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Peter Brüning 1929 Düsseldorf - 1970 Ratingen Ohne Titel. Um 1960. Öl auf Leinwand. Otten 363. 80 x 100 cm (31,4 x 39,3 in). • Zum ersten Mal auf dem internationalen Auktionsmarkt (Quelle: www.artprice.com). • Dynamische Bildkomposition, die die virtuose Handschrift des Künstlers zeigt. • 1959, 1964 und 1968 Teilnahme an der documenta II, III und IV in Kassel. PROVENIENZ: Galerie Elke und Werner Zimmer, Düsseldorf. Sammlung Deutsche Bank (vom Vorgenannten erworben). AUSSTELLUNG: Peter Brüning – Vom Informel zu den kartographischen Bildern und Zeichnungen, Galerie Elke und Werner Zimmer, Düsseldorf, 21.3.-12.5.1984. 'Die Frage nach Gegenständlichkeit oder Ungegenständlichkeit ist überholt.' Peter Brüning, 1956. 'Informel ist kein ‚Stil‘, sondern eine Haltung. Eine Haltung, die eine Offenheit nicht nur der bildnerischen Komposition einschließt, sondern generell die Offenheit des Werkes als Prozess mit einbezieht, die sowohl den Schaffensprozess als auch den Wahrnehmungsprozess, nicht nur den eigenen, sondern auch den des Rezipienten, in der Realität des Kunstwerkes selbst vereint.' (zit. nach: Marie-Luise Otten, Peter Brüning und das Potential des Informel, in: Peter Brüning 1929-1970, Galerie Haas, 2019, S. 14) Peter Brüning gehört zu den wichtigsten Vertretern des deutschen Informel. Seine Werke zeigen auf eindrucksvolle Weise diese genannte Offenheit gegenüber der Bildkomposition, Farbgebung und dem Pinselstrich – aber auch gegenüber dem Betrachter. Brünings Kunst ist wie die der anderen informellen Künstler für jeden zugänglich und vermeidet jegliche Exklusivität. Das vorliegende Ölgemälde zeigt eine dynamische Bildkomposition, die einen virtuosen Pinselduktus erkennen lässt. Brüning arbeitet vorwiegend mit Braun- und Grün-Tönen, wobei er durch den Einsatz von schwarzen Farbakzenten das Bild strukturiert und den Blick des Betrachters lenkt. Das vorliegende Werk steht repräsentativ für seine abstrakt-gestische Kunst, die bewusst den Akt des Malens, also den Schaffensprozess, in den Vordergrund stellt. Damit lässt seine Kunst deutliche Anklänge an die Stilrichtung des Action-Paintings erkennen, wie es ab den 1950er Jahren innerhalb des abstrakten Expressionismus zu finden ist. Der Amerikaner Jackson Pollock (1912-1956) gilt als einer der bedeutendsten Vertreter des Action-Paintings. Wie im Informel steht auch hier der Malprozess im Vordergrund, der zudem einfache Malmittel und den Einsatz des Körpers einschließt. Brünings Kunst hat bereits ab den 1950er Jahren internationale Anerkennung erfahren, so wurden ihm nicht nur zahlreiche Einzelausstellungen im In- und Ausland gewidmet, sondern auch etliche Förderpreise verliehen. Seine Teilnahme an wichtigen Ausstellungsprojekten wie der documenta II (1959), III (1964) und IV (1968) festigte zudem seine Stellung auf dem internationalen Kunstmarkt. [SL] Aufrufzeit: 11.12.2020 - ca. 17.24 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).ENGLISH VERSIONPeter Brüning 1929 Düsseldorf - 1970 Ratingen Ohne Titel. Um 1960. Oil on canvas. Otten 363. 80 x 100 cm (31.4 x 39.3 in). • For the first time on the international auction market (source: www.artprice.com). • Dynamic composition that shows the artist's virtuoso style. • The artist participated at Documenta II, III and IV in Kassel in 1959, 1964 and 1968. PROVENANCE: Galerie Elke and Werner Zimmer, Düsseldorf. Collection Deutsche Bank AG, Frankfurt a. M. EXHIBITION: Peter Brüning – Vom Informel zu den kartographischen Bildern und Zeichnungen, Galerie Elke and Werner Zimmer, Düsseldorf, March 21 – May 12, 1984. 'The question regarding figuration or abstraction is obsolete.' Peter Brüning, 1956 Called up: December 11, 2020 - ca. 17.24 h +/- 20 min. This lot can only be purchased subject to regular taxation (R).

Markus Lüpertz 1941 Liberec/Böhmen - lebt und arbeitet in Berlin, Düsseldorf und Karlsruhe Mann + Eule II. 1996. Öl auf Leinwand. Oben rechts monogrammiert. Verso betitelt und bezeichnet. Im Künstlerrahmen. 100 x 81 cm (39,3 x 31,8 in). [SL]. • Unser Werk zeigt wunderbar Lüpertz' spontane, gestische Malerei, die zwischen Figürlichkeit und Abstraktion hin und her bewegt. • Mitte der 1990er Jahre entstehen die 'Otello' Bilder, die das männliche Gesicht frontal und mit äußerst expressivem Ausdruck porträtieren. • Einer der bekanntesten deutschen Künstler der Gegenwart • In den letzten Jahren haben mehrere große Retrospektiven seines Wirkens stattgefunden. Die Authentizität der vorliegenden Arbeit wurde vom Atelier Markus Lüpertz bestätigt. PROVENIENZ: Privatsammlung Baden-Württemberg. 'Der Fleck fängt an zu leben. Er wird eine Gestalt, er wird eine Form, er wird eine andere Farbe, er wird eine Auseinandersetzung, er wird plötzlich eine Erinnerung, er wird eine Antwort auf ein existierendes Bild, er kann auf Pollock reagieren, er kann es auf Picasso tun, er kann auch was ganz neues werden. Er kann was Zufälliges und was Bestimmtes werden. Für was ich zuständig bin, ist lediglich meine Methode und meine Intensität.' (zit. nach: Markus Lüpertz, Gemälde – Skulpturen, Düsseldorf 1996, S. 160). Aufrufzeit: 11.12.2020 - ca. 15.53 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONMarkus Lüpertz 1941 Liberec/Böhmen - lebt und arbeitet in Berlin, Düsseldorf und Karlsruhe Mann + Eule II. 1996. Oil on canvas. Upper right monogrammed. Verso titled and inscribed. In artist frame. 100 x 81 cm (39.3 x 31.8 in). [SL]. • Our work is a wonderful example of Lüpertz’ spontaneous, gestural painting, which oscillates between figuration and abstraction. • In the mid-1990s the 'Otello' pictures were created, which portray the male face in frontal view and with an extremely expressive physiognomy. • One of the most famous contemporary German artists • Several large retrospectives of his work have been shown in recent years. This work's authenticity has kindly been confirmed by the Atelier Markus Lüpertz. PROVENANCE: Private collection Baden-Württemberg. 'The spot begins to live. It takes on a shape, a form, becomes a different color, an examination, suddenly it becomes memory of and answer to an existing picture, it can react to Pollock, to Picasso, or become something entirely new. It can become something random or something certain. My job is merely my method and intensity.' (Quote from: Markus Lüpertz, Gemälde – Skulpturen, Düsseldorf 1996, p. 160). Called up: December 11, 2020 - ca. 15.53 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Fred Thieler 1916 Königsberg - 1999 Berlin Ora’82. 1982. Mischtechnik auf Leinwand. Melchior 8/77. Rechts unten signiert und datiert. 220 x 280 cm (86,6 x 110,2 in). [SL]. • Die Farbe entwickelt eine Eigendynamik und damit die Möglichkeit des freien Fließens, zufälligen Vermischens, seines Eingreifens und Gestaltens. • Teilnahme an der Documenta II, 1959, und Documenta III, 1964, in Kassel. PROVENIENZ: Galerie Georg Nothelfer, Berlin. Galerie Silvia Menzel, Berlin. Sammlung Deutsche Bank (1988 vom Vorgenannten erworben). AUSSTELLUNG: Kunst konzentriert, Galerie Georg Nothelfer, Berlin, u. a., 31.5.-3.6.1984, Ausst.-Kat., mit Abb. S. 69. Kunst aus Berlin, Gesellschaft für Aktuelle Kunst, Bremen, 1984. Große Kunstausstellung NRW, Kunstmuseum Düsseldorf im Ehrenhof, Düsseldorf, 2.12.1984-6.1.1985. Fred Thieler – Arbeiten 1940-1986, Akademie der Künste, Berlin, 2.2.-17.3.1986, Kat.-Nr.125. Drei Monate – Drei Generationen, Galerie Silvia Menzel, 7.-20.9.1986. Fred Thieler: Dialog mit der Farbe, Kunsthalle in Emden/Stiftung Henri Nannen, 3.11.1991-2.2.1992; Daniel-Pöppelmann-Haus, Herford, 7.3.-26.4.1992; Städtische Sammlungen, Schweinfurt, 8.5.-21.6.1992, Kat.-Nr. 45, mit Abb. S. 108-109. LITERATUR: Internationaler Kunstmarkt Düsseldorf, Sonderschau des Städtischen Kunstmuseums Bonn, Messe Düsseldorf, 1982, S. 196 mit Abb. Kunst aus Berlin, Galerie Georg Nothelfer, Berlin, 1984, S. 37 mit Abb. Rolf-Gunter Dienst, Das deutsche Informel heute, in: das kunstwerk, 5 XXXVI/1983, S. 82 mit Abb., bez.: B.Or. I/82. Heinrich Hahne, Fred Thieler, in. das kunstwerk 6 XXXV/1982, S. 88 mit Abb., bez.: B.Or. I/82. Manfred de la Motte (Hrsg.), Fred Thieler, Galerie Georg Nothelfer, Berlin 1983, S. 53 mit Abb. Fred Thieler ist sicherlich der Maler, dessen Werke dem US-amerikanischen abstrakten Expressionismus am nächsten stehen. Und in der Tat erinnert Thielers sehr individuelle Malweise an die 'drippings' von Jackson Pollock. Der Bildträger, Leinwand oder Papier, liegt während Thielers Malvorgang immer flach auf dem Boden. Die Farbe, aus Dosen, Eimern, Kanistern oder Gießkannen geschüttet, wird mittels Anheben des Bildträgers ansatzweise gelenkt, teilweise mit dem Pinsel nachgearbeitet. Für Fred Thieler bedeutete Malerei immer ein Experimentierfeld. Diese Art der Malerei vollzieht sich schnell und konzentriert, es existieren keine Vorstudien zu den Werken. Generell verwendete Thieler einen Farbkanon aus Blau, Schwarz und Weiß, wobei er wie hier den dominanten Akzent der Komposition mit Rot setzt. In diesen Werken Thielers, entstanden im Prozess des kalkulierten Zufalls, scheinen wir einen Einblick tief hinein zu den bekannten, doch unreflektierten Urmysterien menschlichen Daseins zu erhalten - oder ist es doch eher ein Blick hoch hinauf in die Weiten des Universums? Ist gar beides in diesen Bildern geborgen? Das Werk Fred Thielers gilt gemeinhin als Synonym für das Informel und ebenso für abstrakte Bildwelten. Nach ersten Gemälden in bewundernden Gedanken an Corinth Anfang der 1940er Jahre sucht Thieler in der Ungegenständlichkeit der Motive die Vergangenheit hinter sich zu lassen und im Umgang mit Farben und Formen neue Wege des Ausdrucks zu erlangen. Es folgen Spachtelbilder, wie mit der Serie der „Wannseebilder“ Anfang der 1960er Jahre verwirklicht, sodann mit den Collage- und De-Collage-Bildern Mitte der 1960er Jahre erste Schüttbilder, die er in der Fülle der gesammelten Erfahrung bis zum Schluss ausführt, dem malerischen Experiment immer offen gegenüberstehend. Um ausgreifende Bewegungen großformatig umzusetzen – sicherlich ein Nachklang der 1959 auf der zweiten Documenta in Kassel ausgestellten Action-Painting-Bilder von Jackson Pollock – verwendet Fred Thieler in der Folge wieder Pinsel und flüssigere Farbe, „ganz normale Binder-Farben in größeren Bottichen; ich habe zwar damals noch nicht gegossen, aber mit größeren Pinseln die Farbe auf der Leinwand bewegt. Teilweise wurde die Farbe auch direkt aus der Tube gedrückt. Dann hat sich aus diesem Arbeitsprozeß eine Art Misch-Technik ergeben, indem die Erfahrung lehrte, daß man in die Binderfarbe eine in Terpentin gelöste Farbe hineingibt, und daß es dann entsprechende Ausbreitungen der Farbe gab – oder eben auch nicht –, daß also von dem eigenen Prozeß immer mehr der Prozeß auf der Leinwand zu einem selbständigen Prozeß wurde. Also nicht so sehr ein absolutes Von-sich-aus-Tun, sondern immer mehr ein Reagieren auf etwas.“ (zit. nach Eva Müller-Remmert, in: Fred Thieler. Malerei, Duisburg 2014, S. 35). Thieler entdeckt zunehmend die Eigendynamik der Farben und die Möglichkeit ihres freien Fließens, ihres zufälligen Vermischens, seines Eingreifens und Gestaltens. Die Formate wachsen, die Ideen des Künstlers werden kühner. Die Vorstellung von Malerei, getragen von großer Empathie für das Geschehen, erfährt ungeahnte Größe, freie Bewegung über das jeweils gegebene Format hinaus, gleichsam das Gefühl erzeugend, die Leinwand sei zu ‚klein’ gewählt. Die so gewonnenen Erkenntnisse lassen Thieler in den 1980er Jahren bis zu seinem letzten Tag immer neue Bildmöglichkeiten finden. Es sind keine gezielten Versuche, sondern vielmehr ist es ein entschiedenes Reagieren auf das, was auf der Leinwand, dem Segeltuch oder dem Papier geschieht. „Maler sein, heißt für mich, die Existenz eines Zeitgenossen zu führen, der den Hauptteil seines Daseins mit dem Versuch verbringt, die Impulse seines Lebens: Anregungen wie Depressionen, Intuitionen wie berechnende Überlegungen, Reaktionen aus Einzelergebnissen wie Erlebnisketten malend aufzuzeigen – oder im Malvorgang zu gewinnen. Malen bedeutet für mich, die Erfahrungsanalogien und -differenzen zu registrieren und ein Ergebnis zur Entstehung zu bringen, das, aus dem Malprozeß entlassen, für den Betrachter wie für den Maler selbst sich als Reflexion menschlichen Daseinserlebnisses darstellt und anbietet.“ (Zit. nach Andrea Firmenich in: Fred Thieler Monographie und Werkverzeichnis, Köln 1995, S. 17) Diese Haltung spürt der Betrachter, sie ist bis ins reife Schaffen dieselbe geblieben. Nicht eine allgemeingültige philosophische Haltung, die Thieler mit der Frage nach der eigenen Existenz verbindet. Sie bildet den entscheidenden Hintergrund für seine Kunst, sie ist Grundlage und Energiequelle für sein großes, konsequentes Engagement nicht nur als Künstler, sondern auch als Lehrer, als Kulturpolitiker und als Kunstanwalt. Die bewusst herbeigeführte Ereignishaftigkeit der Bilder ist für Thieler mehr als eine experimentell-sinnliche Lust an der Farbe, am Malprozess. Die ungewisse Veränderbarkeit ist Bildthema und Impuls zugleich. Darin offenbart sich Thielers Grundhaltung einer Erkenntnis und Anerkenntnis des steten Wandels des Lebens, der Ungesichertheit der menschlichen Existenz, der momentanen Subjektivität von Erleben und Erfahren, die keinerlei Gültigkeitsanspruch haben kann. [MvL] Aufrufzeit: 11.12.2020 - ca. 15.20 h +/- 20 Min. Dieses Objekt wird regelbesteuert angeboten (R).

Robert L. Pollock (Contemporary), View down an Eastern stone corridor, signed limited edition print, framed and mounted under glass, 79 x 68 cm total

JOHN MILTON: PARADISE LOST, intro John Wain, ill Ian Pollock, London, Folio Society, 1991, large 4to, original pictorial black buckram gilt, top edges gilt, vgc, original slip-case gilt, from the collection of Derek Cottam

IAN POLLOCK: MIRACLES OF CHRIST, [Stockport], Poppy Zelda Press, 1976 (500) numbered (11) and signed, English, French and German text, oblong folio, original parchment gilt, some slight wear to spine, scarce, not on COPAC and according to Pollock, most of the unsold books were destroyed, from the collection of Derek Cottam

Film Directors collection, nine cards signed by Ridley Scott, Danny Boyle, Sidney Pollock, Robert Altman, Todd Field, Jim Sheridan, Anthony Minghella, John Waters. Condition 8/10. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Marcia Hafif (American, 1929-2018)Cadmium Red Medium, 1991 signed, titled and dated CADMIUM RED MEDIUM MARCIA HAFIF 1991 (on the overlap)oil on canvas86.4 x 86.4 cm.34 x 34 in.Footnotes:ProvenanceGalerie Albert Baronian, BrusselsPrivate Collection, EuropeAcquired directly from the above by the present ownerExhibitedAalst, Galerij S65, Red Paintings, 1998The late Marcia Hafif was a true pioneer of contemporary painting. One of the definitive artists of Minimalism and early Pop Art in Europe, her legacy as a pivotal figure of the post-war period has emerged in earnest since her passing in 2018, positioning her as one of the leading female figures of her generation. Presented here are two iconic examples of her paintings and works on paper – pieces that embody Hafif's conceptual endeavour and deep aesthetic appreciation for colour, process and form. Across a pure canvas of florid red, laden with measured strokes, and in the studied marks forming an austere lattice of lines that reads as a harmony of musical annotation, the simple power of her work is tantalising to behold in the present works. In Cadmium Red Medium (1991) and November 20, 1972 (1972), Hafif achieves a serene force that holds the physical qualities of her materials in equilibrium with the visual impact of their composition. Hafif's colour field painting and pop minimalist style owed much to her travels in the 1960s; her global perspective bred an appreciation for the emergent postmodernisms that were developing in America and Europe from the 1950s onwards. With the arrival of Abstract Expressionism, Minimalism and Pop Art, Hafif was revolutionary in her use of colour as a medium, expanding the nature of the 'plane of the painting,' whose significance had become the credo of the likes of Jackson Pollock, Barnett Newman, and Jasper Johns. In her paintings, Hafif used the plane to carve out geometries and colour fields that pre-date the work of many of her male contemporaries, and whilst being included in many exhibitions that evidenced her rightful place in the canon, such as Abstract Painting: 1960-69 in 1983 at the P.S.1. Museum, New York, alongside the likes of Brice Marden, Robert Ryman, and Agnes Martin, the current market has yet to truly react to her serious contribution to painting in the Twentieth Century. Born in 1929 in Pomona, California, Hafif closely studied the art of the Italian Renaissance, captivated by the sumptuous panels and frescoes of Fra Angelico and Piero della Francesca. Learned in the intense process and methodological struggles of renaissance painting, whose layers, colours and radiance could only be achieved through a virtuoso understanding of the compound elements of paint and their affect on the eye, Hafif applied such a holistic vision to the reductive canvas painting of the day – geometrical minimalism. During her tenure in Rome, she aligned herself with the Italian Pop Art movement, as well as with artist Francesco Lo Savio who was himself a pivotal influence and precursor to American Minimalism. Producing geometric and dichromatic canvases, she returned to New York in 1971 building upon this period of creativity, achieving a maturity in her practice that led her to produce some of her first monochromes; a lifelong series that would define the artist's output for rest of her career.Across an oeuvre that has been overlooked and considerably undervalued, Hafif has proven herself to be one of the most serious minimalist painters and theoreticians, consistently pushing the significance of the materiality and synesthetic affects of paint. Writing in Artforum in 1978, she commented: 'The options open to painting in the recent past appeared to be extremely limited. [...] we may be ready to enter still another phase of abstraction, a synthetic period' (Marcia Hafif, 'Beginning Again', Artforum, September 1978, No. 17, Vol. 1, online).In the present two works, Hafif's place in the art historical canon beside the likes of Brice Marden, Agnes Martin and Ellsworth Kelly is without question. In a luscious and intense red, her Cadmium Red Medium (1991) is a unique monochrome that wonderfully conveys the intensity and labour with which Hafif rendered the pristine canvas. Likewise, November 20, 1972 (1972) demonstrates the masterful hand and the erudite mind that formulated the fastidious and complex architecture.For further information on this lot please visit Bonhams.com

Presentation Copy from 1916 Signatory McDonagh (Thomas) The Golden Joy, [Poems] 8vo D. (O'Donoghue & Co.) 1906. First Edn., uncut, orig. gilt lettered green cloth. An extremely fine copy of The Author's Third Book. * With very good Presentation inscription, signed by Author, 'To my good friend Mrs. Pollock,? House, Rathfarnham, Christmas 1911, with best wishes, Thomas McDonagh,' (1)

Manufacturer - Corgi | Description - Mercedes Benz Actros Curtainside - Pollock (Scotrans) Ltd | Stock Code - CC13809 | Notes - | Scale - 1:50 | Certificate - 2001/2260

Manufacturer - Corgi | Description - 3 Tractor Units & Curtainside Trailer Set - Pollock | Stock Code - CC99130 | Notes - | Scale - 1:50 | Certificate - 378/2700

Cricket Warwickshire CCC Benson and Hedges Cup Winners 2002 multi signed mounted display. A colour photo of the victorious Warwickshire CCC team after winning the 2002 Benson and Hedges Cup Final in 2002 professionally mounted and signed by 12 members of the squad signature include Shaun Pollock, Nick Knight, Ian Bell, Keith Piper, Neil Smith, Ashley Giles, Dougie Brown, Jim Troughton, Trevor Penney, Michael Powell, Neil Carter and Mo Sheikh. Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Roy Lichtenstein Roy Lichtenstein Roy Lichtenstein (1923 New York - 1997 ebenda) "Brushstroke". Originaltitel Farbserigraphie/festes Velin, 1965. Sign. u. nummeriert 236/280. Auflage 280 plus 15 HC-Abzüge und einer unbekannte Anzahl von Artist's proofs. Herausgegeben von der Leo Castelli Gallery/Leo Castelli Graphics, gedruckt von Chiron Press, beide New York. Wvz. Corlett II.5. Das berühmte Blatt des Pop Art-Künstlers gehört zu einer 1965 begonnenen bedeutenden Werkreihe von Gemälden und Grafiken Lichtensteins, in denen er sich in subversiver, ironisch-kritischer Weise mit der überhöhten Bedeutung des Pinselstrichs im Abstrakten Expressionismus bei Jackson Pollock und Willem de Kooning auseinandersetzte. Hierbei stellte er ausschnitthaft scheinbar spontane Pinselstriche sowie Farbspritzer in klaren leuchtenden Farben mit schwarzen Kontur- und Strichlinien dar, die sich vom gleichmäßigen Raster-Hintergrund aus sog. "Benday Dots" abheben. Gebräunt, partiell Randretuschen (Deckweiß). Darstellung ca. 56,2 cm x 72,2 cm; Blatt ca. 58,2 cm x 73,5 cm. Rahmen. Lit.: "Gli altri. I percorsi inquieti di Bruno Bruni", Ausstellungs-Kat. Musei Civici di Pesaro, 16.7.-11.11.2011, S. 53 (mit ganzseitiger Farbabb.). Vergleichsexemplare befinden sich u.a. im Museum of Modern Art in New York und in der National Gallery of Art in Washington D.C. Provenienz: Sammlung Bruno Bruni. Serigraph (screenprint) in colours on heavy wove paper, 1965. Hand-signed and numbered 236/280 (there were also 15 HC impressions and an unknown number of artist's proofs). Light toning, some retouches with whitening to the edges.

GEORGE BEST Programme for Personalities XI v Stable Bar All Stars 5/9/1982 at Pollock Junior Football Park in which Best guested for Stable Bar. In the line-up was also Billy McNeil and Harry Hood of Celtic and George McLean, Willie Henderson, Jim Johnstone and Johnny Hamilton of Rangers. Good

CRICKET, press photos, Australia v South Africa, 1963/4, showing Pithey batting off Simpson 2nd test at Melbourne, Pollock batting off Connolly 3rd test at Sydney, Benaud batting during the 4th test, O'Neill b Pollock & Lindsay catches Bobby Simpson both from the 5th test at Sydney, press stamp to backs (2), 10 x 8 (4) 6.5 x 8.5 (1) VG to EX, 5

[POLLOCK, Jackson (1912-1956)]. O 'CONNOR, Francis Valentine; THAW, Eugene Victor, editors. Jackson Pollock. A Catalogue Raisonne of Paintings, Drawings and Other Works. New Haven and London: Yale University Press, 1978.4 volumes, 4to. Numerous black and white reproductions of Pollock 's works. Original publisher 's linen stamped in black and gilt (some minor loss of black pigment to spines, more pronounced vol.III); cloth slipcase with printed label (slight fading to extremities). FIRST EDITION of Pollock 's catalogue raisonne.  [With:]    Supplement Number One. Francis Valentine O 'Connor, editor. New York: The Pollack-Krasner Foundation, Inc., 1995. Original publisher 's linen; cloth slipcase with printed label; original unopened shrink wrap. FIRST EDITION of the first supplement.Property from the Collection of Michael and Kay MeletFor condition inquiries please contact Gretchen Hause at gretchenhause@hindmanauctions.com

Five Corgi 1:50 scale diecast models, to include two Kings of the Road CC12504 Pollock Atkinson Borderer Flatbed Trailer & CC12503 Gibbs of Fraserburgh Atkinson Borderer & Fridge Van, Heavy Haulers US50705 Litefoot Logging Mack LJ Logger, and two Texaco Pipeline 53503 Mack B Series Lowboy & Luffing Shovel & 55610 Diamond T980 Wrecker & Trailer with Pipes, all boxed. (5)

A collection of Corgi Premium Edition diecast models, comprising British Railways CC11606 Albion Reiver Platform Lorry & Tank Container Load, Tippers CC10504 Ketton Cement ERF KV Tipper, British Road Services CC10902 Bedford S Dropside, Scammell CC10704 Westfield Transport Highwayman Flatbed Trailer & Cradled Load & CC10703 Pointer Highwayman Low Loader & Cable Drum Load, and Fleets of Renown 29203 The Shore Porters Soceity Guy Invincible Platform Trailer & 23301 Pollock of Musselburgh Ford Transcontinental Platform Trailer with Sheeted Load, all boxed. (7)

* Twentieth-Century Autographs. A collection of approximately 200 autographs on card, circa 1920s/1950s, including C.R.W. Nevinson, W.L. Wyllie, A.W. Whitten Brown, Fred Roe, Johann Strauss III, Omar Ramsden, Dawson of Penn, Arnold J. Toynbee, S.P.B. Mais, Marie Kendall, Bruno Walter, Viola Tree, Arthur Macken, Violet Vanbrugh, Clifford Bax, Adeline Genee, A.E.W. Mason Strube, Harry Verney, G.M. Trevelyan, Jack Hylton, John Th. Tussaud, J. Forbes-Robertson, Ben Davies, Madge Kendal, Frederick Pollock, etc., each on individual pieces of card, 9 x 11.5 cm and some smaller, some dated in the signer's hand and many with pencil dates neatly written indicating when the autograph was receivedQty: (approx. 200)

Collection of modern printed exhibition posters and art prints, to include Picasso, Miro, Jackson Pollock and Marc Miranda, all framed, largest 92 x 50cm, and unframed art prints to include two Miro and one Picasso (8)

Tobacciana - A collection of mid 20th century vintage carved pipes to include brands such as Peterson, Parker and Hardcastle, Pollock and Co and more.

McLEAN JAMES (Pubs).  Trial & Sentence!, A Full & Particular Account of the Trial & Sentence of William Pollock Who is to be Executed at Edinburgh, on Wednesday the 22nd March, 1826, for the awful Murder of His Wife. Broadsheet; also a collection 30 plus Chapbooks, Glasgow & other Scottish imprints, early 19th cent.

Ian Pollock (born 1975)/Self Portrait With Alcoholic/a tribute to dossers/monogrammed/watercolour and body colour, 55cm x 37cm/Provenance: The Thumb Gallery CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Corgi and Matchbox Dinky Commercial Vehicles, a boxed collection of vintage and modern vehicles including buses, Corgi Classics 97051, 91847 and 1980s models (blue boxes 7), a Matchbox Dinky DY-S 10 1950 Mercedes O-3500 and haulage vehicles including Corgi Classics 97162 Pollock of Musselburgh tanker, together with Eddie Stobart Classics 97327, 97369 and 91350 Volvo (1980s in blue box), G-E, Boxes P-G, (14)

Artist: Franz Josef Kline [d'apres] (American, 1910-1962). Title: "Striding". Medium: Mixed media on paper. Date: Composed c1950s?. Dimensions: Image size: 14 x 11 5/8 in. (356 x 295 mm).Lot Note(s): Bears spurious signature, lower right. White wove paper. Very good condition. Comment(s): Kline started using color in his compositions in the mid 1950s. He was born in Pennsylvania and studied at Boston University. Kline was one of the central figures in the New York Abstract Impressionist movement of the 1950s, along with William de Kooning, Jackson Pollock, and Mark Rothko. After considerable success in New York galleries through the 1950s, Kline died young, at the age of 52, from heart disease in New York. [24459-3-400]

Artist: Mark Rothko (Latvian/American, 1903-1970). Title: "Untitled No.7 [small-scale]". Medium: Oil on wood panel. Date: Composed 1969. Dimensions: Overall size: 13 3/4 x 10 in. (349 x 254 mm).Lot Note(s): Signed and titled, verso. Fine condition; as painted. Comment(s): Rothko, of Jewish descent, was born Markus Yakovlevich Rotkovich in Dvinsk, Vitebsk Governorate, in the Russian Empire (today Daugavpils in Latvia). Although Rothko himself refused to adhere to any particular art movement he is generally identified as an Abstract Expressionist, and with Jackson Pollock and Willem de Kooning is one of the most famous postwar American artists. Image copyright © Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York. [29926-3-16000]

Artist: Philip Guston (Canadian-American, 1913 - 1980). Title: "Untitled". Medium: Charcoal and ink drawing on paper. Date: Composed 1968. Dimensions: Overall size: 8 1/4 x 11 1/8 in. (210 x 283 mm).Lot Note(s): Signed and dated, lower right. Light cream wove paper. Very good to fine condition; minor creasing upper right, away from image, else fine. Comment(s): Guston was a painter and printmaker in the New York School, which included many of the abstract expressionists, such as Jackson Pollock and Willem De Kooning. In the late 1960s Guston helped to lead a transition from abstract expressionism to neo-expressionism in painting, abandoning the so-called "pure abstraction" of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects. [29811-2-16000]

Admiral of the Fleet Sir Michael Patrick Pollock GCB, LVO, DSC, MiD** signature piece taken from a letter, Set with corner mounts on a superb A4 biography page. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

J.W. Benson 9ct cushion cased gentleman's wristwatch, Birmingham 1948, circular silvered dial with gilt Arabic numerals and minute track, subsidiary seconds and gilt moon hands, signed movement, presentation case back, Dennison case, brown leather strap, 29mm - Condition Report: - Movement - currently functioning. Dial - some marks, mark to the numerals. Glass - surface marks. Hands - marks. Case - surface marks, inscription reads 'Presented, To, Arthur Beresford, By The Directors Of, Accles & Pollock Limited, To Commemorate, 25 Years Good Service, With The Company, 1950'. Crown - adjusting correctly. Strap - some wear, buckle rubbed. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained

RAOUL DUFY (1877-1953)Le retour des régates signed, inscribed and dated 'Deauville Raoul Dufy 1933' (lower left)oil on canvas46.7 x 110cm (18 3/8 x 43 5/16in).Painted in Deauville in 1933Footnotes:ProvenanceM. Bignou Collection (by 1936).Perls Galleries, New York, no. 3311.Anon. sale, Christie's, New York, 8 May 2002, lot 300.Kunsthandel Frans Jacobs, Amsterdam.Private collection, The Netherlands (acquired from the above on 24 October 2002). ExhibitedToledo, The Toledo Museum of Art, European Section of the Thirty Third Carnegie International Exhibition of Paintings, 1 March – 19 April 1936, no. 78. LiteratureM. Laffaille, Raoul Dufy, catalogue raisonné de l'oeuvre peint, Vol. II, Geneva, 1973, no. 864 (illustrated p. 351).Le retour des régates was executed in Deauville in 1933 and stems from one of Raoul Dufy's most iconic subjects. Boat races were painted by the artist on numerous occasions throughout both France and Great Britain: in fact, the subject first appeared in Dufy's work in 1907 and remained an important theme throughout his practice. Executed on a canvas measuring over a metre long, Les retour des régates is one of the largest regatta scenes ever to appear at auction and was painted at the height of the artist's career.In the early twentieth century, Deauville developed into a go-to resort for high society due to its proximity to Paris. With a racecourse, a casino and a harbour, the small town provided entertainment throughout the year. The many festivities that were held established an influx of tourists and formed the ideal environment for Dufy to paint en plein air. The artist could observe the pastimes of the French upper-class from behind the easel, and the joyous and dynamic atmosphere allowed him to experiment with movement and colour. Born on the northern coast of France in the city of Le Havre, the artist was fascinated by the ocean from a young age as he would stand on shore watching the activities around the water's edge. Dufy considered the sea as a backdrop for lively spectacles, and it formed the ultimate location to observe the ever changing light effects: 'Unhappy the man who lives in a climate far from the sea, or unfed by the sparkling waters of a river!...The painter constantly needs to be able to see a certain quality of light, a flickering, an airy palpitation bathing what he sees' (Dufy, quoted in D. Perez-Tibi, Dufy, New York, 1989, p. 158).Dufy scrutinised the boat racing theme over the course of his career, which resulted in an array of works on the subject. It allowed the artist to experiment with various structures and colour arrangements in his compositions and he mastered a uniquely free and dynamic style. In the present painting Le retour des régates, the viewer observes the sailing boats returning to the harbour after racing on a sunny day at sea. Dufy captures the scene as seen through the eyes of the sailors in the advancing boats, giving the viewer the sensation that they too are within the composition. With the wind blowing in their sails, the boats navigate towards maritime flags situating the harbour with the shore emerging in the background. Instead of carefully delineated details, Dufy employed bold and rigorous brushwork to create stylized forms on the two-dimensional picture plane. A dazzling palette of blue hues accentuate the sky and sea, evoking the atmospheric climate of his lively design. The present work is proof of the artist's masterful colour technique. In an interview with Pierre Courthion, Dufy elaborated on his choice of colour: 'Blue is the only color which keeps its own individuality across the spectrum. Take blue with its different nuances, from the darkest to the lightest; it will always be blue, whereas yellow darkens in shadow and fades out in lighter parts, dark red becomes brown and when diluted with white, it isn't red any more, but another color: pink' (Dufy quoted in P. Courthion, Raoul Dufy, Geneva, 1951, p. 52).Le retour des régates captures the spirit and influence of the Fauves, with whom Dufy exhibited following his encounter with Henri Matisse's seminal work Luxe, Calme et Volupté at the Salon des Indépendants in 1905. Being exposed to such daring work encouraged the young artist to experiment with a wider palette. As Dufy himself emphasised: 'colour captures the light that forms and animates the group as a whole. Every object or group of objects is placed within its own area of light and shade, receiving its share of reflections and being subjected to the arrangement decided by the artist' (Dufy quoted in D. Perez-Tibi, op. cit., p. 150).The 1930s are regarded as the apex of Dufy's career, as his work started to receive institutional attention and was widely acknowledged across continents. In 1932 the Musée de Luxembourg in Paris acquired one of his works for their permanent collection, and by 1936 Dufy received several important public commissions in Paris, most notably the mural for the Exposition Internationale des Arts et Techniques dans la Vie Moderne. In the same year, the present painting Les retour des régates was included in the thirty-third edition of the prestigious Carnegie International exhibition, held in the Toledo Museum of Art in Ohio. This show was initiated in 1896 by industrialist and philanthropist Andrew Carnegie and was the first exhibition with an international allure in North America. In 1936 the show served as an annual survey to identify international trends in avant-garde art to inspire and educate the public. Dufy's work was exhibited alongside paintings by artists such as George Braque and Pierre Bonnard. Other participants of the Carnegie International included Camille Pissarro, Salvador Dalí and Jackson Pollock.Raoul Dufy's spirited and bright compositions remain intrinsic to the art historical discourse of today, particularly his regatta paintings. Comparable works to Les retour des régates can be found in major public collections including the Musée d'Arte Moderne de la Ville in Paris, the Tate Modern in London and the National Gallery of Victoria in Melbourne.For further information on this lot please visit Bonhams.com

Cricket press photographs, a collection of approx. 200 colour & b/w photos, mostly 1990's, players in action, portraits etc, also some Test Match & World Cup Interest including England, South Africa, Zimbabwe, Holland etc, players include Botham, Stewart, Atherton, Cork, Pollock, Ntini, Hick & many others (mostly vg)

A PAIR OF 19TH CENTURY MAHOGANY HALL CHAIRS, with carved scallop shell backs above roundels with painted crests depicting boars, panel seats on reeded sabre legs Provenance;: By repute Castle Freke, Rosscarbery, Co. Cork. The crest appears to be Pollock of Mountainstown.

CORGI 150TH SCALE LIMITED EDITION TRUCKS including CC12504 Kings of the Road, Atkinson Borderer Flat-bed Trailer in Pollock Livery, US52905 Diamond T620 Box Van with Moosehead Livery from The Canadian Collection, 29301 Guy Invincible Eight Wheel Tipper, Duckett Highbridge and 29001 Guy Warrior Six Wheel Platform Lorry for Dee Valley Transport, Llangollen

A MID 18TH CENTURY ENGLISH SCHOOL a portrait of Robert Wilson of Transy holding his dog, oil on canvas laid down on panel, the picture inscribed to the reverse Robert Wilson of Transy aged 2 1742, son of Thomas Wilson and Margaret Doconie, grandson of Robert Wilson and Christian Pollock, 42 x 29cm

* Rothenstein (William, 1872-1945). Portrait of John Singer Sargent, lithograph on pale brown laid paper, printed by T. Way, from the book 'English Portraits, A Series of Lithographed Drawings', published by Grant Richards, 1898, 29.5 x 20.5cm (11.5 x 8ins) mount aperture, together with 8 other lithographs from the same publication, comprising: Prof. Charles Villiers Stanford, Mr. Sidney Colvin, Sir Frederick Pollock, Arthur Wing Pinero, Sir Seymour Haden, Mr. William Archer, Prof. Alphonse Legros, and Mr. Robert Bridges, all similarly mounted, framed and glazedQty: (9)

The ClashA concert poster for The Clash at Tiffany's, Coventry, 8th November 1977printed on paper 76 x 101cm (30 x 40in)Footnotes:ProvenanceThe Bernard Rhodes Collection.Bernard Rhodes comments, 'This 1977 Clash poster is from the early period of punk when money was scarce. A UK tour was about to start, new stage equipment wasn't possible and not being thieves, neither was using stolen gear, so I had to rely on my cultural street instinct...Without delay I instructed the group to paint up their old amps, guitars and damaged speaker cabinets in colours day-glow pink or gory orange. Paint splashed everywhere; in the process providing the Clash with their Jackson Pollock paint splattered clothing style...'For further information on this lot please visit Bonhams.com

Helen Pollock, two various pictures, one landscape study, the other a view on an arched window with still life of flowers in vase, both acrylic on panel, signed, approx. 30x40cm, together with a crystoleum of a countryside wintry scene (3)

POLLOCK S NISBET River scene, signed, oil on board, 24 x 15cm Condition Report: Available upon request

Magic, Twentieth Century comprising: Hamilton, T . The Hermanns in San Francisco 1870-1927, 1995, wrappers, inscribed copy; Holzinser, J.N . Non Plus Ultra. 1998, 2 vol., slipcase; Caveney, M . Wonders, the Conference Illusions. 2013, slipcase; Christopher, M . Panorama of Magic. 1962, wrappers; Ewing, T.A . Conjurors and Cornfields, 1999, wrappers, inscribed; Olson, R . Carl Rosinik is Life and Magic. 1966, wrappers; Dauscher, W . SS. Adams. High Priest of Pranks, 2002; Davenport Book Catalogue. 1981, rebound, 2 copies; Andrews, V . The Triumphs and Tragedies of Horace Goldwin. 1983, cloth, inscribed; Fuscher, O . Illustrated Magic. 1951; Wels, B.G . The Great Illusion of Magic. 1977, dw; Behnke, L . Will Rock Presents. 2007; Waldman, C . The Art of Magic. 1997, dw; Magic Circle Jubilee Souvenir 1905-1995, cloth; Ryder, W. & G . Gilbert. The Great Book of Magic. 1976, wrappers; Micky Hades Encyclopaedia of Suspensions and Levitations. 1976; Whaley, B . Who’s who in Magic. 1991, cloth; Warlock, P. New Pentagram. Vo. 20, no. 5, cloth; Vaucason, J . An Account of the Mechanism of an Automata. 1979, cloth; Farrer-Brown, T . Charming Pollock, wrappers; Andrews, Val . Fred Culpitt, 2001, wrappers, Margaret Yates Magic Library bookplate; Andrews, Val . Lyle’s Cavalcade of Mysteries. 1983, cloth; Bergern, B . Willard the Wizard. 1978, dw; Rauscher, W.V . Goebel… Man with Magical Mind. 2010, dw; Rauscher, W.V . The Mind Readers. 2002, dw.; Thurston, G . My Magic Husband. 2006, dw; Dawes, E.A . The Magical Writings of. (c. 1996), wrappers; Hugard, J . John Hugard Testimonial. 1945, wrappers; McCullagh. B . Under the S. Cross. 2001, wrappers (quantity)Footnote: Provenance: From the collection of the Late Trevor Dawson

Corgi 1/50 diecast truck issue comprising No. 76401 Scania Curtainside in the livery of Pollock. Excellent, complete and with Excellent Box. Enhanced Condition Reports: We are more than happy to provide further images of any lot. Please contact us by email or via the catalogue listing.

Corgi 1/50 diecast truck issue comprising No. 75205 ERF EC Curtainside in the livery of Pollock. Excellent, complete and with Excellent Box. Enhanced Condition Reports: We are more than happy to provide further images of any lot. Please contact us by email or via the catalogue listing.

Corgi 1/50 diecast truck issue comprising No. CC99130 Pollock Set. Excellent, complete and with excellent box. Enhanced Condition Reports: We are more than happy to provide further images of any lot. Please contact us by email or via the catalogue listing.

Corgi 1/50 diecast truck issue comprising No. CC12504 Atkinson Borderer Flatbed Trailer in the livery of Pollock. Excellent, complete and with Excellent Box. Enhanced Condition Reports: We are more than happy to provide further images of any lot. Please contact us by email or via the catalogue listing.

Corgi Classics diecast trio comprising No. 97932 AEC Tanker (NE Gas Board), No. 97372 Atkinson Tanker (Mackeson) plus No. 97162 Atkinson Tanker (Pollock), Generally Excellent, complete with excellent in boxes. Enhanced Condition Reports: We are more than happy to provide further images of any lot. Please contact us by email or via the catalogue listing.

George Richmond RA (1809-1896)Portrait of Field Marshal Sir George Pollock (1786-1872)signed 'George Richmond' l.l., pencil heightened with white58 x 47cmSir George Pollock served in India for the majority of his military life. He joined the Bengal Artillery in 1803 and served during the 2nd Maratha War (1803-1805), the Siege of Bhurtpore (1805) and the Anglo-Nepal War (1814-1816). He was promoted to major-general in 1838, the year preceding the First Anglo-Afghan War, which continued until 1842. During this war he commanded the 'Army of Retribution' that, following a successful mission to relieve a besieged garrison at Jalalabad, joined forces with Major-General Sir William Nott's force and advanced to Kabul, where they rescued British hostages and destroyed the covered bazaar. This confrontation was the last in the First Anglo-Afghan War. Pollock was appointed military member of the Supreme Council of India in 1844 and retired in 1870 at the rank of field marshal. He was made a baronet in 1872.Condition report: One or two foxing spots and a little discolouration to the background, where an old stretcher/frame has been. Old gilt frame which has a few chips.

The Dartmoor Preservation Association - A short History of The Rights of Common Upon the Forest of Dartmoor and The Commons of Devon. Report of Mr Stuart A Moore to the committee with an introduction by Sir Frederick Pollock, printed for the committee by W Brendon & Son, Plymouth 1890 (1)

A Roll of exhibition posters including Patrick Heron and Jackson Pollock

A collection of Corgi 1:50 scale diecast models, comprising 74901 Rugby Cement ERF Powder Tanker, 76401 Pollock Scania Curtainside, 75603 Norbert Dentressangle Renault Curtainside and CC12216 Corby Chilled Distribution Scania Fridge Trailer, all boxed. (4)

unmarked, rose coloured metal, the large matrix with carved shield for Pollock impaling Harrington, in channel surround, the under gallery with ribbed detail, the shank with bright cut channel detail(Ring size: S/T, matrix: 24mm x 22mm)Footnote: The Marital Arms of Pollock and Harington The arms as engraved upon the matrix of this early 20th Century Gold and Carnelian Gentleman?s Personal Seal or Signet which dates to between 1900 and 1924 are those of the family of Pollock impaling Harington. These armorial bearings denote the marshalling of a marital coat showing on the dexter (the heraldic right on the left as you view the piece) the arms of the husband and on the sinister (the heraldic left on the right as you view it) the arms of the wife. These armorial bearings may be blazoned as follows: Arms: (on the dexter) Azure three fleurs-de-lis within a bordure engrailed or a canton ermine thereon a portcullis of the second (for Pollock) (on the sinister) Sable a fret argent (for Harington) These arms undoubtedly commemorate the marriage of George Hume Pollock (born 25th April 1870 died 12th March 1924) and Margaret Agnata Harington (born 23rd June 1871 died 10th January 1954). George and Margaret were married within the Registration District of Bromyard in the County of Herefordshire on the 25th September 1900. George was the son of Sir Charles Edward Pollock and his third wife, Amy Menella Dodgson, whilst Margaret was the eldest daughter of Sir Richard Harington, the 11th Baronet of Ridlington in the County of Rutland2 and his wife, Francis Agnata Biscoe George was a descendant of Charles Pollock of Greenhill in the County of Dumfriesshire (died 1545) and his wife, Marian Stewart of Castlemilk in the same county, whilst Margaret?s family were created baronets in 1611, but sprang anciently from the County of Cumberland.

Corgi 1:50 Eddie Stobart HGV & Trailer, Corgi Malcolm HGV (No Trailer), Cararama Pollock HGV & Trailer - All Unboxed. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

27th Anniversary of fixed wing jet V/STOL take off from a carrier at sea cover 8th February 1990 signed by Rear Admiral Rawbone, Bill Bedford Test Pilot, Sir Michael Pollock, Vice Admiral Sir Donald Gibson and Captain Brigstocke. Cover stamped 131 of 223 covers issued and re-stamped number 15 of 30 issued. Good Condition. All autographed items are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.

Oil on Newsprint. Color abstract painting on a page of the New York Times, August 9,1974. Signed in pencil, lower right. De Kooning's works throughout the mid-twentieth century established him as one of the great artists of the New York School, which included Pollock and Rothko. He continued producing both paintings and sculptures until his death in 1997, and is considered a seminal artist of the abstract movement. Overall size: 28 1/2 x 22 1/2 in. Sight size: 22 x 14 1/2 in. Please note that all sales are final. No refunds will be given under any circumstances.

CORGI; twenty-one boxed Haulage Models with eleven Superhaulers including TY86714 Volvo Curtainside-Jigsaw & Pollock Express, TY87004 DAF 95 Skeletal Trailer-P&O Nedlloyd, etc, also CC12911 'Knights of Old' Scania Topline Curtainside and further similar, also a loose Weetabix and boxed Cararama Stobart example.Additional InformationInternal models appear ok, general wear to boxes.

Corgi - A boxed group of six Corgi Classics diecast vehicles. Lot includes 'The Brewery Collection' Limited Edition #09801 ERF Delivery Truck Set; #97162 Atkinson Elliptical Tanker - Pollock of Musselburgh and similar. Models appear to be in Mint condition in Excellent boxes with some storage wear. Models are unchecked for completeness.

Pollock S Nisbet ARSA: "A Canal in Bruges", oil on board, signed 28 x 19, in gilt frame

Two boxes of face value presentation pack stamps (approx. £100), 1863 Glasgow to Pollock Penny Red envelope, coin cover and coin pack, Benham covers, stamped invoices c1900s, Japan postally used stamps, mint IOM, States of Guernsey Post Office presentation MNH stamp album, assorted PHQ cards, 1970s to 1980s FDCs.

A Corgi Toys No. CC99130 Scotland's Finest Pollock road transport gift set, limited edition example, with certificate, in the original Pollock branded all-card box (NM,BNM)Condition report: extra picture

CRICKET, press photos, Australia v South Africa, 1963/4, showing Pollock batting off Connolly, Pithey batting off Simpson, press stamp to backs (Central), 10 x 8VG, 2

CRICKET, press photos, Australia v South Africa, 1963/4, showing Simpson c Lindsay, O'Neill b Pollock, Benaud batting, press stamp to backs (2), 10 x 8 and smaller, G to VG, 3

Meredith (George, novelist and poet, 1828-1909) Autograph Postcard initialled "GM" to Sir Frederick Pollock, 1 side, 122 x 75mm., 25th October 1882, with an original poem unpublished until 1950, "Vowed, by Time upon his dial!"; "Which full many a Tramp has laughed in" [first & last lines], postcard torn in two and repaired with tape; and a printer's proof of an article on Meredith by Sir John, v.s., v.d. (2). ⁂ A very personal poem by Meredith for Pollock, including the line "boar with shaft in flanks" referring to the Pollock crest and "Tramp" an allusion to the Sunday Tramps, a walking group started by Frederick Pollock and of which Meredith was an enthusiastic member. Originally unpublished in Meredith's lifetime until appearing in Sir John Pollock's autobiography Times Chariot, John Murray, 1950.Pollock, Sir Frederick, third baronet (1845-1937), jurist & Sir Frederick John Pollock, fourth Baronet (1878-1963), historian, journalist and translator.