by Enid Marx, printed in various colours, orig. quarter black cloth, patterned paper boards, printed paper label on the spine, edges untrimmed, together with Barlow (Derek), Bullrushes. Poems, Incline Press, Oldham, 1995, 111/175 copies, signed by the artist, and by the author, wood engs. by Anna Ravenscroft, printed in different colours, bound by Stephen Conway in quarter dark green cloth, green marbled board sides, pink printed paper label extending across both boards and the spine, edges untrimmed, signed by the binder and dated 1998 on the final leaf bearing the circular Press device, in a solander box, and A Bonnet Full of Nursery Rhymes. All Selected to Suit the Collection of Folk Art at Compton Verney, Incline PRess, Oldham, 1998, 29/50 copies put aside for subscribers to Incline Press, printed on hand-made paper, wood engs. from a variety of sources, printed in various colours, bound by Stephen Conway in quarter black cloth, patterned board sides, printed paper label on the upper cover, orig. printed wrappers bound in, signed by the binder and dated 1998 on the colophon; plus Incline Press editions of The Highwayman by Alfred Noyes, 1996; Urban Birds. A Collection of Cuts by Jo Spaul, 1999; and The Five Senses by Jim Burns, 1999, all 8vo A Book of Nursery Rhymes was the first book to be printed at the Press. (6)
Hardy, J.J Salmon Fishing, 1907; Hanna, T.J. Fly-Fishing in Ireland, 1933; Geen, P. What I have seen while Fishing and how I have caught my Fish, 1905; Edye, H. The Angler and the Trout, 1941; Calderwood, W.L. The Life of the Salmon, 1907; Englefield, J. Dry-Fly Fishing for Trout and Grayling, 1908; Illingworth, A.H. Reminiscences, 1932; Chrystal, R.A. Angling Theories and Methods, 1927; Griswold, F.G. The Life History of the Atlantic and Pacific Salmon of Canada, New York, 1930; Peart, L.R. Fishing in the Making, 1937; Bacon, A.F. Enchanted Days with Rod and Gun, 1926; Threlfall, R.E. On a Gentle Art, 1951; Brennand, G. The Fisherman's Handbook, 1951; Chalmers, P.R. Where the Spring Salmon Run, 1931; Crossley, A. The Floating Line, 1948 dust-jacket; Bridges, A. Modern Salmon Fishing, 1939 dust-jacket; Dawson, K. Modern Salmon and Sea Trout Fishing, 1938; Taverner, E. Trout Fishing from all Angles, 1929; Balfour, H. Folk, Fish and Fun, 1978 dust-jacket; and 8 others, similar, all original cloth, illustrations, a few slightly rubbed or slightly marked (27)
* Munnings (Alfred James, 1878-1959). Two pencil studies showing figures and horses, one with a Church tower in the background, initialled A. J. and captioned Kersey, Suffolk, 1931, in the artists holograph, approx. 18 x 23cm, the other smaller also on a loose album leaf, approx. 11 x 17cm, together with a group of nine autograph letters and notes to friend and fellow artist Maurice Codner (1888-1958), mostly undated by c. 1940/43, all but one in pencil, initialled A. J. and two signed A. J. Munnings, discussing art and life and friends, etc., Like two indecent men, we both wonder & think about one another very often. So often that we might be accused of the Act!! well - as you say - Im working - I never stop - nothing ambitious. All studies and executions ... why try immense monsters for that conglomoration at the R.A.? Awful show: though I look back now & recall the hanging & the jumbling - alas! All well with us excepting that Exmoor & its freedom gets a hold on one. You cant leave it - out here we are in the wilds ... I seldom see anyone. I go on working. I think Im getting old as I cant please myself at all ... We now are living in a world war if you like, and Brendon Bracken is a good friend of mine. Well see something done yet on the wireless & in the press for Tradition in Art - what is a Nation? First reply a Nation has a race or races of folk whose life &c &c is BUILT up on its own tradition, and Bye the bye Ive wondered if you ever use terre verte a good color for your portraits - days weeks & months fly by - I dont know what we shall do ... stick to it my lad & dont keep doing those big ones. Try 30 x 20 my size, glad youre well & not blown up - no more, and (written on R. A. printed circular dated 1942), As I sit here in a small room I look outside. It isnt just raining - its bloody well pouring straight down & old Violet went off with the rest of the few as they passed behinds the hounds onto Hawkridge 2 miles away - theyll be wet through before they start - hunting all over England should be stopped. Thats my opinion. People who go wouldnt if the hounds didnt - absolute rot ... What a pity you arent rich and cant get away - you & I should go & stay at Bradley Farm up in the woods & hills near here for a month & live on cream & stuff & work. Three pounds a week - trees galore & stone buildings & the rest & when it rained wed do masterpieces indoors ... write again my lad of wax - any f...g lately?, a total of 23 pp. on various papers, some occn. marks and marginal tears, mostly 8vo, plus two related (13)
RONALD W LIGHTBOWM: "Medieval European Jewellery with a catalogue of the Collection in the Victoria and Albert Museum", London 1992, together with "Renaissance Jewels, the Melvin Gatman Collection", "Twenty Five Renaissance Jewels and Works of Art", Sotheby’s 1974 and "Primitive and Folk Jewellery" by Martin Gerlach (4)
SCOTTISH FOLK ART A GROUP OF CARVED WOOD 'ALICE IN WONDERLAND' FIGURES, 1950'S, by George Boreham, including: Alice, 15cm high; the White Rabbit, 11cm high; the King, 20cm high; the Queen, 18cm high; the Mad Hatter, 20cm high; a large collection of animals and some additional accessories, including plant pots; a ladder; plates, cups and saucers (approx 40 items) Note: George Boreham was an engineer from Burntisland, Fife, who moved to Eastbourne in 1947. The idea for this group came when he was whittling driftwood on Eastbourne beach and completed it over the next twenty years, returning to Scotland in the 1950s.
FOUR PIECES OF SEWERTILE. Pictured are a pair of lion head bookends. Impressed John 1935 and Tressie 1935. 3 1/8h. Also an advertising Good Luck Scarab from Vitreon Sewerpipe. See the Illustrated Handbook of Ohio Sewer Pipe Folk Art by Jack Adamson for another scarab. 4 1/4l. And small house marked Philips and Weaver 1918 Tom Fred. Missing chimney. 2 1/4h.
WATERCOLOR ON PAPER. Full-length portrait of a man in a frock coat, holding a top hat and standing on a patterned carpet. Naive style but with a well defined profile in pencil. A paper label from the American Folk Art Gallery notes the painting was found in Connecticut and is similar in style to Joseph Davis. Overall darkening with light stains. Worn gilt frame. 10h. 8 1/4w.
THREE PIECES OF SEWERTILE. Pictured is an advertising paperweight in the form of a woman's face Nelsonville Sewer Pipe Co. 4 1/2h. Also a plaque with 26, said to be a kiln marker, 7 3/4h. 11w. These two pieces are both pictured in Jack Adamson's Illustrated Handbook of Ohio Sewer Pipe Folk Art. And a man's shoe incised WE Page 1918. 3 1/4h. All have some edge flakes.
THREE PIECES OF FOLK ART SEWERTILE. Molded rabbit (glued split), 5 1/2h.; hand formed ashtray with a dog, 4 3/4h. and a hand formed advertising suitcase for Superior Clay Corp., Uhrichsville, Ohio, 2 1/2h. All are initialed either RLW or RL(W) for Ralph Wilson who worked at Superior & Evans Corp.
OHIO FIGURAL SEWERTILE LAMP. Tree with a kneeling woman, all in polychrome glaze. Pictured in Jack Adamson's Illustrated Handbook of Ohio Sewer Pipe Folk Art and titled the Madonna Lamp. Stamped Fiersto's 1941 and inscribed on the base J.W. Moore Stark Brick Co. Canton, O. 1941. 11 1/2h. plus lamp parts.