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Turniere. Konvolut mit 35 Büchern, Nachdrucken und Kleinschriften in verschiedenen Sprachen über Turniere, die in der Zeit von 1883 – 1949 stattgefunden haben. Aus der Zeit 1947 - 2001. 8°. Mit Diagrammen. Orig. geheftet und verschiedene orig. Einbände. (60) * Enthalten sind u. a.: Minchin: Games in the London International Chess Tournament 1883 (Nachdruck); D. van Foreest / I. D. Tresling: Der internationale Schachkongress zu Amsterdam 1889 (Nachdruck); Mason / Pollock: Games in the St. Petersburg Tournament 1895 – 96 (Nachdruck); Adams: Ostende 1905; L. Eceizabarrena Gaba und R. Alvarez Cela: Hastings 1935-35; Botvinnik: Championship Chess Leningrad – Moscow 1941; Ellerman: Buenos Aires – La Plata 1947; Carl Schlechter Gedenkturnier 1949. Zustand: Innen teilweise gebräunt, vereinzelt fleckig und mit wenigen handschriftlichen Notizen. Buchschnitt weniger Bände fleckig. Einbände und Umschläge mit Gebrauchsspuren, teilweise angestaubt. Eine Einzelaufstellung liegt nicht vor. Nicht einzeln kollationiert.

Bradford 1888. The Bradford Tournament. A selection of games played in the International Masters' Tournament of the British Chess Associaton and Yorkshire Country Chess Club, held at Bradford ... 6th August, 1888. Leeds, British Chess Magazine, 1888. 8°. Mit 3 Diagrammen. 80 Seiten. Original geheftet. (30) * Linde - N. 5227; Betts 25 – 21. Mit eigenhändiger Unterschrift des schottischen Problemkomponisten und Mitarbeiters der „Christmas Series“ George Hume (1862 - 1936) auf Titel. “Contains a short introduction and 52 selected games, with annotations by Pollock, Rancken, Blake and others. (1. Gunsberg; 2. Mackenzie; 3. - 4. Bardeleben, Mason)“ (Betts) Zustand: Innen gebräunt, Titel, S. 80 und Umschlag stärker und etwas fleckig. Umschlag und Textseiten mit senkrechter Knickspur. Rückumschlag mit repariertem Defekt. Zusätzlich mit einem privaten Papierumschlag, der am Rücken festgeklebt wurde. Seltene Ausgabe.

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.

Patrick Heron (British, 1920-1999)MANGANESE, ULTRAMARINE AND INDIGO : 1964 signed, titled and dated 'MANGANESE,/ULTRAMARINE/AND INDIGO :/1964/PATRICK/HERON' (verso)oil on canvas101.5 x 152.5 cm. (40 x 60 in.)Footnotes:ProvenanceWith Waddington Galleries, London, where acquired byJudge Dennis Levy, thence by descent to the present ownerPrivate Collection, U.S.A.ExhibitedLondon, The Waddington Galleries, Patrick Heron, November-December 1964, cat.no.4Heron had experimented with pure abstraction as early as 1952 but maintained a figurative base to his painting (see lot 60) until 1955/6 when he began to develop a language of strokes of pure colour which moved away from a definite subject. The 'garden' and 'stripe' paintings of the late 1950s may have been in response to the light and environment of the artist's new home at Eagles Nest, Zennor, in Cornwall. But amongst the many remarkable features of Heron's career was his ability to continually develop and renew his paintings and by 1958/9 a new shift was already emerging. This was evidenced by a simplification of the palette and the introduction of a wider vocabulary of forms which allowed the artist to concentrate on the use of colour to form pictorial space.Discussing this in A Note on my Painting: 1962, written for the artist's exhibition at the Lienhard Gallery in Zurich in January 1963, Heron comments, 'For a very long time, now, I have realised that my over-riding interest is colour. Colour is both the subject and the means; the form and the content; the image and the meaning, in my painting to-day ... It is obvious that colour is now the only direction in which painting can travel. Painting has still a continent left to explore, in the direction of colour (and in no other direction) ... It seems obvious to me that we are still only at the beginning of our discovery and enjoyment of the superbly exciting facts of the world of colour. One reels at the colour possibilities now: the varied and contrasting intensities, opacities, transparencies; the seeming density and weight, warmth, coolness, vibrancy; or the superbly inert 'dull' colours - such as the marvellously uneventful expanses of the surface of an old green door in the sunlight' (Vivien Knight, Patrick Heron, London, 1988, p.34).Heron's work of this period is sometimes compared to that of Mark Rothko, who came to Cornwall in August 1959 to meet those artists he knew of and admired, painting with a freedom he felt difficult to achieve in New York. Much has been written about the cross Atlantic currents that ebbed and flowed between the American Abstract Expressionists and British artists such as William Scott, Alan Davie and Peter Lanyon. But it was Heron, as an art critic, who perhaps engaged most publicly with the wider impact of their work. He had always been impressed by Pollock, Rothko, de Kooning et al, indeed the first time he saw many of their pictures at the Tate in 1956 he was 'instantly elated by the size, energy, originality, economy and inventive daring of many of the paintings'. But he had always felt a lack of resonance in their use of colour. Heron's paintings of this time, such as the present work, are in fact radically different from Rothko's formal, hieratic works. They are more dynamic, more complex – in both colour and handling – and with an innate ability to draw the viewer in. In the present work, the simplification of the picture plane allowed Heron to use large areas of colour to set the tone of the painting. This is taken even further by drawing nearly all the colour from within a single range of blue. Limiting himself in this way ensured that the weight of the forms was not overwhelmed by the contrast of the colours, rather that the differing tones worked together to define and place the forms within the composition.In 1963, the year before MANGANESE, ULTRAMARINE AND INDIGO : 1964 was painted, Heron had begun to plan his compositions through drawing the shapes in charcoal directly onto the canvas. Although these paintings were initially inspired by the hard-edged modernism that Ben Nicholson demonstrated in his ordered reliefs, Heron's evident brush marks convey a more organic practice. Indeed, he famously quipped that ''Unlike Ben Nicholson, I have never in my life drawn a straight line or a purely circular circle or disc'. So, although the abstract shapes hint at geometry, they are emphatically painterly and gestural, gaining brilliance from the white priming beneath. As the decade progressed Heron would reintroduce stronger, more contrasting colours and explore the points at which these colours met, but in MANGANESE, ULTRAMARINE AND INDIGO : 1964 we see him working in 'soft edges' at a point where he relishes the challenge of bringing together a purity of intention and imagination using only restricted means. The result - a deep saturation of the mind's eye that cements the artist's reputation as one of Britain's greatest abstract painters of the 20th Century.The Patrick Heron Trust is in the process of researching the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any works by Patrick Heron, so that these can be included in this comprehensive catalogue. Please write to the Patrick Heron Trust, c/o Modern British and Irish Art, Bonhams, 101 New Bond Street, London W1S 1SR or email britart@bonhams.com.We are grateful to Dr Andrew Wilson for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Corgi & Tematoys. Four boxed 1:50 scale models, comprising Corgi Pollock (CC13809); Corgi Visbeen (CC13205); Tematoys Visbeen; Tematoys H.J. Van Bentum

Pollock Sinclair Nisbet, ARSA, RSW, (Scottish 1848-1922), Oil on Canvas, Entrance to Glen Finlas Moonrise, 44x59cm

Nameplate HUNDAY as together with it matching worksplate THE HUNSLET ENGINE Co LTD LEEDS No 2250 1940. From a 0-4-0 diesel supplied to the MOD and delivered to the Admiralty Royal Naval Armament Dept Dean Hill Wiltshire and numbered Yard 85. Sold to Pollock Brown Co Ltd Northam Hampshire in 1965 and then moved to Royle Agricultural Hadnall Shropshire in 1971 then in 1980 moved to the Hunday Tractor Museum Northumberland where it was named, then to the short lived Yafford Mill Railway Newport Isle Of Wight and lastly at the Sunshine Peat Company in Northern Ireland where it was recorded as being out of use in 2006, In 2020 the equipment of the Sunshine Peat Company was sold and the engine presumed scrapped. Nameplate rectangular cast bronze measures 23.5in x 6in, worksplate oval cast brass measures 8in x 5in. Both in as removed condition.

''Summertime'' A screen print after Jackson Pollock mounted and framed. Signed.[45x155cm]

MUIRHEAD (James Patrick): 'Winged Words on Chantrey's Woodcocks...': London, John Murray, 1857: inscribed to upper flyleaf 'W J Pollock Esq with the Editor's Kind Regards, Haseley Court, 30 July 1858', with letter from editor to same tipped-in on opposing endpaper: publishers green cloth gilt, VG with minor wear, 8vo: with 18 other volumes, largely early 20thc publications on gamekeeping, country sports and related. (19)

FOLIO SOCIETY: MILTON (John): 'Paradise Lost': London, Folio Society, 1991: illustrations by Ian Pollock: full black buckram gilt from design by Pollock, blue endpapers, black cloth slipcase lettered in gold, some external dust marking else VG, folio. (1)

ONE BOX: Various art interest, to include: ROBERT A M STERN: THE ARCHITECT'S EYE - AMERICAN ARCHITECTURAL DRAWINGS FROM 1799-1978, New York, Pantheon,1979; GENE BARO: CLAES OLDENBURG - DRAWINGS AND PRINTS, London, Chelsea House, 1969; KYNASTON McSHINE (Ed): ANDY WARHOL - A RETROSPECTIVE, New York, The Museum of Modern Art, 1989; ELLEN G LANDAU: JACKSON POLLOCK, New York, Harry N Abrahms, 1989; ROBERT SMITHSON: SCULPTURE, Ithaca, Cornell University Press, 1981 NANCY HOLT (Ed): THE WRITINGS OF ROBERT SMITHSON, New York, New York University Press, 1979; CAROLINE TISDALL: JOSEPH BEUYS, London, Thames and Hudson, 1979; PETER T FURST AND JILL L FURST: NORTH AMERICAN INDIAN ART, New York, Rizzoli / Art Press, 1982

Twelve boxed Corgi buses and commercial vehicles. Comprising a Cadbury's Dairy Milk Chocolate Foden FG Cylindrical Tanker, 12101, Cadbury Bros, Bournville Scammell Highwayman Ballast & Trailer, 16002, John Jameson Scammell Highwayman Ballast & Trailer, 16001, Tunnel Cement Scammell Highwayman Tanker, 16305, 'Whisky Collection' Ballantine's Albion Lorry, 26001, Mackeson Atkinson Cylindrical Tanker, 97372, Pollock of Musselburgh Atkinson Elliptical Tanker, 97162, Leyland Tiger Maypole, 97210, Cardiff Corporation Bristol K Utility Bus, 97875, Timpsons AEC Regal Coach, 97181, The AEC Regal, 97186 and Guy Arab Paisley & District, 97313

Private Press. The Cayme Press:- a collection of ten works printed by Philip Sainsbury at the Cayme Press in Stanhope Mews West. The lot comprising 1927 The New Bath Guide by Christopher Anstey, 1925 The Spleen and Other Poems by Matthew Green, 1928 The Interregnum, an Historical Drama in Three Plays by William H. Terry, 1924 Fritto Misto by E. S. P. Haynes, 1925 Meanderlane, Tales and Wood Engravings by Hester Sainsbury; and four Cayme Press Pamphlets comprising No. 1 The Happy Warrior by D. K. Broster, No. 2 The Strange & Striking adventures of four authors in search of a character by P. G. Lear and L. O., No. 3 Anatole France & Mrs. Grundy by John Pollock, No. 5 Much Ado About Women by E. S. P. Haynes, and No. 8 Sir John Denham by Bonamy Dobree. All limited editions in the publisher's original bindings, paper wraps & full / quarter cloth, no prior inscriptions in ink, some edgewear, otherwise a smart collection. Largest 4to.

Pollock, CharlesPhiladelphia 1930 - 2013 New York, 4 Bürosessel Modell "12E1", Entwurf: 1965, Ausführung: 1970/80er Jahre, wohl Knoll International, fünfstrahliger, verchromter Metallstand auf Kunststoffrollen, drehbar gelagerte Kunststoffsitzschale, mattschwarze Armlehnen, braun melierte Polsterung mit Polsterknöpfen, H: 87 cm. Gebrauchs- und Altersspuren/Weichmacher härtet aus, 1 Polsterknopf fehlt.

Corgi 1/50th scale limited edition truck collection, generally excellent in excellent window boxes, with Leyland DAF Curtainside Knights of Old No. 75405, ERF EC Curtainside Pollock (Scotstrans) Ltd. No. 75205, Renault Curtainside Norbert Dentressangle No. 75603 and Leyland DAF Petrol Tanker JET No. 75302. Contents appear complete but unchecked. Viewing recommended. Qty 4

Mimmo Rotella, "Lorusso Arredamenti"- Decollage, sehr großer, sign. Farbsiebdruck, gerahmtMimmo Rotella, 1918 Catanzaro als Domenico Rotella - 2006 Mailand, italienischer Künstler, der zur Pop Art zugezählt wird, hier: Decollage "Lorusso Arredamenti", Farbsiebdruck, 100 cm x 140 cm (Blatt), num. 119/150, signiert, ansprechend gerahmt, Gesamt 105 x 145 cmZum Künstler: Rotella studierte an der Kunstakademie Neapel, 1944 schloss er das Studium und zog 1945 nach Rom. In den Jahren 1951/1952 lebte er aufgrund eines Fulbright-Stipendiums in Kansas City, wo er Wandgemälde herstellte und phonetische Gedichte aufnahm. Während seines USA-Aufenthaltes lernte er die Werke der damals aktuellen amerikanischen Künstler wie Claes Oldenburg, Jackson Pollock, Robert Rauschenberg und anderen kennen.1961 trat er der Gruppe des "Nouveau Réalisme" in Paris bei, 1964 zog er ganz nach Paris und 1980 nach Mailand, wo er bis zu seinem Tod lebte und arbeitete.1953 entdeckte Mimmo Rotella den ästhetischen Reiz abgerissener Plakate. Von da an arbeitete er mit diesem Medium. Diese Plakatabrisse, Decollagen, stehen in der Tradition der Kubisten, aber auch eines Kurt Schwitters und machen den Kern seines künstlerischen Schaffens aus. Der Plakatabriss kann in dieser Form als Rotellas ‚Erfindung’ angesehen werden.

Kenneth Martin Snodgrass, Quadratur, Ölgemälde der 1980er Jahre (Collioure-Zeit), in GalerierahmungKenneth Martin Snodgrass, 1934 Denver/Colorado - 2000 Collioure, Frankreich, amerikanischer Maler, hier: Abstrakte Quadratur in pastosen Farben, Öl/Lw., 56 x 46 cm, unten signiert, in ansprechender GalerienrahmungZum Künstler. In den 1950er Jahren begann Snodgrass ein Kunststudium an der Universität von Denver und schrieb 1958 seine Dissertation über Jackson Pollock, Paul Klee und die Impressionisten. 1961 begann er mit Öl auf Leinwand und Öl auf Papier zu malen, in satten und glatten Abstraktionen des abstrakten Expressionismus. In diesen Jahren zog er nach Europa, zuerst nach Amsterdam, dann nach Spanien und in Deutschland nach Stuttgart und München. 1965 beschloss er, in Frankreich zu bleiben, wo er seine zweite Frau Françoise kennenlernte. 20 Jahre später lernte er im südfranzösischen Künstlerstädtchen Collioure Denise kennen, die seine dritte Frau wurde und mit der er 1982 eine Tochter, Mathilde, bekam. Im Land des Lichts wärmte ihn die Sonne und er fand Frieden. Die Farben seiner Leinwände wurden allmählich weicher. Die Formen wurden noch einmal abstrakter. Symbole drückten Stärke und Reichtum aus. Er malte nicht mehr sein Leben, sondern seine Seele. Er nutzte die Kraft seiner Spiritualität.

THE BURRELL COLLECTION, SECOND DESIGN REPORT, 1ST APRIL 1973 Barry Gasson and John Meurier (Architects), Felix Samuely and Partners (Structural Engineers), James R. Briggs and Associates (Service Engineers), Davis Belfield and Everest (Quantity Surveyors)Note: This document is an original design report submitted for the competition to design the Burrell Art Gallery at Pollock Park. It was prepared by architect Barry Gasson, who subsequently won. The only other known copy is directly owned by The Burrell Collection. 31cm wide

A collection of archery equipment including two Accles & Pollock Apollo Merlin steel take down bows and a Browning Challenge compound bow, all in carry bags. 

JOHN POLLOCK; a pair of George III hallmarked silver sauce boats, each with fine scroll handles on ovoid bodies, raised on three hoof feet, London 1781, 12 x 16.5cm, combined approx. 23ozt (2).Condition Report: Both have light surface scratches throughout, one has very minor dent in base pushing inward with a further minor dent below the handle, otherwise appear to be in overall good condition.

Multi signed Programme Bread 1990, Jean Boht, Carl Davis, Ron Goodwin, Ronald Forfar, Eileen Pollock and many more. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

The Richard Larn Archive Shipping History Files. Ten files A remarkable collection of ten meticulously organized files containing decades of research. Each file is filled with carefully photocopied articles, reports, appendices, and more—painstakingly collected and catalogued for Richard Larn's works. This comprehensive archive represents years of dedicated effort, making it an invaluable resource for researchers, historians, or collectors.A partial account of each folder;Shipping File No.1- Forty five resources listed and indexed, including Elder Dempster fleet History 1852-1985- fleet listed; Sea Breezes extracts; Rochester Sailing Barges by B. Childs; History of the cost of living - prices comparisons- 1790 to 1914; New Zealand Shipping Co. Haws, D. Waitara -wrecks; Nelson- his church- our heritage- All Saints Church- Norfolk; The Atlantic Ferry, Maginnis- wecks in UK in last 70 years; Alderney Wrecks- wreck list, &c. &c.Shipping File No.2- Not indexed but includes A German Naval History; Victor Young. Merchant Ships of World War II; Norman Friedman. Postwar British Mine Countermeasures- and National Strategy; Margate Surf-Boat Service Launches 1857 to 1940; Lancaster Maritime Museum - Marine Site/Wreck File; Volumes and Pages in Sea Breezes 1919-1960; James E. Cowden. The Price of Peace Elder Dempster 1939-1945, &c. &c.Shipping File No.3- Fity resources listed and indexed including Lincolnshire Coast Shipwreck Association- 1827 to 1864 - wrecks; 1st Report of Select committee Shipwrecks- 1843- wreck lists; Report on Steam Vessel Accidents- 1839 - wreck lists; Janes Fighting Ships- WWI- 'Q' Ships- list of numbers/details; Lloyd's Weekley Casualty Lists, &c. &c.Shipping File No.4- Thirty six resources listed and indexed including Shipwrecks- in the Pentland Firth, Scotland, Bremmer's List 1840-1985; Empress of Balmoral- wreck- Lundy- Sketch of wreck condition; North America- historical research addresses; Hydrographic Department- Wrecks Section- booklets and information; List of Wrecks on the coast of Portugal- 1987- list and photographs; Vesuvius, HMS. torpedo training ship, lost N.Cornwall- wreck, &c. &c.Shipping History File No.5- Seventy nine resources listed and indexed including Swedish ancestry sources; Steam Vessel accidents & incidents; Copious Lloyds Register including Records relating to shipwrecks, Record of medals, Edward Lloyd and his coffee shop, Titanic &c. &c.; HMS Pandora- lost and found- article, &c. &c.Shipping History File No.6; Not indexed but includes Admiralty- Historical Information 1914-18 War Histories; Walter Pollock. Small Vessels, 1946; David Burrell. Furness Withy. The centenary history of Furness, Withy and Company, Ltd 1891-1991; E. f. Knight and E.G. Fuller. The Union-Castle and the War 1916-1919; Melancholy Loss of the Whale-fishing Ship Oscar, of Aberdeen, On Thursday, April 1, 1813; Sunderland Public Libraries Index to Shipwrecks 1850-1859, &c. &c.Shipping History File No.7- Not indexed but includes N.R.P. Bonsor. North Atlantic Seaway; Ian Whittaker. Wrecks of 55N 04W, &c. &c.Shipping History File No.8- Not indexed but includes Salvesen of Leith by Wray Vamplew; Lloyd's Weekley Casultie Reports; List of Submarines Sunk; Reports of Inquiries into Wreks 1876-1879; J. E. B. Belt and H. S. Appleyard. A History of Franck C. Strick and his many shipping enterprises; Roy. Anderson. White Star, &c. &c.Shipping History File No. 9- Not indexed but includes First Report from the Select Committee on Shipwrecks Together with the Minutes of Evidence; Report on Steam-Vessel Accidents; Report from Select Committee on Shipwrecks of Timber Ships; Rev. Andrew W. Huckett. The Chants; Kathleen Fidler and Ian Morrison. Wrecks, Wreckers and Resuers; Marine Casualties Southwest Atlantic & Southwest Indian Ocean 1965-1981, &c. &c.Shipping History File No.10- Not indexed but includes the world's Largest Coastwise Liner Fleet by Ernest R. Reader; Duncan Haws. Merchant Fleets - Elders & Fyffes and Geest; J. A, MacRae & C. V. Waine. The Steam Collier Fleets; Robert Wall. Bristol Channel - Pleasure Steamers; D. Hollet. Fast Passage to Australia, &c. &c.

Paradise Lost, a Poem in Twelve Books by John Milton, illustrated by Ian Pollock, a Folio Society edition published 1991. Printed on Trojan Wove paper and bound in full buckram by Butler & Tanner Ltd, Frome, in a black presentation box. 36 x 27cm

Five boxed 1/50 scale Corgi heavy haulage diecast models to include 4 x Hauliers Of Renown models including CC14010 Volvo FH Curtainside Pollock Ltd, CC13911 Foden Alpha Flatbed Trailer & Peat Load - R.J & I Monkhouse Ltd, CC13615 DAF CF Curtainside - Skeldons Transport and CC13424 ERF ECT General Purpose Tanker - T.P Niven and 1 x Premier Models Heavy Haulers US55702 Kenworth W925 With Low Loader And Boiler Load, diecast all ex, boxes vg overall

19 Boxed Corgi heavy haulage diecast models to include 5 x Corgi Truckfest models including CC10308 Charles Alexander, CC11509 William Nuttall & Sons Ltd, CC11704 Frederick Ray Ltd, etc, Corgi British Road Services Premium Edition CC11405, Corgi Classics 24502 London Brick Company, CC11611 70th Anniversary Pollock, 25401 Drayman's Range, 23602 Eddie Stobart Ltd, CC13301 Eddie Stobart, CC11403 Knowles Transport Ltd, Corgi Road Transport 97327, etc, all ex, boxes vg overall

SIX CORGI CLASSICS DIECAST MODEL COMMERCIAL VEHICLES including a No.CC15309, Scania 111 2 Axle Flatbed and Load 'Pollock'; Premium No.23301, Ford Transcontinental Platform Trailer with Sheeted Load 'Pollock'; and No.CC12504, Atkinson Borderer Flatbed Trailer 'Pollock', each boxed (unchecked for detail and self-fit parts and enclosures).

THREE CORGI CLASSICS DIECAST MODEL COMMERCIAL VEHICLES comprising a No.75205, E.R.F. EC Series Curtainside 'Pollock (Scotrans) Ltd'; No.76603, Scania Refrigerated Box Trailer 'D. Steven'; and No.CC12414, Volvo FH Bulker 'Alex Anderson', each boxed (unchecked for self-fit and detail parts and enclosures).

FLORENCE M. DENHOLM (SCOTTISH CONTEMPORARY)  POLLOCK GOLF CLUB  Watercolour, signed lower left, dated 1996, 24 x 34cm  Together with a similar by the same hand (2) Condition Report:Available upon request

Carolyn Pollock for Relios, American Indian Sterling silver and turquoise three strand necklace

° ° Clifford, William Kingdon - Lectures and Essays, edited by Leslie Stephen and Frederick Pollock, 2 vols, 1st edition, engraved portrait frontispiece and mounted photographic portrait frontispiece, 8vo, cloth, Macmillan and Co., 1879, together with Mathematical Papers, with folding frontispiece facsimile plate, entitled ‘’Quantity’’, 8vo, cloth, splits to front outer joint, Macmillan and Co., 1882, (3).

Fluxus - - Alison Knowles. Great Bear Fluxus. 17 OSerigraphien (inkl. Kolophon). Ed. Conz, 1985. 17 Bll. 37 x 50 cm. Lose eingelegt in rote OLwd. Mappe mit handgeschriebenem DTitel u. einer Reproduktion einer OPhotographie montiert in den Innendeckel. Eines von 50 nummerierten Exemplaren. - Je auf Fabriano Velin (mit Wasserzeichen) gedruckt. Jede Serigraphie signiert, datiert und nummeriert. - Mit einem handschriftlichen Kolophon mit einer Widmung an Dick Higgins und sechzehn Ereignispartituren mit handschriftlichen Beschreibungen je als Serigraphie übertragen. - Alison Knowles war eine zentrale Figur des Fluxus. Ihre grafischen und malerischen Arbeiten zeichnen sich durch eine strukturierte und taktile Qualität aus, wohingegen ihre Performances von Unbestimmtheit, Wiederholung und Alltagsbezügen geprägt sind. Nach ihrem Abschluss an der Pratt University 1956 wurde sie von Künstlern wie Adolph Gottlieb, Franz Kline, Jackson Pollock, Marcel Duchamp und John Cage beeinflusst. - Sehr gut erhaltenes Exemplar. 17 orig. serigraphs (incl. imprint). Sheets loosely inserted in red orig. cloth portfolio with handwritten title on cover and a reproduction of an orig. photograph mounted on the inside cover. - One of 50 numbered copies. - Printed on Fabriano wove paper (with watermark). Each serigraph signed, dated and numbered. - With a handwritten colophon with a dedication to Dick Higgins and sixteen event scores with handwritten descriptions each transferred as a serigraph. - Alison Knowles was a central figure of Fluxus. Her graphic and painterly works are characterised by a structured and tactile quality, whereas her performances are defined by indeterminacy, repetition and references to everyday life. After graduating from Pratt University in 1956, she was influenced by artists such as Adolph Gottlieb, Franz Kline, Jackson Pollock, Marcel Duchamp and John Cage. - Very well preserved.

Trio of WWI medals awarded to 1165 Spr T Pollock RE

* HUGH GERARD BYARS (SCOTTISH b. 1957), MIDNIGHT ADMIRER oil on board, signed and dated '08framedimage size 50cm x 40cm, overall size 61cm x 51cmNote: 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.

Carolyn Pollock, for Relios, American Indian sterling silver and turquoise three strand necklace

Collection of diecast 1/50 scale truck models from Corgi, Conrad, Tematoys, Tekno and WSI including limited edition Corgi CC12931 'Sights And Sounds' Scania Topline Curtainside Pollock Scotrans Ltd (1489/1510), CC12925 Baggeridge Scania Topline sided crane trailer with brick load (898/1700) and CC12410 Knowles Volvo FH bulk tipper (3859/5000), models generally in mint condition with following exceptions, Tekno Ken Thomas example with detached trailer side section (just needs re-gluing), Conrad Volvo FM7 with tail lift paint damage to cab roof (see photos), models with included wing mirror sets unused and still sealed, boxes from fair to excellent, generally good (10)

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)

LASSNIG, MARIA1919 Kappel am Krappfeld - 2014 WienTitel: "ML als Invalide". Datierung: 2002. Technik: Mischtechnik auf Bütten. Maße: 31,5 x 22cm. Bezeichnung: Signiert unten rechts: M Lassnig. Sowie betitelt und datiert oben mittig: ML als Invalide 2002. Verso an Kasper König gewidmet. Rahmen/Sockel: Rahmen. Provenienz:- Sammlung Kasper König, Berlin (direkt von der Künstlerin)Wortkünstlerin in Paris und New YorkMaria Lassnig ist eine wegweisende österreichische Künstlerin, bekannt für ihre einzigartigen "Body Awareness-Bilder". Sie prägt die Kunstgeschichte durch ihren innovativen Ansatz, innere Empfindungen visuell darzustellen, und gilt als Pionierin der feministischen Kunstbewegung. Nach ihrem Studium an der Akademie der bildenden Künste in Wien bereist sie Anfang der 1950er Jahre gemeinsam mit Arnulf Rainer erstmals Paris. Von der Begegnung mit dem Urvater des Surrealismus, André Breton, enttäuscht, wenden sich Lassnig und Rainer einer abstrakten Ausstellung mit Werken von Mathieu und Pollock zu, die sich nachhaltig auf deren Ouvre auswirkt. In den 1960er Jahren geht Lassnig nach Paris. Hier wird auch die legendäre Künstlerin und Feministin Nancy Spero auf sie aufmerksam und überzeugt sie, ihre künstlerische Karriere in New York fortzuführen. Dort gelingt es Lassnig - erst mit 60 Jahren - breitere Anerkennung zu erfahren. Im Jahr 1980 kehrt die Künstlerin nach Wien zurück.Body AwarenessIn ihren "Body Awareness-Bildern" stellt Maria Lassnig nicht nur den bloßen Körper, sondern vielmehr dessen innere Empfindungen dar. Dabei thematisiert sie das spannungsvolle Wechselspiel von Außen- und Innenwelt. Während die von außen durch das Auge wahrgenommenen Impulse Regungen im Inneren freisetzen, wirken innere Gefühle sich nur bedingt auf die Außenwelt aus. Genau diese Lücke sucht Lassnig mit ihrem Ouvre zu schließen.ML als InvalideDie Arbeit "ML als Invalide" aus dem Jahr 2002 zeigt eine eindrucksvolle Auseinandersetzung mit dem körperlichen Selbstempfinden. Das Werk repräsentiert Lassnigs einzigartigen Stil, indem sie körperliche und emotionale Erfahrungen durch dynamische Linien und kräftige Farben ausdrückt. Sie untersucht das Gefühl von Verletzlichkeit und Gebrechlichkeit, indem sie ihren eigenen Körper in einer für den Betrachter ungewöhnlichen und verfremdeten Pose abbildet. Die gelbe Hintergrundfarbe verstärkt die Intensität und den Kontrast der Darstellung, wodurch die Fragilität und zugleich Stärke der menschlichen Existenz sichtbar wird. Lassnigs Werk bleibt ein bedeutender Beitrag zur modernen Kunst und Körperwahrnehmung. Voraussichtliche Versandkosten für dieses Los: Deutschland: 39,00 Euro inkl. 6,23 Euro MwSt EU: 60,00 Euro inkl. 9,58 Euro MwSt Weltweit: 110,00 Euro inkl. 17,56 Euro MwSt zzgl. VersandversicherungErläuterungen zum Katalog Maria Lassnig Österreich Informel Neoexpressionismus Nachkriegskunst Unikate 2000er Rahmen Künstlerporträt Papierarbeit Mischtechnik Körper

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