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Lot 278
▲ William Scott RA (1913-1989) 'Orange Still Life', 1956 (William Scott Archive No.1893);verso, pencil sketch of Mary Scott, the artist’s wife, late 1930ssigned 'W. Scott' l.r., gouache50.5 x 68cmProvenance: Private collection, USA;Offer Waterman & Co., London;the property of a private collector.The drawing of Mary Scott is similar to the oil painting ‘Seated Nude’, 1939, Tate, London.We are grateful to the William Scott Archive for their kind assistance with the cataloguing of the present work.In the 1950s, William Scott's use of vibrant colours, like orange and ochre, played a crucial role in his still-life compositions, marking a key period in his artistic development. As a member of the post-war British painting group, including artists such as Patrick Heron, Terry Frost and Peter Lanyon, Scott was influenced by the boldness of abstract expressionism. In 1953, his exposure to the New York School, where he met leading figures like Rothko, de Kooning and Pollock, made a significant impact on his approach to abstraction. Despite this, Scott remained deeply attached to the still-life genre, finding ways to modernise it while infusing it with abstraction. His works from the late 1950s often featured everyday objects like jugs, bowls and pans, painted against bold backgrounds in colours like orange. These hues, especially the warm tones of orange, went beyond mere decoration - they emphasised the physical presence of the objects and imbued the scenes with energy.Scott's choice of orange can be seen as a deliberate effort to elevate these everyday items, drawing attention to their form and giving them a unique vibrancy. This use of colour was particularly striking in works, as seen here in lot 278, where the colour envelops the composition, making items seem dynamic and essential. For Scott, orange was not only a visual tool but also a way to convey a sense of warmth and vitality. It helped balance the austerity of his minimalist approach with the sensuality he sought to evoke. By combining the figurative and abstract elements of his work, Scott's use of orange served as a bridge between his engagement with American abstraction and his European roots in more tactile, representational art.Condition ReportFramed: 67 x 84.5cmThe work is executed on paper. Rippling to the sheet visible when viewed from the side under raking light. Pinholes to top corners. A tiny tear to the extreme upper right corner. Lower edge torn slightly unevenly. Presents well overall when viewed on the wall.
Lot 249
Corgi 1:50 scale haulage models, including 75205 ERF EC series curtain sider, Pollock (Scott Trans) Limited of Musselburgh, 75602 Renault Premium curtain side McFarlane Transport Limited, 76801 MAN arctic platform trailer with sheeted load Stiller Transport, and CC12407 Volvo curtainside Van der Linde, boxed. (4)
Lot 269
Corgi 1:50 scale Kings of the Road boxed diecast, including CC12601 Scammell Crusader flatbed trailer JR Adams, CC12602 Scammell Crusader tilt trailer C.R.T.S. (Ackworth) Limited, CC12504 Atkinson Bordered flatbed trailer Pollock, CC10301 AEC Ergo sheeted platform trailer Willmotts Transport Limited, and CC12501 Atkinson Borderer Tautliner W&J Riding Limited. (5)
Lot 1329
1913 ARMORY SHOW50th Anniversary Exhibition 1963. New York: Munson-Williams-Proctor Institute und Henry Street Settlement 1963. 27 x 19 cm. Mit zahlr. t. farb. Abb. 208 SS. Illustr. OrUmschl. mit Rt.(Rücken gebräunt, berieben u. l. bestoßen; Rückdeckel angestaubt und mit hs. Notizen; auf dem fliegenden Vorsatzbl. kl. hs. Notiz.)Retrospektive der Armory Show, der Internationalen Ausstellung moderner Kunst, organisiert von der Association of American Painters and Sculptors, die vom 17. Februar bis 31. März 1963 im Munson-Williams-Proctor Institute und vom 6. bis 28. April 1963 in der Armory of the 69th Regiment, New York, gezeigt wurde. - Auf dem Titelblatt von Peter Pollock und Marcel Duchamp eigenhändig signiert mit dem Zusatz "50 years later".
Lot 864
A group of three Rob Watson white earthenware plates, hand painted in abstract bold primary and secondary colour designs with black detailing, impressed marks, with business card, together with three Sue Sharp of Alston slip decorated dip bowls, an Alvin Frank Irving of Lancaster milk jug, a chimney pot vase and an Art Deco style coffee cup and saucer, bearing splatter decoration, tallest 23 cm. [Rob Watson, based in County Durham, makes white earthenware decorated in a minimum of vibrant colours the decoration influenced by the artists: Jackson Pollock; Mark Rothco; Howard Hodgkin and Francis Boag, and a love of English slipware and Japanese ceramics.]
Lot 398
THE BEATLES; eleven books comprising 'The Beatles' by Hunter Davies, 'If You Like (The Beatles)' by Bruce Pollock, 'Shout! The True Story of The Beatles' by Philip Norman, 'The Love You Make: An Insider's Story of The Beatles', 'The Beatles Illustrated Lyrics', 'The Beatles Complete Guitar Edition', 'Sgt. Pepper's Lonely Hearts Club Band', 'The Complete Beatles Chronicle' by Mark Lewisohn, 'The Beatles: A Celebration 20th Anniversary Edition', 'The Yellow Submarine Gift Book' and 'Daily Mail Fifty Years with The Beatles' (11).
Lot 520
Salvatore Emblema, 1929 Terzigno – 2006OHNE TITEL, 1996Kolorierte Erde auf Jute.170 x 250 cm.Verso auf dem Keilrahmen mit verschiedenen Etiketten, sowie Betitelung „BR4“.Ungerahmt.Beigegeben ein Zertifikat mit der Nr. V00610D sowie BR4, im Original. Salvatore Emblema studierte an der Accademia di Belle Arti in Neapel, hier fand er in der Natur, rund um den Vesuv, seine bevorzugte Inspirationsquelle und benutzte die Erde aus dieser Gegend als Pigment seiner Kunstwerke. Die Erde wird in abstrakten Kompsitionen auf die grobe Jute aufgebracht. Diese starke Abstraktion rührt von seinem Aufenthalt in den USA her, wo er die radikale Kunst von Jackson Pollock (1912-1956) und die Poesie der reinen Farbe von Mark Rothko (1903-1970) kennengelernt hatte. (1432341) (13)Salvatore Emblema, 1929 Terzigno – 2006UNTITLED, 1996Coloured earth on jute.170 x 250 cm.Various labels on the back of the stretcher and inscribed “BR4”.Accompanied by a certificate with no. V00610D and BR4 (original).
Lot 9
George Morrison (Grand Portage Anishinaabe, 1919-2000). Acrylic on canvas-laid board painting titled "On the Beach (Red Rock Variation: Lake Superior Landscape)," part of the horizon series, 1985. Signed, titled, and dated along the verso. Housed in an original frame custom built by Morrison.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: 6 1/2 in x width: 16 in. Framed; height: 8 in x width: 18 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface appears stable. There are no major visible losses or signs of restoration. Housed within a wooden frame, not under glass or plexiglass. Light wear to the frame. Not inspected out of frame.
Lot 11
George Morrison (Grand Portage Anishinaabe, 1919-2000). Color lithograph on Japan paper titled "Surrealist Landscape," 1990-1996. Printed and published by Akasha Studio, Minneapolis. Pencil signed and dated along the lower right; titled along the lower left; numbered 10/43 along the lower center.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: 19 3/4 in x width: 16 in. Framed; height: 28 in x width: 24 in x depth: 1 in.Condition: The colors are bold and bright. The sheet is slightly toned. There are no major visible tears, losses, or signs of restoration. Extremely light soiling and areas of foxing along the margins. There is a slight undulation to the sheet. Housed under a mat. Framed under plexiglass; light wear to the frame. Not inspected out of frame.
Lot 10
George Morrison (Grand Portage Anishinaabe, 1919-2000). Ink and color pencil on paper drawing titled "Enigma, Water's Edge, Surrealist Landscape," 1986-1993. The original drawing, executed in Batchawana Bay, Ontario, on March 4, 1986 did not include color. It is part of the artist's "Automatic" series. The color was added later on November 16, 1993. This information, along with the title, is provided on labels affixed to the verso.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: 4 in x width: 7 in. Framed; height: 11 in x width: 14 in x depth: 1 in.Condition: The colors are bold and bright. There are no visible tears, losses, or signs of restoration. Housed under a mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 12
George Morrison (Grand Portage Anishinaabe, 1919-2000). Lithograph on paper depicting an intricately drawn landscape of undulating lines which meet at a horizon in the upper quarter of the sheet, 1976. Printed by Steven M. Andersen. Pencil signed and dated along the lower right; editioned Artists Proof 10/10 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: 24 in x width: 23 1/4 in. Framed; height: 30 in x width: 29 1/4 in x depth: 1 in.Condition: There are no visible tears, losses, or restorations. Light undulation to the sheet. Housed under a non-acidic mat. Framed under glass; light wear to the frame. Not inspected out of frame.
Lot 277
Scoop - Corgi - Cararama - 29 boxed diecast model vehicles in various scales. Lot includes Scoop Volvo BM L150C; Corgi Trackside DG201002 Morris LD Van 'Pollock'; Cararama Airport Crash Tender; Cararama VW Beetle with Caravan and similar. Models appear to be in Mint condition presented within Good - Very Good boxes with some general storage related wear. Models are unchecked for completeness. (This does not constitute a guarantee) (K)
Lot 659
Accles & Pollock Apollo tubular steel float rod, 13ft 4pc incl handle, 26" handle, alloy sliding reel fittings, stand off rings, lined butt/tip, MCB. Interesting unnamed split cane trout fly rod, 10ft 3pc with spare tip on a wood former, alloy reel fitting and collars, MCB, refurbished. Tidy. Unnamed whole greenheart rod for refurbishment, 9ft 6", 3pc, tip joint only, brass fittings. (3)
Lot 664
Corgi - A group of boxed models including limited edition ERF KV in Pollock livery # CC10503, Scammell Contractor in Booth & Sons livery # CC12304 and others. The models appear Mint with certificates where required, the boxes are mostly Fair with storage wear. (This does not constitute a guarantee) [ba-6]
Lot 260
Anne Desmet RA Dawn Flight, 2024 Digital print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anne Desmet RA was born in Liverpool. She has BFA and MA degrees in Fine Art from Oxford University and a Postgraduate Diploma in Printmaking from Central School of Art, London. In 2018 she was elected Honorary Fellow of Worcester College, Oxford University, for 'distinction in the world of art'. She exhibits wood engravings, linocuts, lithographs and mixed-media printed collages widely, has won over 40 national and international awards (including a Rome Scholarship in Printmaking; Pollock-Krasner Foundation Award, USA; three Elizabeth Greenshields Foundation Awards, Montreal, Canada; and the London Original Print Fair Prize at the RA Summer Exhibition) and has works in major public and private collections worldwide. The Ashmolean Museum, Oxford, the Whitworth Art Gallery, Manchester, and the V&A all have substantial holdings of her work. Over 50 solo shows include two major museum retrospectives at the Ashmolean (1998) and Whitworth (2008) respectively: each toured UK museums for two years. She had an earlier retrospective at Moscow's Ex Libris Museum, Russia (1995); and different solo exhibitions of recent works at the Holburne Museum, Bath (2017); Gainsborough's House Museum, Suffolk (2018); Pallant House Gallery, Chichester (2022-23); and Guildhall Art Gallery, London (2024-25). Desmet is author of seven published books on printmaking and drawing (published variously by Bloomsbury, the RA and Ashmolean Publications) and was editor of Printmaking Today magazine from 1998-2013. Commissions include engravings for the British Museum; National Gallery; British Library; V&A; Balliol and Worcester Colleges, Oxford; Sotheby's and the Royal Mint. She is only the third wood engraver ever elected to membership of the UK's Royal Academy of Arts (RA) in its 256-year history and she curated an historic exhibition celebrating 100 years of the art of wood engraving for the Ashmolean (2020). She lives and works in London and is represented by Eames Fine Art. www.annedesmet.com Instagram: @anne_desmet You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lot 259
Anne Desmet RA Star/Scaffolding, 2024 Digital print on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Anne Desmet RA was born in Liverpool. She has BFA and MA degrees in Fine Art from Oxford University and a Postgraduate Diploma in Printmaking from Central School of Art, London. In 2018 she was elected Honorary Fellow of Worcester College, Oxford University, for 'distinction in the world of art'. She exhibits wood engravings, linocuts, lithographs and mixed-media printed collages widely, has won over 40 national and international awards (including a Rome Scholarship in Printmaking; Pollock-Krasner Foundation Award, USA; three Elizabeth Greenshields Foundation Awards, Montreal, Canada; and the London Original Print Fair Prize at the RA Summer Exhibition) and has works in major public and private collections worldwide. The Ashmolean Museum, Oxford, the Whitworth Art Gallery, Manchester, and the V&A all have substantial holdings of her work. Over 50 solo shows include two major museum retrospectives at the Ashmolean (1998) and Whitworth (2008) respectively: each toured UK museums for two years. She had an earlier retrospective at Moscow's Ex Libris Museum, Russia (1995); and different solo exhibitions of recent works at the Holburne Museum, Bath (2017); Gainsborough's House Museum, Suffolk (2018); Pallant House Gallery, Chichester (2022-23); and Guildhall Art Gallery, London (2024-25). Desmet is author of seven published books on printmaking and drawing (published variously by Bloomsbury, the RA and Ashmolean Publications) and was editor of Printmaking Today magazine from 1998-2013. Commissions include engravings for the British Museum; National Gallery; British Library; V&A; Balliol and Worcester Colleges, Oxford; Sotheby's and the Royal Mint. She is only the third wood engraver ever elected to membership of the UK's Royal Academy of Arts (RA) in its 256-year history and she curated an historic exhibition celebrating 100 years of the art of wood engraving for the Ashmolean (2020). She lives and works in London and is represented by Eames Fine Art. www.annedesmet.com Instagram: @anne_desmet You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lot 124
* HELEN FLOCKHART (SCOTTISH b .1963), AMBER BIRD oil on panel, signed, titled label versoframed and under glass image size 19cm x 14cm, overall size 41cm x 35cm Label verso: Compass Gallery, Glasgow.Note: Helen Flockhart is a painter born in Hamilton, Scotland in1963. She studied drawing and painting at Glasgow School of Art from 1980-85 and continues to live and work in Glasgow today. She also studied at the PWSSP in Poznan, Poland (1985-6), having been awarded a British Council Scholarship, gained a grant from the Pollock-Kasner Foundation 1992 and won First Prize in the Noble Grossart Painting Prize 2000.
Lot 236
* HUGH GERARD BYARS (SCOTTISH b. 1957), PORTRAIT OF A MAN oil on canvas, signedframedimage size 20cm x 14cm, overall size 32cm x 25cmQty: 3Note: Byars trained at The Glasgow School of Art and then at The Royal College of Art in London. In 2001 he received a major award from the Pollock-Krasner Foundation (USA). Nineteen examples of his work are recorded within notable public collections including City of London Corporation, The Peoples Palace (Glasgow), MOMA (Wales), The Fleming Collection (London), Guildhall Art Gallery, Cheltenham Art Gallery and Glasgow Museums and Art Galleries. Hugh lives and works in Glasgow. He is a contemporary of Howson and of the same school as Campbell and Currie, and like them concentrates on the human form, and scenes from his local city. He often takes his inspiration from the derelicts and dossers in his native Glasgow. These are his Partick people who he paints with sympathy, graphic simplicity and powerful humanity. Hugh is one of the ''New Glasgow Boys'' school of painters.
Lot 214
HARDEN MARCIA GAY: (1959- ) American actress, Academy Award winner for Best Supporting Actress in 2000 for her role as Lee Krasner in Pollock. Signed colour 8 x 10 photograph of the actress in a head and shoulders pose. Signed in bold black ink to a light area of the image. A printed label neatly affixed to the verso indicates that the signature was obtained in person at the stage door of the Chichester Festival Theatre following a performance of Sweet Bird of Youth on 17th June 2017. Together with two signed 8 x 10 photographs (one colour) by two of the Best Supporting Actress Oscar nominees of 2000 comprising Kate Hudson (for her performance as Penny Lane in Almost Famous) and Julie Walters (for her performance as Sandra Wilkinson in Billy Elliot). Both are signed in blue inks, Walters in fountain pen ink, to the images (Hudson across a dark area) and neither are inscribed. VG to EX, 3
Lot 293
NIVEN DAVID: (1910-1983) British actor, Academy Award winner for Best Actor in 1958 for his role as Major Angus Pollock in Separate Tables. Signed 8 x 10 photograph of Niven in a head and shoulders pose in costume as Lieutenant Jim Perry from the British World War II drama film The Way Ahead (1944), directed by Carol Reed. Signed by Niven in black ink across a lighter area of the background. A few very light corner creases and a couple of extremely small, minor tears to the right white border, otherwise VG
Lot 262
ACADEMY AWARD NOMINEES: A good selection of signed 8 x 10 photographs by various actors, each of them Best Actor Oscar nominees of the 2000s comprising Ed Harris (for his performance as Jackson Pollock in Pollock, 2000), Tom Wilkinson (for his performance as Dr. Matt Fowler in In the Besdroom, 2001), Don Cheadle (for his performance as Paul Rusesabagina in Hotel Rwanda, 2004), Terrence Howard (for his performance as DJay in Hustle & Flow, 2005), David Strathairn (for his performance as Edward R. Murrow in Good Night, and Good Luck, 2005), Ryan Gosling (for his performance as Dan Dunne in Half Nelson, 2006), Peter O´Toole (for his performance as Maurice Russell in Venus, 2006), Viggo Mortensen (for his performance as Nikolai Luzhin in Eastern Promises, 2007), and Jeremy Renner (for his performance as SFC William James in The Hurt Locker, 2009). The majority are boldly signed, many to clear areas of the images, and none are inscribed. Colour (6). VG to EX, 9
Lot 439
The Great War D.C.M. awarded to Able Seaman W. F. E. Northern, Hood Battalion, Royal Naval Volunteer Reserve, for ‘most conspicuous gallantry’ at Niergnies in October 1918, the very last action of the Royal Naval Division in the war, when he single-handedly knocked out a tank with his Lewis gun Distinguished Conduct Medal, G.V.R. (R-639 A.B. W. F. E. Northern. Hood Bn: R.N.V.R.); British War and Victory Medals (R 639 W. F. E. Northern. Act. L.S. R.N.V.R.) extremely fine (3) £3,000-£4,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Dix Noonan Webb, June 2008. D.C.M. London Gazette 18 February 1919; citation published 10 January 1920: ‘For most conspicuous gallantry at Niergnies, on October 8th, 1918. When all the rest of the crew of his Lewis gun had become casualties he carried on alone, and kept his gun in action. After the enemy counter-attacked with tanks and forced back our line, he rushed forward alone with his gun and got it into action against an enemy tank. When the tank had been knocked out he advanced his gun and fired on the advancing enemy waves, dispersing them.’ Before the main body of the Third Army could advance, their flank, menaced by the enemy concentration at Cambrai, had to be secured. During the first days of October 1918, the operations had flagged and finally, on October 5th, the 17th Corps was informed that the immediate capture of Niergnies and its defences was of vital importance, and must be achieved. The Naval Division was about to entrain for the St Pol area but Sir Charles Fergusson applied for the temporary return of the Division to undertake the operation. No secret was made of the reason for the decision, and the battalions were promised relief the day Niergnies was captured. At 4.30 on the 8th October the advance began and, by 6 am the first objective had been carried. At 9.30 am the enemy counter-attacked in force, seven captured British tanks emerged from a sunken road and advanced against our line. One tank was dealt with by a captured anti-tank rifle by Commander Buckle, of the Anson Battalion, while another was dealt with by Commander Pollock, of the Hood Battalion, using a captured German gun. Two were dealt with by fire from our own guns [one of these by Able Seaman Northern] and another was knocked out by the artillery using a captured German gun reversed. Two tanks only escaped towards Wambaix. After hard fighting all morning, Niergnies was finally captured and the way was now open for the advance of the Third Army, and next morning the whole line south of Cambrai moved forward. This was the very last action of the Royal Naval Division. Casualties totalled 613 officers and men from the Hood, Hawke, Drake and Anson Battalions. William Frederick Edward Northern was born on 17 November 1898, at Burton Latimer, Northants. Employed in the boot trade prior to joining up in January 1917, he joined the Hood Battalion in France on 8 April 1918, and was demobbed in April 1919. Sold with copied research.
Lot 484
The Korean War D.S.C. group of nine awarded to Commander C. E. Pollock, Royal Navy, who commanded the destroyer H.M.S. Comus during the conflict Distinguished Service Cross, E.II.R., a rare Spink & Son issue, the reverse officially inscribed ‘C. E. Pollock. 3 October. 1952’ and hallmarked London 1952; 1939-45 Star; Atlantic Star; Burma Star, 1 clasp, Pacific; Defence and War Medals 1939-45; Korea 1950-53 (Cdr. C. E. Pollock. D.S.C. R.N.); U.N. Korea 1950-54; Coronation 1953, mounted as worn, very fine or better (9) £5,000-£6,000 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Just 69 awards of the D.S.C. for the Korean War, in addition to 14 First Bars and five Second Bars. D.S.C. London Gazette 3 October 1952: ‘For distinguished service in operations in Korean waters.’ Charles Edward Pollock was born in Darlington, Co. Durham on 14 May 1910, and was originally commissioned as a probationary Sub Lieutenant in the Royal Naval Reserve in August 1935 but transferred to the Royal Navy as an acting Sub Lieutenant in October 1939. He subsequently witnessed extensive action in the Second World War, not least as Torpedo Lieutenant aboard the destroyer H.M.S. Somali in the period February 1941 to May 1942, commencing with her supporting role in Operation ‘Claymore’, the Commando raid on the Lofoten Islands in early March 1941. It was during these operations that Somali intercepted the trawler Krebs off Svolvaer and her boarding party discovered some rotor disks from an Enigma coding machine, together with some associated documents, all of which were found to be invaluable at Bletchley Park. This success led to a separate operation to intercept the German weather ship Munchen in early May 1941, from which further valuable documentation was obtained. Having then taken part in the search for the Bismarck at the end of the same month, Somali transferred to the Arctic run in August 1941, and over the coming months participated in several ‘QP’ operations. Promoted Lieutenant-Commander in May 1942, Pollock came ashore to an appointment Vernon, but he returned to sea in the carrier Victorious in January 1944, shortly before her part in Operation ‘Tungsten’, the Fleet Air Arm attack on the Tirpitz in her Norwegian lair. In June 1944, however, Victorious sailed for the warmer climes of the Far East, where she was to remain on station for the remainder of the war. She was subsequently heavily engaged off Sabang, Palembang and Okinawa, and was attacked by kamikaze aircraft on two occasions in the latter operations, suffering a loss of three killed and 19 wounded. Pollock also no doubt shared in the ship’s V.J. Day celebrations in Sydney on 31 August 1945. Having been advanced to Commander in April 1947, he was appointed to the command of the destroyer Comus in May 1951. Thus ensued a busy tour of operations in Korean waters, where she served as one of several destroyers used as escorts to the air groups or for coastal bombardments. Official records reveal that Pollock was recommended for the American Legion of Merit, Degree of Legionnaire, the proposed citation stating: ‘For meritorious service to the United States Navy and to the Government of the United States as the Commanding Officer of HMS Comus during the period July 1951 to January 1952 while serving in the Korean conflict with the United Nations Blockade and Escort Force, Naval Forces Far East. Commander Pollock by his intelligent leadership, aggressiveness, and untiring devotion to duty, both in his harassing attacks on Communist forces and installations, and in his long and arduous Escorting Patrols displayed his outstanding skill as a Naval Officer. He planned and carried out skilfully effective attacks on Communist coastal installations, against enemy counter battery fire. Commander Pollock made a marked contribution to the success of the Naval Campaign in the Korean conflict and his services were in keeping with the best Naval traditions.’ That recommendation was not approved. Instead, he was awarded the D.S.C., which distinction he received at a Buckingham Palace investiture in March 1953. Meanwhile, he was advanced to Captain and appointed to the command of Phoenix, the Royal Navy’s Defence School at Stamshaw, Portsmouth. Then in March 1956, he was appointed Commanding Officer of Osprey, the Royal Navy’s underwater detection establishment, a post he held until being placed on the Retired List in May 1958. He died in Florida, U.S.A. in November 1993. Sold with a portrait photograph contained in an oval-shaped, silver-gilt glazed frame, together with copied research.
Lot 1556
Royal Military Academy, Woolwich, Pollock Prize, a gold award medal by B. Wyon for Pinches, uniformed bust of Sir George Pollock left, rev. legend, edge named (F.J. D[ay], R.E.), 45mm, 70.87g (Pudd. 861.4). Fields scuffed, otherwise about extremely fine; with contemporary clip and ring for suspension £4,000-£5,000 --- Provenance: Spink Auction 212, 28-9 March 2012, lot 1091. Francis Jeremy Day (b. Blandford Square, London, October 1846); the medal was awarded to him as a Cadet in December 1867. Day later advanced in the Royal Engineers to Lieutenant, Captain and then Colonel, retiring in 1908. XRF analysis of the medal shows it is 99.46% gold (23.8 ct)
Lot 822
A collection of fourteen boxed limited edition Lledo Collectables Days Gone Trackside "The Bygone Days of Road Transport" die-cast lorries with low loaders & tankers, suitable for OO gauge scale model railway layouts including Pollock Foden S21 Flatbed Trailer, National Benzole Foden S21 Tanker, Siddle Cook Scammell Ballest Low Loader & Havard Load, Shell Scammell Handyman Tanker etc
Lot 217
A collection of five books focusing on the Boer War and key military figures associated with it. Included in this set is Kitchener by John Pollock, a comprehensive biography of Lord Kitchener, one of Britain's most famous military leaders. Also featured is Kitchener’s Sword-Arm: The Life and Campaigns of General Sir Archibald Hunter by Archie Hunter, which details the military career of one of Kitchener's closest allies. The Boer War Generals by Peter Trew provides insight into the key leaders who shaped the conflict. The Boer War by Denis Judd and Keith Surridge presents a detailed historical account of the war and its impact. Finally, From the Boer War to the Cold War: Essays on Twentieth-Century Europe by A.J.P. Taylor explores the broader implications of the conflict on global history. These books provide a well-rounded perspective on the Boer War and its lasting influence on military and political history. Largest book measures 9.5"H. Dimensions: See DescriptionCondition: Age related wear.
Lot 95
Corgi 1/50 scale diecast limited edition CC99130 Pollock (Scotrans) 3 tractor unit and curtainside trailer set (2402/2700), models in mint condition with sealed accessory packs, complete with CoA/history booklet, box very good with 2 small tears and general storage wearShipping £48.00 plus vat (UK Only)
Lot 266
After Jackson Pollock, American 1912-1956,Beyond the Edge, the Studio Set 1;four archival pigment prints on Hahnemühle paper with hand torn edges, hand numbered in pencil 27/125, each bear the blind stamp of the Jackson Pollock studio, each sheet: 46 x 61 cm, (unframed) (4)Provenance: Iconic Moments in association with the Jackson Pollock studio.Note: each print comes with its own certificate of authenticity from the Jackson Pollock studio and Iconic.
Lot 4
Victorian Campaign Medal Pair to the 7th Dragoon Guards for the 1882 Egypt Campaign, Egypt Medal 1882-89 with clasp Tel-el-Kebir, dated reverse, “2386 PTE. A POLLOCK 7/DN GDS”, contact marks over Regiment Khedive’s Star Medal, 1882 dated, unnamed as issued. 21-year-old Andrew Lindsey Pollock, a mineral borer from Linlithgow, Scotland attested for service in the 2nd Dragoon Guards at Edinburgh on 1 December 1876. On 9th June 1881 he transferred to the 7th Dragoon Guards and served in Egypt for 218 days between August 1882 and March 1883. His service record shows he was imprisoned between May and September 1885 but does not indicate why, he was eventually discharged at Canterbury on 1st December 1888 on termination of his period of engagement having served for 7 years and 225 days.
Lot 98
* Autograph Book. First Class Ticket Autograph Book, March-December 1919, approximately 150 leaves (approximately 1000 signatures), a vast majority with multiple signatures to rectos only, signatures include John Maynard Keynes, Winston Churchill (signed by Thomas Walden), Gertrude Bell, Louis Botha, Ernest M Pollock, Arnold Toynbee, Arthur Balfour, 10 Downing Street Delegation, Thomas Mackenzie etc., contemporary grey paper wrappers, manuscript title to upper cover, small 4to, together with:Photograph Album. An album of photographs and ephemera belonging to Theodora Amber Boisragon, 1919, containing an official pass with a photograph for Miss Boisragon, a typed letter from Marggini Marzohin to Colonel T. G. Heywood, programmes for concerts, a decorative menu cover for the Bastille day meal at the Hotel Majestic, admission ticket for the Versailles treaty signing, a 'confidential' 3 page document relating to 'The Question of Security', gatherings loose, contemporary green cloth, oblong 4to, plus two copies of The Peace Conference in Pictures and a matinee program organized by the Parisian Press SyndicateQTY: (5)NOTE:An interesting and unusual government autograph book for expensing first-class travel as well a comprehensive album, all relating to the Paris Peace Conference of 1919.
Lot 1078
Mary Pollock (20th century)"Poppies"Signed and dated (19)99, oil on board, 50cm by 60cm; together with a further 20th century oil on canvas depicting a lake land landscape, signed Hallam?; a continental landscape, oil on canvas, indistinctly signed; an oil on board depicting a stone bridge, signed B. Barnaby; a watercolour of boats, signed M. Russell; and a signed and numbered print by Jeremy King depicting "King's Collage, Cambridge" (6)
Lot 1256
Eight boxed Corgi ltd edn and Hauliers Of Renown heavy haulage diecast models to include 75603 Norbert Dentressangle, CC13415 Eddie Stobart Ltd, CC12802 Eddie Stobart Ltd, 75205 Pollock Ltd, CC12401 Eddie Stobart Ltd, 75601 Eddie Stobart Ltd, 76602 Eddie Stobart Ltd and CC13201 Eddie Stobart Ltd, all diecast ex, boxes vg overall
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