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Click here to subscribeA continental painted pine two-section buffet sideboard. 142x207x56cm. A/F.Only one turned foot present, remaining three corners of base are raised on loose wooden blocks. One door to base detatched. No glass in the upper section. Various age and use related marks, scratches etc. Top may not be original to base as the marks to the top surface do not match the upper section.
A 19th century style three-section mahogany library bookcase, with two glazed doors above two drawers and cupboards under, maker's plate behind door for Henderson Cabinet Makers, Newcastle-upon-Tyne. 131x220x51cm.Good condition. Gap in top panel beneath the upper section, as well as both sides. We think this is a relatively modern piece, from the latter half of the 20th century.
A modern reproduction blue and white footbath, two late Victorian Staffordshire style lion figurines, two Continental style young lady figurines, and two boxed Rington's Tea cold cast bronze figures - collectors' editions in original boxes, titled "Your Tea Madam" and "Tea and more to your door". (7)
λ PAUL NASH (BRITISH 1889-1946) SEAGULL EYE WIND WAVES Wood Printed with artist's address to Bourlet & Sons Ltd., London label (to underside) 52 x 40cm (20¼ x 15½ in.) In the avant-garde English journal Axis no 8 for Early Winter 1937, Paul Nash's object Burnt Offering was reproduced - one of the few images we have of his objects, once quite numerous but now virtually all disappeared. Burnt Offering seems to be a composite object, with what appears to be a turned wooden finial (upside down) or door handle partially destroyed by fire fixed to a concrete or stone base with markings and encrustations that make it look as if it had long been submerged in the sea.Nash's objects were a major presence in the surrealist exhibitions in England in the 1930s. At the 1936 International Surrealist Exhibition at the New Burlington Galleries he showed two objects - untitled, but described as "Designed Object", and one "Found Object Interpreted" whose medium was given as "Vegetable Kingdom" (Marsh Personage). Burnt Offering was also shown at the London Gallery exhibition "Surrealist Objects and Poems" (1937). As Michel Remy says, "Hardly any exhibit has survived from the exhibition", (so far as we know). True to the complexity of the surrealist interest in the object, fifteen categories of object were listed in the catalogue; in "Surrealist objects" Nash exhibited Homes without Hands and Forest; in "Found Objects" Long-gom-pa ("a five-branch root named after a Tibetan runner famous at the time" (Remy); in "Found Objects Interpreted" Goodness How Sad, Encounter of Wild Stones, Not Cricket and Nest of Wild Stones; in "Objects Collages", Aquarium and Only Egg; in "Oneiric Objects" Tree Man; in "Objects for Everyday Use" (with Margaret Nash) Basket for Found Objects; Burnt Offering in "Perturbed Objects"; Moon Aviary in "Constructed Objects".For the Cambridge University Arts Society "Exhibition of Surrealism" (1937) he showed three: Only Egg, The Nest of Wild Stones and Long-gom-pa. In the same exhibition Eileen Agar showed Le père Ubu. In 1938, following the great success of the London International Surrealist Exhibition, Nash showed several works, including Objets aux champs and Objets balancés (probably photographs rather than actual objects, the latter possibly Poised objects [Causey 1973 pl. 27].)Of the twenty-five or so known and named objects, most were dismantled, scrapped, "not made" or have simply melted away. Forest from Roland Penrose's collection (trees made from glove stretchers) and Only Egg "seem to be the only two objects by Nash to have survived", according to the catalogue raisonné. As the Tate catalogue entry for Nash's important photomontage/drawing Swanage, c. 1936 says, "Almost none of these objects survives except as depicted in Nash's work, though he apparently continued to keep and collect objects until his death".It is therefore extraordinarily difficult to place the object in question with any certainty although there is plenty of leeway for the existence of a hitherto unknown "found object" - or possibly "found object interpreted". A typewritten label on the back of the object gives the title "Seagull Eye Wind Waves" and an address for Paul Nash: Whitecliffe Farm, near Swanage, which is where he lived from October 1934 until he moved to the centre of Swanage in 1935. In March 1936 the Nashes left Swanage. So the object (or its collection) would date from roughly the same period as Marsh personage, his first found object, which in some respects, especially visually, it resembles.Whereas Marsh Personage and Long-gom-pa are clearly found "natural" objects, (the latter furze-wood, the former driftwood, "salvaged from a stream", and the first of the found "vegetable" objects), Seagull Eye Wind Waves is "interpreted" and worked on. It is composed of three pieces of wood, each with a strong character: the thickly gnarled outer rim of a hollow tree, which embraces a curved form, perhaps once part of a piece of furniture. This has been carved to enhance its resemblance to outspread seagull wings, and the tip of the top wing becomes a bird head; through a hole in the top of this shape runs a thin, antler-like branch. Perhaps this worn forked stick that has pierced the wooden curve was encountered thus in a curious natural formation, and the curve was then interpreted as wings and the bird's head, crudely carved. Gashes and striations in the side of the wooden base, some circling knots in the wood, some indicating the lines of a torso, must belong to the same intervention. It might have been worked by Nash, or found by him as a piece of rough carving, a kind of primitive interpretation by an unknown hand, with a sense of the phallic and sexual suggestions in the lump of wood and its odd impaling. This would be wholly in line with surrealist taste and there are plenty of examples of such finds. For example the construction made by an aliéné, (a frame filled with broken scissors and other sharp implements) found and exhibited by André Breton. This rural find by Nash is in line with his profound love of the natural world and its innumerable forms. He wrote in Axis (January 1935) "...I find I still need partially organic features to make my fixed, conceptual image. I discern among natural phenomena a thousand forms which might, with advantage, be dissolved in the crucible of abstract transfiguration; but the hard cold stone, the rasping grass, the intricate architecture of trees and waves, or the brittle sculpture of a dead leaf - I cannot translate altogether beyond their own image, without suffering in spirit. My aim in symbolical representation and abstraction, although governed by a purpose with a formal ideal in view, seeks always to give life to a conception within the formal shell..." In my opinion Seagull Eye Wind Waves is a found interpreted object by Paul Nash. Professor Dawn AdesCausey, Andrew and Eates, Margot Paul Nash Paintings and Watercolours Tate 1975Causey, Andrew Paul Nash's Photographs, Document and Image Tate 1973Evans, Myfanwy "Paul Nash 1937" Axis no 8 Early Winter 1937Exposition internationale du surréalisme Exb. cat. Galerie Beaux-arts Paris 1938 Exposition surréaliste d'objets Exb. cat. Charles Ratton Paris 1936Jenkins, David Fraser Paul Nash, The Elements Dulwich Picture Gallery 2010Montagu, Jemima (ed.) Paul Nash, Modern Artist, Ancient Landscape Tate 2003Nash, Paul "For, but not with" Axis 1 January 1935Nash, Paul "Swanage or Seaside Surrealism" Architectural Review November 1936Nash, Paul "The Object", Architectural Review November 1936Nash, Paul Fertile Image Ed Margaret Nash [1951] 1975Nash, Paul Writings on Art ed. Andrew Causey Oxford 2000Paul Nash, Places Exb. cat. South Bank Centre 1989Read, Herbert (ed.) Surrealism 1936Remy, Michel Surrealism in Britain Ashgate 1999Surrealism Exb. Cat. Cambridge University Arts Society 1937Surrealist Objects and Poems London Gallery Ltd. 1937 The International Surrealist Exhibition New Burlington Galleries Exb Cat. 1936 The London Bulletin 1938-1940
A Brazilian Masonic butterfly wing tray with inlaid wooden frame, Masonic compass and set square insignia to centre surrounded by four circular tourist scenes, with associated bible with presentation inscription and signatures of the brethren and friends, a brass Masonic door knocker, along with Mason's Mandalay pattern jugs, Location:
* Wyllie (William Lionel, 1851-1931). A Bird’s Eye View of Westminster Bridge and The City, etching with drypoint, an atmospheric impression, on thick cream wove paper, signed in pencil to lower left, the full sheet, plate size 225 x 375 mm (9 x 15 3/4 ins), sheet size 305 x 460 mm (12 x 18 ins), hinge-mounted, together with: Clausen (George, 1852-1944). The Barn Door, 1894-1904, etching, a fine, bright impression, on laid paper watermarked O.W.P. and A.C.L., signed 'George Clausen' in pencil lower right, with margins, old tape at the sheet edges, platemark 15.7 x 12.2 cm (6 1/8 x 4 3/4 ins), sheet 21.7 x 17.5 cm (8 1/2 x 6 7/8 ins), mounted, plus: Brockhurst (George, 1890-1978). The Artist’s Mother, 1920, etching on thick ivory wove paper, the full sheet, signed in pencil to lower right, a balanced and characterful impression, titled and numbered '55 proofs' in pencil in another hand to lower sheet edge, plate size 88 x 88 mm (3 1/4 x 3 1/4 ins), sheet size 230 x 195 mm (9 x 7 3/4 ins)QTY: (3)NOTE:F. Gibson Print Collector's Quarterly VIII, 1921, pp.203-227, no. 15.
* Woodlock (David, 1842-1929). The Old Lych Gate, Welford, Warwickshire, watercolour, depicting an older woman holding a basket, leaning against a wooden strut under the Old Lych Gate, Welford on Avon, Warwickshire, a thatched cottage to the left, signed and titled lower right, mount aperture 36.5 x 51 cm (14 3/8 x 20 ins), framed and glazed (59 x 75 cm), together withThe Back Door, watercolour, depicting a young woman standing outside by a back door reaching up to a bird feeder, birds pecking at the floor, signed lower right, mount aperture 25 x 17 cm (9 7/8 x 6 6/8 ins), framed and glazed (52 x 43 cm)QTY: (2)NOTE:David Woodlock trained at the Liverpool Academy of Arts, and then under John Finnie at Liverpool School of Art. In 1872 he helped found the Liver Sketching Club and would also become a member of the Liverpool Academy of Arts. In 1880 he began to exhibit in London, he showed at the Royal Academy of Arts from 1888 and in 1897 became President of the Liver Sketching Club. During the 1910s he spent time living in Warwickshire, which inspired some of his most characteristic images of half-timbered cottages set in flower-filled gardens.
AR * Minton (John, 1917-1957). Green Door, 1935, gouache on board, signed and dated in pencil, a stylised and colourful interpretation (with hints of Geometric Abstraction) of a door, railings, streetlamp, tree branches and wall, image size 35.5 x 24.5 cm (13 3/4 x 9 1/2 ins), framed and glazed (45.5 x 34.5 cm) QTY: (1)NOTE:Provenance: James 'Jock' McHarg (1917-2003), thence by descent. Bonhams, 20th Century British Art, 19 November 2008, lot 3; Dreweatts, Modern and Contemporary Art, 25 October 2023, lot 81.The psychiatrist, university teacher and medical historian James McHarg was one of John Minton's oldest friends. The pair attended Reading School together during the 1930s. McHarg is mentioned in the first chapter of Frances Spalding's biography of the artist, John Minton, Dance till the Stars Come Down. 'Green Door' was painted whilst Minton was studying at St. John's Wood School of Art, alongside fellow student Michael Ayrton.
* Chinese Export School. Birds and Branches, mid 18th century, a set of four decorative oil on thin lacquered wood panels, each decpicting an exotic bird amongst flowering branches, paint surface cracking and lifting to three panels (with a few small losses), verso of each with further painted decoration in gold (somewhat dulled) on a black ground, 3 with flowering tendrils and a butterfly or bird, the other depicting bamboo, with some flaking, 22 x 39.5 cm (8 1/2 x 15 1/2 ins), matching ebonised frames with gilt painted decorative borders (27 x 45 cm) QTY: (4)NOTE:An attractive set of panels, evidently intended to be viewed from each side, perhaps originally part of a door or screen,
* Hollar (Wenceslaus, 1607-1677). View of Antwerp Cathedral, 1649 [but 1678-94], 2nd state etched view of the west end of the cathedral, showing the finished tower and spire on the left, the unfinished tower with a temporary roof and turret on the right, surrounded by the street with houses on left and on the right leading to a square of trees, a procession of clergy and soldiers can be seen entering the west door escorting a shrine or reliquary, second state engraved caption at foot 'Antwerpiens turris ecclesiae cathedral...' with Dutch and French translation below, the left corner of image 'Wenceslaus Hollar delineauit, et fecit, 1649' and 'Gillis Hendricx excudit Antuerpiae' on left, central horizontal fold, platemark approximately 48.5 x 34 cm (19 1 /16 x 13 6/16 ins), sheet size 50.2 x 35.3 cm, together with other etchings and engravings including van Ostade (Adriaen, 1610-1685). Family saying grace before a meal, 1653 (but later, probably 19th century), etching on wove, laid down on mount board, 15 x 12.5 cm, gilt moulded frame, glazed, 36 x 34 cm, plus six mythological scenes etched by Samuel Gribelin junior (including two after Francesco Albani), 13 x 8 cm, each framed and glazed (21.5 x 16 cm), and a pair of etchings depicting scenes from Aesop's fables, circa 1773(?), approximately 10 x 14.5 cm, each framed and glazed (23.5 x 28.5 cm); and an etching by Samuel Watts of raising Christ on the cross after Tintoretto, 1777, printed in green on laid paper, 36 x 32 cm, framed and glazed (51 x 45.5 cm), plus ten 19th century reprint etchings of views in Italy by Israel Silvestre, 14 x 24.5 cm, each in ebonised frame, glazed (22 x 31 cm) QTY: (21)NOTE:Pennington - Hollar 824. Pennington suggests the second state is from the 1678 edition of J. Le Roy, Notitia and the 1694 edition of his Castella.
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![* Hollar (Wenceslaus, 1607-1677). View of Antwerp Cathedral, 1649 [but 1678-94], 2nd state etched view of the west end of the](https://cdn.globalauctionplatform.com/1ba96945-6148-465b-9b80-b10100b32f6a/13dff83f-00b3-4533-a62e-b12900c8fa93/468x382.jpg)
