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SMEATON (J), REPORTS OF THE LATE JOHN SMEATON FRS MADE ON VARIOUS OCCASIONS IN THE COURSE OF HIS EMPLOYMENT AS A CIVIL ENGINEER, 2nd edition, 2 vols in one, 72 plates, rebacked tan calf, M. Taylor, 1837, a presentation copy with leather dedication to the back of the front board, ‘Telford Premium. Awarded by the Council of the Institution of Civil Engineers to Frederick Pollock, Lieutenant Madras Engineers on the works and Coffre-Dam for the repairs of Westminster Bridge’ dated January 1840 (1)

Nightingale (Florence). Notes on Nursing: What it is, and what it is not, 1st edition, 2nd issue, London: Harrison, [1860], head of title inscribed by the author 'From Florence Nightingale Mar 14, 1860' and the ownership in a different hand 'A. Russell Pollock, Greenhill, Paisley', with letterpress '[The Right of Translation is reserved.]' at foot of title, original yellow endpapers with printed advertisements dated 1860, head of front free endpaper bearing the date 4 Sept 1861, original brown limp cloth covers bound in at front and rear (cup ring mark to upper cover), 20th-century cream endpapers with browning to free endpapers from turn-ins, 20th-century blue morocco binding with gilt title to spine, fading to spine, 8voQTY: (1)NOTE:Alexander Russell Pollock (1821-1884) was the son of James Pollock and Isabella Russell of Greenhill, Paisley, Scotland. Alexander was a partner in the firm James Pollock and Co., a merchant and yarn agent based in Causeyside. He married Margaret Amelia Pollock, the daughter of Matthew Pollock in Stillorgan, Dublin, on 27 April 1859 and they had 19 children in the space of 16 years. Alexander died on 23 October 1884 in Dieppe, Seine-Maritime, France, at the age of 63, and was buried in his hometown. An obituary was published in the Paisley Gazette November 1, 1884. Alexander amassed a large library and collection of coins, medals, manuscripts and other antiques which were sold in a series of auction sales in 1889.

Corgi Classics boxed diecast, 97840 Scammell Highwayman tanker Shell Mex/BP, 97319 Bas Worthington ERF cylindrical tanker, 970 Regent Foden tanker, 97951 Foden milk tanker, 97372 Mackison Atkinson tanker, 97950 Guinness Foden tanker, 97952 Hovis Foden tanker, 97162 Pollock of Musselburgh Atkinson Elliptical tanker, and 97970 Regent Foden tanker. (9)

A framed and glazed still life, flowers in a vase, signed G M G Pollock (?). H.72 W.61cm

Artist: Jackson Pollock (American, 1912 - 1956). Title: "Composition [1954 #1]". Medium: Watercolor and gouache drawing on paper. Date: Composed c.1954. Dimensions: Overall size: 5 7/16 x 8 7/16 in. (138 x 214 mm).Pricing:   Starting Price: $5,000  Reserve Price: No reserve  Auction Sale Price Estimate: $60,000/80,000Lot Note(s): Hand-signed in pencil, verso. Painted on cream wove paper. Fine condition, as painted. Provenance: The work comes from the collection of Urbano Quinto and was acquired by him directly from Jackson Pollock during a meeting with Pollock and his wife Lee Krasner in 1954. They met at the Pollock/Krasner residence in Springs, East Hampton, Long Island, New York. The Pollocks had been introduced to Urbano Quinto by Thomas Hart Benton whom Urbano Quinto had met a few years earlier in Paris, France. The noted Italian author, art dealer, and art collector Urbano Quinto acquired a number of drawings from Basquiat, Haring, and Warhol as well as other Pop, Graffiti, and Contemporary artists, directly from the artists in the 1970’s – 80’s. The original Letter of Authenticity by Urbano Quinto pertaining to this work accompanies the lot. Comment(s): Please see the attached image of Urbano Quinto with Halston, Andy Warhol, and Bianca Jagger at Studio 54, New York City, c1977 (courtesy of and copyright © by Hasse Persson); Pollock image copyright © Pollock-Krasner Foundation / Artists Rights Society (ARS), New York. [30609-2-5000-NR]

Artist: Andy Warhol (American, 1928 - 1987). Title: "Portrait of Andy Warhol [poster]". Medium: Color offset lithograph. Date: Composed 1982. Dimensions: Overall size: 22 x 20 in. (559 x 508 mm).Pricing:   Starting Price: $800  Reserve Price: N.A.  Auction Sale Price Estimate: $1,200/1,500Lot Note(s): Signed by Warhol in black marker, lower right. Edition size unspecified, presumed small. Light cream wove paper. The full sheet. Fine impression. Very good to fine condition. Provenance: Private collection, Sweden, thence to our consignor. Comment(s): Warhol had a joint exhibition with the German-born photographer Hans Namuth (1915-1990) at New York’s Castelli Gallery from January 9th to the 30th, 1982. Namuth specialized in portraits and is most famous for his photographs of Jackson Pollock creating his iconic drip paintings. This portrait of Warhol is part of Namuth’s project to photograph the artists represented by Castelli. It shows Warhol standing in front of Rubens’s painting ‘Reconciliation of the Queen and her Son’, which was part of his Marie de Medici Cycle. Rubens was famous for painting the celebrities of his day, providing them with an image to bolster their power. Warhol did the same with his pop portraits; indeed Robert Rosenblum described him as “an ideal court painter”. Rubens also employed a large studio of assistants which is paralleled in Warhol’s ‘Factory.’ An impression of this work is included in the collection of the National Galleries of Scotland, accession no. AR00437. Image copyright © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London; and image copyright © Estate of Hans Namuth. [29234-5-800-NA]

Murder Most Foul (1964), US One Sheet, 41.5 x 27 inches, on linen 43.5 x 29.5 inches, linen backed, NSS 64/244 Director George Pollock Stars Margaret Rutherford, Ron Moody Condition Report: Excellent condition, old fold lines

Murder Ahoy (1964), US One Sheet, 41.5 x 27 inches, on linen 43.5 x 29.5 inches, linen backed, NSS 64/350 Director George Pollock Stars Margaret Rutherford, Lionel Jeffries Condition Report: Excellent condition, old fold lines

Murder At The Gallop (1963), Australian Daybill, 30 x 13.5 inches, folded, printed by Robert Burton Director George Pollock Stars Margaret Rutherford, Robert Morely Condition Report: Very good condition, light creasing, light staining, text in blue pen to reverse

Man Ray (American, 1890-1976), Natural Painting, signed l.r., circa 1960, acrylic/masonite, 'Panneau Van Eyck 4F' label verso, 31 by 22cm, red painted frameProvenance: gifted by the artist to the current vendor's grandmother, Jacqueline Goddard, nee Barsotti (1911-2003) the free-spirited model to Man Ray.Note: Andrew Strauss and Timothy Baum of the Man Ray Expertise Committee have confirmed the authenticity of this work under reference 00448-P-2024 and that this work will be included in the Catalogue of Paintings of Man Ray, currently in preparation. Lot Essay: The surrealist protagonist Man Ray began a new series of experimental paintings, from the 1950s, which involved squeezing paint directly from the tube onto the visual surface, in a random manner, similar in this first instance to his contemporaries in New York such as Jackson Pollock. However, after the application of the paint, another board surface would be applied and removed to create a stippled effect. The paintings known as his Natural Paintings, followed the surrealist principles of painting without the constraints of calculation or self consciousness, differing from the paintings of Oscar Dominguez in 1936 and Max Ernst in the 1940s, which used the same technique, but in a calculated and representative manner. In his autobiography Man Ray expressed: “By spreading the colors according to the impulse of the moment, I abandoned brushes and palette knives, and applied pressure with other surfaces, withdrawing them to produce a variation of the Rorschach test. The results were astonishing, with details that could have been obtained only through long and meticulous labor by hand.” He continued to experiment with these paintings right through to 1971 and the works often appear in brightly painted frames such as this one.

A George II silver toddy ladle, by John Pollock, London 1740, with turned handle, 30.5cms high; and a George III silver ladle, London 1790, with twisted baleen handle, 35cms high. (2)

William Scott CBE RA (1913 - 1989) Still Life, 1957 Gouache on paper, 51 x 74cm Signed lower rightProvenance: Purchased directly by Miss Deborah Brown from the Hanover Gallery on 2 March 1959Exhibited Belfast 'William Scott', Ulster Museum in 1963 catalogue no.63; Banbridge, 'William Scott', F.E.Mc William Gallery, in 2009 catalogue no.12Throughout the 1950s, Deborah Brown’s work became increasingly abstracted, partly due to the experience of painting stage sets and designs for Mary O’Malley at the Lyric Theatre, until in 1958 she began to make her first gestural non-representational paintings, in which her interest in musical structure and effect were influential. Although keenly engaged with American and European contemporaries, such as Pollock, Rothko and de Staël, she quickly began to explore three-dimensionality, breaking through the canvas surface and adding everyday materials in a manner that foreshadowed the emergence of the Arte Povera movement later in the decade. From the mid-1960s, Brown used fibreglass in a sculptural manner on canvas or board and eventually began to make independent three-dimensional fibreglass works.

Great Britain Queen Elizabeth II 1990 never issued Thomas Hardy 20p & 37p proofs (WT 344E, 7.12.89), in Harrison & Sons Limited folder. These stamps were issued for 150th Birth Anniversary of Thomas Hardy 10th July 1990. Designed by Ian Pollock, these stamps were not approved by The Queen and cancelled at the last moment. Pollock had also taken too long to complete the assignment and the deadline passed, instead a design by John Gibbs was adopted. Incredibly rare piece of British Philatelic History with no other known issues sold through auction. Information on this issue can be found here: https://www.postalmuseum.org/blog/stamps-that-never-were/ interestingly the values are opposite in the image provided by the Postal Museum.

Corgi Modern Articulated Trucks Haulage Company and Retail Branded (20), all boxed, white models with discolouration, Corgi Wheelz, TY86733 Volvo B&Q (2), TY86815 ERF Royal Mail, TY87019 DAF 95 Vauxhall Masterfit, Superhaulers and similar, TY87002 DAF Dukes Transport, TY87006 DAF Pickfords, 59568/59517 both Scania TNT, 59548 Renault P&O, TY86711 Volvo McBurney Transport, 59545 Volvo Allied Pickfords, TY87004 DAF P&O Nedlloyd (2), TY86611 Scania Knights of Old, TY86617 Scania Prestons of Potto, TY87008 DAF Blue Circle Cement, 59570 ERF Royal Mail, TY86714 Volvo Jigsaw & Pollock Express, 59512 Scania Omega Express, TY86806 ERF Castle Cement, F-E, boxes F-VG, (20)

Corgi Wynns Heavy Haulage and Pollocks Haulage Sets (2), both boxed, 18003 Heavy Haulage, Wynns (GEC) Scammell Contractors, Nicholas girder trailer, bogies & stator core set, appears undisplayed internally factory wrapped, CC99130 Scotlands Finest Pollock Scotrains Ltd Musselburgh, includes three tractor units and single trailer, wing mirrors unused, VG-E, boxes G-VG, (2)

Circignano (Niccolo) Ecclesiae Anglicanae trophaea…, engraved throughout with architectural title and 33 plates only of martyrdoms of saints by G.B.Cavallieri (of 35, lacking final 2 plates), a little soiled and stained, one or two tears & repairs, with 4 additional engraved plates of martyrdoms from another work bound in at end (stained), John Sparrow’s copy with his book-label, later half vellum, rubbed, Rome, Bartholomeo Grassi, 1584 § Sersale (Benedotto) Discorso Istorico intorno alla Cappella de' signori Minutoli sotto il titolo di S.Pietro Apostolo e di S.Anastasia Martire, engraved title-vignette, folding engraved frontispiece and plate, contemporary wrappers, uncut, soiled, Naples, Raimondi, 1778 § Montelatici (Domenico) Villa Borghese fuori di porta pinciana…, engraved frontispiece and 25 plates only (of 26, lacking plate of faun opposite p.301), some folding, also lacking half-title, bookplate of A.Russell Pollock, contemporary calf, the Earl of Morton’s copy with gilt arms to boards, worn, covers detached, Rome, G.,F.Buagni, 1700; and 5 others, imperfect Italian architecture, v.s.; sold not subject to return (8)

Jane Austen's family friends.- European Travel Journal.- Herries (I[sabella] A[nn], daughter of John Charles Herries, politician, Chancellor of the Exchequer, 1778-1855) [Journal of a tour to France, Germany, Switzerland and Italy], vol. I only, autograph manuscript, 190pp., slightly browned, 5 small engravings loosely inserted, original half morocco, gilt spine, 200 x 162mm., 1836. *** "Baden. When we came out of the theatre Mr. Meysenberg met us and made us look at the old Castle, which we should never have done without him, which was brilliantly illuminated. It looked like a mass of fire on the top of the beautiful mountain. Some French men had asked leave of the Grand Duke to have it for this night the 28th July to commemorate in it the glorious days. The droll thing was that one of the Bonaparte Princes was asked to join the party [Napoleon III]." - I.A. Herries. A fine detailed travel journal by an observant 18 year old girl on a long continental tour. Isabella and her party is accompanied to France initially by her father John Charles Herries on the steamer "Wellington". The party consists of Edward, Isabelle (her aunt), Juliet (Creed), Charles and Betsy, the latter probably a servant. Much of the journal is taken up with sightseeing and socialising with lots of invitations to parties and balls, including dancing with Captain Hay, in the service of the duke of Cambridge. The party travels from Boulogne to Paris, Baden, Offenberg, Lucerne, St Gothard, Genoa, Milan, Como, Brescia, Verona, Padua, Venice, Mantua, Parma, Bologna, Florence and Rome where this volume ends.  Jane Austen connection. Jane Austen and her brother Henry had strong connections with the Herries family. In 1814 Henry Austen had a residence in Hans Place, Chelsea, and the Herries family were located at Cadogan Place, Sloane Street and hence Henry knew them and introduced Jane Austen. "Henry came home on Sunday & we dined the same day with the Herrieses - a large family party - clever & accomplished." - Jane Austen. Letters, pp. 291, 301. Juliet Creed was the daughter of Rev Henry Creed, vicar of Corse, Gloucestershire and Catherine Herries, sister of John Charles Herries. Catherine Creed and Jane Austen were good friends, enough for Austen to note her opinions of her novels, "Mrs . Creed — preferred S & S. and P & P. – to Mansfield Park." Catherine Creed's daughter, Juliet (1819-99), novelist, cited in this journal, married Sir William Frederick Pollock (1815-88), lawyer and author; their son Walter Herries Pollock (1850-1926), author and journalist; later lived at Chawton Lodge; author of Jane Austen: Her Contemporaries and Herself (1899).

Allen Jones, geb. 1937 SouthamptonFACE, 1988Stahl, lackiert.63,5 x 86,5 x 49 cm.Geometrische und dreidimensionale Darstellung eines Gesichtes. Der Maler, Bildhauer und Lithograph Allen Jones gehört zu den wichtigsten Vertretern der britischen Pop Art.Die freie Art zu malen von Jackson Pollock beeindruckt ihn nachhaltig und bewegt ihn auch in Bezug auf sein eigenes Werk zum Umdenken. Dabei findet er Anschluss an die gerade entstehende Bewegung der britischen Pop-Art, zu deren ersten Protagonisten er gehört. Seine Kunst ist provokant und möchte bestehende Grenzen sprengen, hat kein Interesse an den verkopften Ansätzen des Abstrakten Expressionismus, sondern fordert eine gemeinsame Kunst.Der Maler, Bildhauer und Lithograph Allen Jones gehört zu den wichtigsten Vertretern der britischen Pop Art. Er lebt und arbeitet in London. Die freie Art zu malen von Jackson Pollock beeindruckt ihn nachhaltig und bewegen ihn auch in Bezug auf sein eigenes Werk zum Umdenken. Dabei findet er Anschluss an die gerade entstehende Bewegung der britischen Pop-Art, zu deren ersten Protagonisten er gehört. Seine Kunst ist provokant und möchte bestehende Grenzen sprengen, hat kein Interesse an den verkopften Ansätzen des Abstrakten Expressionismus, sondern fordert eine gemeinsame Kunst.Provenienz: Werkstatt des Künstlers, vom Künstler direkt erworben.Privatsammlung, Italien.Ausstellung: Bologna, Allen Jones. Forever Icon, Galleria d‘Arte maggiore, 31. Januar-16 April 2024. (1410708) (19))

Irish Related: Motoring on Irish Byways by Christopher Trent, 1965; Head or harp by Lionel Fleming, 1965; Mutiny for the Cause -Revolt of Ireland's 'Devil's Own' the Connaught Rangers by Sam Pollock, 1969 plus 7 others (10)

A fine collection of one-hundred and thirty-one (131) autographs of recipients of the Victoria Cross, covering conflicts from the Crimean War until the First World War. The collection, diligently presented in alphabetical order in a modern leather album, comprises the following veterans, listed here in chronological order of the action which merited the decoration; William James Lendrim (14 February 1855), John Sullivan (10 April 1855), Henry Cooper (3 June 1855), James Reynolds Roberts (9 September 1857), William Rennie (21 September 1857), William Gardner (5 May 1858), Campbell Mellis Douglas (7 May 1867), John Doogan (28 January 1881), Alan Richard Hill-Walker (28 January 1881), Thomas Edwards (13 March 1884), Alfred Smith (17 January 1885), Sir Fenton John Aylmer (2 December 1891), Edmond William Costello (26 July 1897), James Morris Colquhoun Colvin (16 September 1897), Samuel Vickery (20 October 1897), Edgar Thomas Inkson (24 February 1900), William Eagleson Gordon (11 July 1900), William Edward Heaton (23 August 1900), Edward Douglas Brown-Synge-Hutchinson (13 October 1900), Sir Richard Ernest William Turner (7 November 1900), Frederick William Bell (16 May 1901), James Rogers (15 June 1901), Wallace Duffield Wright (26 February 1903), William George Walker (22 April 1903), John Duncan Grant (6 July 1904), Charles Ernest Garforth (23 August 1914), Ernest Wright Alexander (24 August 1914), Harry Sherwood Ranken (19-20 September 1914), Henry May (22 October 1914), James Alexander Smith (21 December 1914), Charles Calveley Foss (12 March 1915), George Rowland Patrick Roupell (20 April 1915), Edward Unwin (22 April 1915), John Elisha Grimshaw (25 April 1915), William 'Willie' Angus (12 June 1915), Herbert James (28 June 1915), Leonard Maurice Keysor (7 August 1915), William Thomas Forshaw (7-9 August 1915), Percy Howard Hansen (9 August 1915), Henry Edward Kenny (25 September 1915), James Dalgleish Pollock (27 September 1915), Alexander Buller Turner (28 September 1915), Arthur James Terence Fleming-Sandes (29 September 1915), Sir Charles Geoffrey Vickers (14 October 1915), John Alexander Sinton (21 January 1916), George Stringer (8 March 1916), Francis John William Harvey (31 May 1916), Walter Potter Ritchie (1 July 1916), George Sanders (1 July 1916), Sir Adrian Paul Ghislain Carton de Wiart (2-3 July 1916), Thomas George Turrall (3 July 1916), William Ewart Boulter (14 July 1916), Albert Hill (20 July 1916), Theodore William Henry Veale (20 July 1916), William John George Evans (30 July 1916), William Barnsley Allen (3 September 1916), John Vincent Holland (3 September 1916), John Vaughan Campbell (15 September 1916), Archibald Cecil Thomas White (21 September - 1 October 1916), Frederick Jeremiah Edwards (26 September 1916), Robert Edward Ryder (26 September 1916), Tom Edwin Adlam (27-28 September 1916), Robert Downie (23 October 1916), Eugene Paul Bennett (5 November 1916), Gordon Campbell (17 February 1917), Thomas Steele (22 February 1917), George Campbell Wheeler (23 February 1917), John Readitt (25 February 1917), Thomas Bryan (9 April 1917), Thomas James Bede Kenny (9 April 1917), John George Pattison (10 April 1917), Sir John Reginald Noble Graham (22 April 1917), Robert Grierson Combe (3 May 1917), Thomas Harold Broadbent Maufe (4 June 1917), John Manson Craig (5 June 1917), Ronald Niel Stuart (7 June 1917), John Carroll (7-12 June 1917), Clifford Coffin (6 July 1917), Robert James Bye (31 July 1917), George Imlach McIntosh (31 July 1917), Ivor Rees (31 July 1917), Charles George Bonner (8 August 1917), Ernest Herbert Pitcher (8 August 1917), Michael James O'Rourke (15-17 August 1917), Filip Konowal (22-24 August 1917), John Carmichael (8 September 1917), Reginald Roy Inwood (19-22 September 1917), Harry Reynolds (20 September 1917), John Brown Hamilton (25-26 September 1917), John James Dwyer (26 September 1917), Charles Harry Coverdale (4 October 1917), Arthur Hutt (4 October 1917), Lewis Pugh Evans (4 October 1917), George Henry Mullin (30 October 1917), Arthur Drummond Borton (7 November 1917), John Sherwood-Kelly (20 November 1917), John Alexander Christie (21-22 December 1917), Charles Graham Robertson (8-9 March 1918), Allan Ebenezer Kerr (21 March 1918), Manley Angell James (21-23 March 1918), Alfred Cecil Herring (23-24 March 1918), Albert Mountain (26 March 1918), Joseph Edward Woodall (11 April 1918), Percy Thompson Dean (22-23 April 1918), Robert Edward Cruickshank (1 May 1918), Sir Victor Alexander Charles Crutchley (9 May 1918), William 'Rusty' Ruthven (19 May 1918), Henry Dalziel (4 July 1918), Raphael Louis Zengel (9 August 1918), Thomas Fasti Dinesen (12 August 1918), Ferdinand Maurice Felix West (12 August 1918), Daniel Marcus William Beak (21 August - 8 September 1918), George Onions (22 August 1918), David Lowe MacIntyre (24 August 1918), James Palmer Huffam (31 August 1918), Martin Doyle (2 September 1918), Harry John Laurent (12 September 1918), Daniel Burges (18 September 1918), William Allison White (18 September 1918), John Cridlan Barrett (24 September 1918), Donald John Dean (24-26 September 1918), Cyril Frisby (27 September 1918), George Fraser Kerr (27 September 1918), John MacGregor (29 September - 3 October 1918), William Henry Johnson (3 October 1918), Coulson Norman Mitchell (8-9 October 1918), James Bulmer Johnson (14 October 1918), Alfred Robert Wilkinson (20 October 1918), Frederick William Hedges (24 October 1918), Adam Archibald (4 November 1918), George de Cardonnel Elmsall Findlay (4 November 1918), Sir Arnold Horace Santo Waters (4 November 1918). One signature, Thomas Bryan of the Northumberland Fusiliers, is shown on the reverse of James Dalgleish Pollock's, meaning there are 130 paper slips in total, showing 131 unique signatures. In addition to the 131, there is an unidentified MBE who has signed the same card as William Allison White. There are also two duplicate signatures. Ronald Neil Stuart makes two appearances; on the back of John Cridlan Barrett's signature and also later on his own. James Morris Colquhoun Colvin is the other duplicate; he appears on the reverse of Edward Douglas Brown-Synge-Hutchinson's signature, and later on his own. -------------------N.B. - For a comparable collection, see Hansons, Medals & Militaria Auction, 14 February 2023, lot 161.--------------Provenance - Mr Joseph Proudfoot, born 1930's, military collector and fund raiser, thence by descent. It is understood that Mr Proudfoot met many veterans of the course of his life, having attended a number of reunions. The earlier signatures, predating his life, are believed to have been discovered by him in previous scrap books, perhaps bought at auctions over the years, or acquired from living descendants of the VC's through various correspondence.

1998 Jaguar XK8              Registration Number: S95 LRW Chassis Number: SAJJGAED3AR029814 Recorded Mileage: 90,128 miles Jaguar's new XK8 made its debut at the Geneva Salon in 1996. Code name X100, the model was designed by the late Geoff Lawson and styled by Fergus Pollock as the replacement for the XJ-S, which by then had been in production for 21 years. The beautiful styling referenced the original Jaguar E-type with long bonnet and graceful lines. The model range was further developed with a high-performance supercharged Jaguar XKR version, and later updated with an enlarged 4.2-litre engine. On offer today is a beautiful earlier model, finished in Topaz Metallic with complementing Cashmere leather. An extremely nice example inside and out, the leather interior is in very good order, as are rhe roof lining, carpets and wood veneers. The paintwork presents very well, whilst the colour-coded BBS split-rim wheels are unmarked and clad in premium branded tyres. The Jaguar is offered with a comprehensive service history which includes a service book containing 15 stamps, the last service being at 89,846 miles on 12th February 2024. The XK is offered complete with full book pack, hand books, service book, two sets of keys and fobs, valid MoT certificate until May 2025, a number of receipts, and a premium quality tailored car cover. Having previously been fitted with a stainless steel exhaust system, this cat produces a magnificent growl to match its looks. In our opinion excellent value for a car of this quality.

11 Boxed ltd edn Corgi Truckfest heavy haulage diecast models to include CC12923 Macfarlane Transport Ltd, CC13218 Jack Richards & Son Ltd, CC13410 Pollock (Scotrans) Ltd, 2 x Truckfest 25th Anniversary Edition models to include CC13238 Tinnelly Transport and CC13523 MM & LM Finnie, CC13704 Pollock (Scotrans) Ltd, CC13248 Collier - Cowdenbeath, CC13417 Ian Wright Transport, CC13808 Yuill & Dodds, CC13802 Jack Richards & Son Ltd and CC13702 Garn Transport Ltd, all ex and complete with certificates

12 Boxed ltd edn Corgi heavy haulage diecast models to include 6 x Passage Of Time models featuring 26601 Anderson Of Newhouse, 29105 W.H. Bowker Ltd, 26403 Henry Long (Manningham) Ltd, 09804 W. Holden (Rossendale Transport Ltd), 24503 Walter Southworth Ltd and 23702 T. Brady & Sons Ltd, 4 x Kings Of The Road models to include CC10301 Willmotts Transport Ltd, CC12501 W & J Riding Ltd, CC12503 Gibbs Of Fraserburgh and CC12504 Pollock and 2 x Corgi 50th Anniversary Edition models featuring AN13805 John Mitchell and AN13418 J.R. Adams, all ex and complete with certificates

Nine boxed ltd edn Corgi Hauliers of Renown heavy haulage diecast models to include CC14002 Eddie Stobart, CC13906 E&N Ritchie, CC13807 Maurice Hill, CC13231 James Irlam, CC13809 Pollock, CC13229 David Murray, CC13420 Woody's Express, CC12929 Dennis Oates & Sons and CC13803, all ex and complete with certificates

Nine boxed ltd edn Corgi heavy haulage diecast models to include 75407 Guinness, 76403 Guinness, 75701 TNT, 75803 Gallacher Bros, 75606 James Irlam, 75602 Macfarlane Transport Ltd, 75603 Norbert Dentressangle, 76401 Pollock (Scotrans) Ltd, 75206 Massey Wilcox, all ex and complete with certificates

U.S.A., Pattern Trade Dollar, 1873, by Barber, seated Indian Princess (Pollock 1453). About as struck and beautifully toned, very rare thus [Graded PCGS PR 64+ CAC] £5,000-£6,000 --- Provenance: Ex Stack's March 1976 sale of the John Work Garrett Collection for The Johns Hopkins University, lot 666; Blue Moon Collection, Stack’s Auction, 30 March 2017, lot 2645 Barber's Indian Princess design on the obverse, adopted from the earlier Longacre design, shows a seated Liberty figure with an Indian headdress seated, holding a pole with Liberty cap, and supporting a globe with the word LIBERTY and flags behind. The reverse is a small perched eagle with olive branch and arrows in the talons. E PLURIBUS UNUM in a scroll above, IN GOD WE TRUST in a scroll below. Struck in silver with a reeded edge, this is a Rarity-4 type.

Charles Pollock (American, 1930-2013) for Knoll, United States. Set of four mid-century modern Pollock "Executive" model office chairs. With volo navy leather tufted seats, phenolic plastic arms, and an aluminum base. First designed in 1963; manufactured in 1984. Labeled along the underside of the seat.(Each) height: 31 in x width: 26 1/4 in x depth: 28 in.Condition: There is light wear throughout all four chairs conistent with age and use. All chairs are sturdy and stable and move well on their casters. No major tears, losses, or repairs.

George Morrison (Ojibwe, 1919-2000). Woodcut on paper depicting an intricate pattern of contrasting woodgrains in gold metallic ink, 1976-78. Pencil signed and dated along the lower right; numbered 14/79 along the lower left; Vermillion Editions Limited blindstamp along the lower left.Provenance: Private Minnesota Collection.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Height: 29 1/2 in x width: 44 1/2 in.Condition: The colors are bold and deep. There are no tears, creases, losses, or restorations when viewed under UV light. There is a slight undulation to the sheet. Light wear along the edges of the sheet, possibly original to the deckled nature of the paper. The work is not framed.

George Morrison (Ojibwe, 1919-2000). Lithograph on paper titled "Red Cube" depicting undulating interlocking forms, reminiscent of the artist's found driftwood collages, 1983. Pencil signed and dated along the lower right. Titled and editioned "Artist Proof" along the lower left.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 29 3/4 in x width: 22 1/4 in. Framed; height: 34 1/2 in x width: 26 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restorations. Very light undulation to the sheet. The sheet is floated in frame. Framed under glass. Some wear to the frame.

Corgi - Four boxed Corgi 1:50 scale diecast model trailers. Lot consists of Corgi CC199905 Curtainside Trailer 'Pollock (Scotrans)'; CC19902 Fridge Trailer 'Gibbs of Fraserburgh'; together with two trailer which are missing their tractor units which include CC13402 with CC12941. Trailers appear to be in Mint condition, and are housed in Fair Plus boxes with some general storage wear. (4) (This does not constitute a guarantee) (K)

Sam Francis (San Mateo 1923 - 1994 Santa Monica)Paris Summer1958Öl auf Leinwand152,5 x 177,5 cmSignaturRückseitig auf der Leinwand signiert, datiert und bezeichnet "Sam Francis / 1953 / Paris"WerkverzeichnisDebra Burchett-Lere, Sam Francis: Catalogue Raisonné of Canvas and Panel Paintings, 1946–1994, Berkeley/Los Angeles 2011, Nr. 247ProvenienzAtelier Sam Francis, Paris, vom Künstler erworbenSlg. Eberhard W. Kornfeld, Bern, rückseitig auf dem Chassis mit dem Sammlerstempel, Lugt 913bLiteraturPeter Plagens, A Sam Francis Retrospective in Houston, Houston 1968, S. 40Paul S. Thayer, Books: Sam Francis by Peter Selz, Monatsheft 86/Nr. 5, 1976AusstellungenHouston 1967, The Museum of Fine Arts, Sam Francis: A Retrospective Exhibition, Kat. Nr. 25, S. 25Basel 1968, Kunsthalle, Sam Francis, Kat. Nr. 43Berkeley 1968, University Art Museum, The University of California, Sam Francis: Retrospective ExhibitionBern 1991, Galerie Kornfeld, Sam Francis, 40 Years of Friendship, Werke 1945–1990, Kat. Nr. 20, Abb.Bonn 1993, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Sam Francis, S. 146/147, Abb.Davos 1998/1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, Kat. Nr. 154, Abb.Bern 2006, Kunstmuseum, Sam Francis und Bern, ausser KatalogRiehen 2008, Fondation Beyeler, Action Painting: Jackson Pollock, Kat. Nr. 90, Abb. S. 150Wien 2008/2009, Albertina, Wege der Moderne, Aus der Sammlung Eberhard W. Kornfeld, Kat. Nr. 182, S. 285, Abb. S. 276/277ZustandIn farbfrischem und sehr gutem Zustand. Auf originalem Chassis, unten links zwei feine farbige Kratzer, im rechten Rand sind die Ecken minimal gewellt bzw. gebeult, die Ecken sind etwas bestossen, im rechten hellen Bildfeld gibt es wenige leicht gräuliche Verfärbungen, wahrscheinlich verursacht durch das Bindemittel beim Trocknen der Farbe ErläuterungenNach dem Abschluss seines Kunststudiums an der University of California, Berkeley, im Jahr 1950 zog Sam Francis nach Paris, wo er Al Held, Joan Mitchell und Jean-Paul Riopelle kennenlernte. Das Studium der Seerosenbilder von Claude Monet hatte einen tiefgreifenden Einfluss auf sein weiteres Werk. Von der eher gedämpften Palette mit Grau- und Weisstönen kehrte er nun wieder zu Licht und Farbe zurück. Er entwickelte die einzigartige Verwendung des weissen Grundes und gab somit Farbe und Ausdehnung der Form mehr Raum. Damit einhergehend wurden auch die Gemälde grösser; er konnte auf ihnen seine gestische Malerei besser umsetzen. Im Time Magazine wurde Francis als "der derzeit angesagteste amerikanische Maler in Paris" bezeichnet.Im Dezember 1954 besuchten Arnold Rüdlinger, Direktor an der Kunsthalle Bern, und Eberhard W. Kornfeld den Künstler in seinem Pariser Atelier. Die daraus resultierenden Freundschaften sollten der Ausgangspunkt für Francisʼ intensive Beziehungen zu Bern werden. Rüdlinger brachte Werke nach Bern, die 1955 in der Ausstellung "Tendances Actuelles 3" in der Kunsthalle zum ersten Mal gezeigt wurden. Ab 1957 stellte Kornfeld Francisʼ Arbeiten regelmässig in der Galerie aus und ermutigte ihn, auch graphische Werke zu schaffen.Sam Francisʼ Arbeit war immer durch die Suche nach neuen Ausdrucksmöglichkeiten gekennzeichnet. Indem er die kinetische Kraft der Farbe und die Erfahrung des Raums erforschte, erreichte er eine neue Art der Kunst: eine einzigartige Form abstrakt-expressiver, roher und gestischer Malerei. Das vorliegende Gemälde "Paris Summer" wird – der Titel legt es nahe – im Sommer 1958 in Paris entstanden sein, wohl auf dem Fussboden seines Ateliers in Arcueil ausgeführt in kraftvollen Pinselstrichen und der Technik des "Drippings". Man spürt förmlich die Dynamik im Entstehungsprozess und die Gestaltungskraft des bedeutenden abstrakten Expressionisten.MWST / VATMehrwertsteuer auf dem Zuschalgspreis plus AufgeldErwartete Ausrufzeit (+/- 15min)13.09.2024; 14:30 h (MEST)VersandkostenAuf Anfrage / On request

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014) LEAP FOR JOY oil and felt tip pen on paper, signed, titled and dated 2011mounted and framedimage size 37cm x 50cm, overall size 55cm x 68cm Label verso: Gimpel Fils, LondonNote: Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work. Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958, he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale. Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings possess a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures, and it is the combination of these experiences, together with his freedom of expression, that gives Davie his unique style.

* BRUCE TIPPETT (BRITISH 1933 - 2017), LANDSCAPE WITH REEDS charcoal on paper, signed and dated '08mounted, framed and under glassimage size 43cm x 53cm, overall size 75cm x 82cm Note: Bruce Tippett was a British born artist who was championed by Philip Granville (Lord's Gallery, London) and the legendary Betty Parsons (Betty Parsons Gallery, New York) and others. Jane England writes in her 1992 catalogue : "In 1957, he (Tippett) saw Japanese brush paintings for the first time at the British Museum (which now houses nine Bruce Tippett drawings). He recalls now that 'Something awoke in me and I entered another realm'. The works of the Japanese calligraphers inspired him by their mixture of spontaneity and contemplation. Like the Zen masters, Tippett achieved spontaneity by constantly paring down the image and concentrating on its essential spirit, with no sign of the struggle involved. When Tippett first saw a work by Hartung at Gimpel Fils in May 1958, he was struck by the similarities of their respective calligraphic styles. These similarities had different origins. In Tippett's case the energetic strokes and lines came from his early drawings of reeds and stakes in marsh landscapes and the studies he had made of building structures, whereas Hartung's expressive calligraphy came from his early experiments with automatism." Alan Bowness pointed out in his "Portrait of the Artist" (1958) that "having made the first steps on his own Tippett realized that the calligraphic paintings of Hartung pointed in the direction he wished to go but by the end of 1957 Tippett had reached something that was recognizably an original manner, and the drawings done then and at the beginning of this year have a remarkable ease and assurance." After Peggy Guggenheim closed her Art of This Century Gallery in 1947, Parsons was one of only a very few gallery owners to promote avant-garde American art at a time when the commercial demand for it was minuscule. The Betty Parsons Gallery was also, for a considerable time, the only gallery in the US which promoted and supported Abstract Expressionism. Parsons played a major and significant role in establishing New York as the centre of the art world and Jackson Pollock, Mark Rothko, William Congdon, Clyfford Still, Theodorus Stamos, Ellsworth Kelly, Hedda Sterne, Forrest Bess, Michael Loew, Lyman Kipp, Judith Godwin, Tony Smith, Robert Rauschenberg, Barnett Newman and many other artists owed much to Betty Parsons. Bruce Tippett first visited New York in 1965 when Dorothy Miller bought one of his paintings for MOMA. He met Betty Parsons at the Venice Biennale in 1966 and immediately afterwards she visited his studio in Rome and bought several paintings and drawings for her gallery. Bruce Tippett exhibited regularly at The Betty Parsons Gallery (New York) from 1967 and had his last solo show there in 1981, the year before Betty Parsons died. Bruce Tippett continued to exhibit in the US and the UK and even more frequently in Italy and France. He died in France in 2017, where he had lived and worked since 2005. His work is held in some of the most important collections in the US and Europe including The Louvre (Paris), The British Museum (London), Galleria Nazionale d’Arte Moderna (Rome) and MOMA (New York), yet in his country of birth, his work remains relatively unknown.

* ALAN DAVIE CBE RA HRSA RWA (SCOTTISH 1920 - 2014) UNTITLED pen on paper, signed and dated 2011mounted, framed and under glassimage size 13cm x 12cm, overall size 32cm x 30.5cmNote: Alan Davie was recognised internationally as a new radical force in modern painting and was hailed by art critic Alan Bowness as, alongside Francis Bacon, one of the most influential artist of his time. He was an artist who created his own unique style, thoroughly spontaneous, and on drawing from a number of different interests, including his own experiences of primitive art, Abstract Expressionism, Surrealism and Zen Buddhism. However, despite his diverse influences, a Davie painting could never be mistaken for anyone else's work. Alan Davie first trained as a painter at Edinburgh College of Art where he also took up jazz music, and earned money as a musician, poet and jeweller. After his marriage in 1947 to fellow art student Janet Gaul, he travelled widely in Europe and for the first time was exposed to Italian masterpieces such as Cimabue and Giotto in Florence, before meeting Peggy Guggenheim in Venice who introduced him to Pollock's early work. Her recognition and later patronage of his work propelled him onto the international arena. When Davie returned to England he was taken on by the London gallery Gimpel Fils, where he had his first solo exhibition and from then on had the support of both the gallery and the Gimpel family. Initially however, it was in America where he experienced the greatest success; at his first New York exhibition, every painting sold mostly to major institutions and in 1956, when he first visited New York, the city's major artists of the day turned out to meet him, including Pollock and Rothko. In 1957 he showed work at the Museum of Modern Art in Paris and at the Guggenheim in New York. In 1958, he was part of the Critic's Choice Exhibition selected by David Sylvester and in the same year he represented Britain at the Venice Biennale. Alan Davie's work has been widely exhibited and is included in numerous international public and private collections, including the Tate Britain, the Arts Council of Great Britain, the Victoria & Albert Museum, the Foundation Maeght and the Museum of Modern Art, New York. His exuberant and expressive paintings possess a unique force that can be associated with the New York School and also the St Ives School, yet he also stood alone from these groups. He borrowed freely from all cultures, and it is the combination of these experiences, together with his freedom of expression, that gives Davie his unique style.

Betty Parsons, American 1900-1982 - Martha's Vineyard, Massachusetts, c.1943; gouache on paper, indistinctly signed lower right 'Betty Parsons', 43.8 x 58.5 cm Note: with a label attached to the reverse of the frame which bears the inscription 'gouache of Marthas Vineyard Mass by Petty Parsons of Parson Gallery NYC'. Parsons was a celebrated artists and art dealer, whose gallery in New York was pioneering in its support of artists such as Chryssa, Jackson Pollock and Agnes Martin. As an artist, Parsons exhibited at the Whitechapel Gallery, London in 1968 and the Nigel Greenwood Gallery, London in 1980. A similar early work, 'Sailboat, Rockport, 1943', by the artist can be found in the collection of the Smithsonian American Art Museum. 

Aubrey Williams, Guyanese/British 1926-1990 - Kumaka, 1963; oil and mixed media on canvas, signed, dated and titled on the reverse 'Aubrey Williams 63 Kumaka', 71 x 81.3 cm (ARR) Provenance:private collection and thence by descent Note: Kumaka refers to a village in Williams's native Guyana. This piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami. 

Aubrey Williams, Guyanese/British 1926-1990 - Guiana, 1963; oil on paper, signed, dated and titled lower right 'Aubrey Williams 63 Guiana' and titled again on the reverse of the frame, 59 x 76.5 cm (ARR) Provenance: private collection and thence by descent Note: this piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami. 

Pair: Private A. Hackshaw, 3rd Canadian Infantry British War and Victory Medals (1024031 Pte. A. Hackshaw. 3-Can. Inf.) good very fine Pair: Private J. Pollock, 3rd Canadian Infantry British War and Victory Medals (171939 Pte. J. Pollock. 3-Can. Inf.) good very fine (4) £60-£80 --- James Pollock was born at Park Head, Glasgow, on 9 September 1897, and enlisted at Toronto on 12 August 1915. He served with the 3rd Canadian Infantry in France from 29 June 1916, and was wounded by a gunshot wound in the buttock on 8 October 1916. He was discharged medically unfit at Toronto on 7 November 1918. Sold with copied record of service.

Pair: Colonel J. M. Cripps, 26th Regiment Light Infantry Cabul 1842, unnamed as issued, fitted with original steel clip and bar suspension; Sutlej 1845-46, for Moodkee 1845, 2 clasps, Ferozeshuhur, Sobraon (Lieut: J: M: Cripps 26th Regt L:I:) very fine (2) £1,000-£1,400 --- The 26th Bengal Native Infantry was designated Light Infantry for its services in Afghanistan under General Pollock. The regiment mutinied at Meean Meer on 30 July 1857. John Matthew Cripps was appointed Ensign on 11 December 1839; Lieutenant on 16 July 1842; Captain on 1 September 1850; Major, Bengal Staff Corps, on 18 February 1861; Lieutenant-Colonel on 11 December 1865; and Brevet Colonel on 11 December 1870. Lieutenant Cripps served throughout the campaign in Afghanistan with the Army under General Pollock (Medal); and also that on the Sutlej, including the actions of Moodkee, Ferozeshuhur, and Sobraon (Medal and Clasps). He was afterwards Deputy Commissioner 1st Class in the Punjab, Jullundur Division.

A home built plywood toy theatre, with electric lighting and turntable, a small quantity of Pollock type scenery and characters --20in. (51cm.) wide

Vintage men's suits and jackets to include a double breasted pinstripe suit in navy blue with royal blue stripe, metal fly 82 cm waist, a double breasted Burton tailored suit in charcoal wool, button fly 76 cm waist, a blue chalk stripe suit by Cyril Dombey, button fly 94 cm waist, a blue grey double breasted suit jacket by John Collier, 104 cm chest, a textured check jacket by Nico, an air force blue suit jacket by Pollock tailors, a faint pinstripe wool jacket, a grey suit with coloured pin stripes 'John Twine of Bogner Regis', a grey pinstripe suit with double breasted jacket in pure wool (9 in one large laundry bag)

Corgi (boxed) 1/50 diecast model truck issues comprising sets in the livery of Motward, OOCL (code 3, wrong box) and Pollock. Look to be mostly without obvious sign of notable (damage) faults, albeit, some display wear possible and not checked for absolute completeness.

Corgi (boxed) 1/50 diecast model truck issues comprising sets in the livery of Sharp (code 3), Pollock and Downton. Look to be mostly without obvious sign of notable (damage) faults, albeit, some display wear possible and not checked for absolute completeness. Some incorrect boxes, as shown.

Corgi 1/50 diecast model truck issues comprising Pollock Sheeted Trailer plus one other as shown. Excellent in boxes.

Carolyn Pollock, a Native American cast silver bangle23mm wide and an unsigned Native American silver and turquoise ring, 57gm

A George II silver cast cream jug, the fluted ovoid body raised on three scroll and hoof feet with faceted trefoil junctions, the scroll handle with acanthus leaf thumbpiece, the body with armorial crest of a wheat sheaf, John Pollock, London 1738, height 9.4cm, weight 160g/5.14ozt approxNote: A similar example, same date and maker, sold at Bonhams, London, Silver & Vertu, 23 July 2004. A similar, albeit decorated example by the same maker, sold at Sotheby's, London, 1000 Ways Of Seeing: The Private Collection Of The Late Stanley J. Seeger, 5 March 2014.

Blyton, Enid. A collection of early - mid century children's works, including first editions in dust wrappers. The lot including The Children of Kildillin second edition publ. under pseudonym Mary Pollock; a complete set of the six Malory Tower novels including first impressions, some later impressions; all with remnants of worn dust wrappers loosely inserted; three works from the Treasure Trove Readers series being books II, III & IV illustrated by Hugh Chesterman; and six other works. A charming collection including a number of first edition books. 8vo.

Six colourful abstracts after Pollock and others, oil on canvas.

A collection of 50+ assorted modern art books and catalogues, good quantity modern and 20th Century British art & sculpture etc, including Henry Moore, Barbara Hepworth, David Hockney, Lucian Freud, Euan Uglow, Terry Frost, David Wilde, Edward Middleditch, Peter Randall-Page, Mark Shields, Matthew Smith, Rachel Howard, William Turnbull, Peter de Francia etc, plus others Mark Rothko, Kasimir Malevich, Picasso, Pierre Bonnard, Jackson Pollock, Paul Feiler, Martin Bloch, Antoni Tapies, Fernando Botero, Leo Wesel, Wolfgang Ellenrieder, Tenzing Rigdol, plus a few photography including Marc Atkins, Josephine Pryde, Hak Tae Lim etc (50+)

A JACKSON POLLOCK STYLE FRENCH BULLDOG

Early Portraits 11 albumen prints showing early portraits with some notables including: William Fairbairn 170x220mm arch top and William Emery Portraits by Mayall, Henry Pollock 2 early portraits, whole plate from wet plate glass negative of Reverend Robert Webb numbered 3984 in the negative and Miss J Jameson numbered 3072 in the negative. Both are excellent quality with strong rich colours and tones. A salt print showing Whitby Abbey, 6x8 inch. Scattered foxing. A framed hand tinted portrait of a Lady. Some images are very strong with good colours and tones. Others have some discolouration and fading.

Milton (John). Paradise Lost. A Poem in Twelve Books. The Folio Society, 1991, folio, colour illustrations by Ian Pollock, original cloth gilt, original slip case; with eight others. (9)

GROUP OF DIECAST MODEL LORRIES, 1:50 SCALE comprising a Corgi Pollock (Scotrans) lorry, an Eddie Stobart lorry and othersQty: 13

Corgi, Trofeu and similar, a boxed group to include Corgi (Superhaulers) TY86720 Volvo box trailer "Somerfield"; Gilbow 35004 AEC MKV Mandator Artic Flatbed "Pollock" plus others. Conditions generally appear to be Good to Excellent in Fair to Good boxes. See photo.

Oxford Diecast, a boxed group of Truck/Trailer models to include SCA02CS Pollock Scotrans LTD plus others. Conditions appear to be Fair to Excellent in Good ridged Perspex cases. See photo.

Corgi a boxed CC99130 Set "Pollock Scotland's Finest". Conditions generally appear to be Excellent in Good box. See Photo.

Corgi, Diapet and similar, a boxed group of commercial vehicles to include Diapet 01590 B-41 Double Decker "Neoplan Bus"; Corgi 97162 Atkinson Elliptical Tanker "Pollock" plus others. Conditions generally appear to be Good to Excellent in Fair to Good boxes. See photo.

Corgi "Hauliers of Renown" - a boxed pair of 1/50 scale to include CC14010 Volvo FH Curtainside "Pollock" (Scotrans) Ltd/Smith Anderson and others. Conditions generally appear to be Good to Excellent in Good to Excellent boxes. See photo.

Corgi, a boxed 1:50 scale Pollock group to include CC10606 Leyland Octopus Platform Lorry plus others. Conditions generally appear to be Good to Excellent in Good to Excellent boxes. See photo.

WSI, a boxed 1/50th scale 10209 SI Volvo FH3 Globe "Pollock". Conditions generally appear to be Near to Mint in Excellent box. See photo.