§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.3957 - 2012Signed and dated, mixed media (Dimensions: 18cm x 26cm (7in x 10.25in))Provenance: Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.
We found 2837 price guide item(s) matching your search
There are 2837 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
2837 item(s)/page
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) CARIB ISLAND NO.2 - 1976Signed, gouache (Dimensions: 56.5cm x 81cm (22.25in x 31.75in))Provenance: Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) MAGIC PICTURE NO.1Lithograph, 39/500, signed and numbered in pencil to margin (Dimensions: 57cm x 77cm (22.5in x 30.25in))Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) BIRD THROUGH THE WALL, NO. 8Signed, inscribed and dated 'March '71' verso to each canvas, oil on canvas across two panels (Dimensions: 152.5cm x 244cm (60in x 96in), total size) (Qty: 2)Provenance: Gimpel & Weitzenhoffer, New York Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his. Bird Through the Wall, No. 8 is a large-scale artwork that unfolds across two canvas panels, just as the artist’s vision and inspiration did. The striking diptych is quintessentially Davie, with strong colour, graphic symbols that recur from other paintings, including the titular bird, and gestural, energetic and dynamic brushwork, where he patterns the paint, and allows it to splodge and drip. There is a clear power and energy at work here, though an exact meaning is difficult to distil.
§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) POET CREATING AN EGG, 9293 - JULY '64Signed, dated and inscribed, watercolour (Dimensions: 55cm x 75cm (21.75in x 29.5in))Provenance : Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.
FRANK STELLA (AMERICAN B.1936) VARIOUS COLOUR STUDIES AND DESIGNSSix wool tapestries (Dimensions: 67cm x 80cm (26.5in x 31.5in), frame size)Provenance: Dovecot Tapestry Studios , Edinburgh Note: In 1984, Frank Stella was commissioned to design a set of tapestries, to be woven by the Dovecot Tapestry Studios in Edinburgh, for PepsiCo Inc. headquarters in New York. The set of tapestries were inspired by El Lissitzky's Had Gadya. The tapestries in this lot are test samples for different colours and patterns for Stella's designs. The tapestries are accompanied by a catalogue, published to commemorate the entire project. Biography: Frank Stella is one of the great American artists associated with the Minimalism movement of the 1960s. Minimalism spanned many artistic fields, from the compositions of musician Philip Glass, to the plays of Samuel Beckett. In terms of the visual arts, it is characterised by an often 'hard-edged' take on abstraction and a systemic approach to painting, often formed of geometric shapes depicted in highly saturated 'fields' of colour. Stella is regarded as one of the pioneers of this new approach, though many included under the Minimalism banner rejected the categorisation of their work as a cohesive movement as such. Stella struck out on his career path as an artist largely independently and with a clear, singular vision for the work he wanted to create. Having been influenced early on by the precise, tonal works of European modernists like the Bauhaus' Josef Albers, Stella very deliberately chose to move away and past the dense, gestural approach to abstraction made famous by Abstract Expressionists like Jackson Pollock. In antithesis, his work sought to elevate the picture as object, as opposed to the picture as cipher for something tangible in the physical world, or as representative of the artist's own interior life and emotions. Where the previous school had sought to capture feeling and painterly movement in the immediate post-war years, Stella and his contemporaries were cool and detached. Stella's work is featured in the collections of important institutions around the world. In 1970, he became the youngest artist to be the subject of a major solo exhibition at the Museum of Modern Art, New York. In 2009, Stella was awarded the National Medal of Arts by President Obama.
HUTCHINSON, DUBLIN. A 19th CENTURY IRISH BRASS BARREL BLUNDERBUSS the barrel stamped Dublin MF 1461 and with two proof marks, the lock plate with makers mark, with engraved brass trigger guard and furnishings, the butt plate numbered to match the barrel, the walnut stock stamped A POLLOCK, 76cm. - Arthur Pollock was the High Sherrif of Meath who died in 1846, he lived at Mountainstown House in Navan, Co. Meath where his family resided for 250 years
A pair of George II silver sauce boatsJohn Pollock, London 1749 Shaped-oval form, with embossed Rococo decoration, on three hoof feet, with flying scroll handles, length 18cm; together with a pair of snuffers, James Gould, London 1733, weight 19.5oz. (3)For further information on this lot please visit Bonhams.com
Four pocket aneroid barometers and an altimeter, the first by J A S Pitkin, maker, London 5.58, with curved thermometer, the second by T Cooke & Sons patent, Strand, London No.157, the third a dashboard barometer, inscribed 'Finnigans, Pillischer, London', monogrammed, the fourth by Pillischer, London, monogrammed, and an ascending altimeter by Pollock & Stewart, Glasgow, leather case (5)
Ian Pollock (B. 1950) "Thomas Hardy" Signed lower right. Watercolor on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover for the Great Britain 20p Thomas Hardy stamp issued July 10, 1990. In an age of proper Victorian morality, the works of Thomas Hardy were sometimes received with disgust and indignation. His novels of human tragedy and immorality were indeed ahead of their time; in his final novel Jude the Obscure (1895), the principal characters leave their respective spouses for one another, live together and have children. Hardy's perceived sympathy for his characters was greeted with outrage -- the Bishop of Wakefield reported that he tossed the book into the fire. Yet today, Hardy is readily acknowledged as England's foremost regional novelist, a man ahead of his time. Born in 1840, Hardy's most notable novels are set in the fictional region of "Wessex" in rural southwestern England. Many of his early works were published in magazines a chapter at a time and thus have the spice of melodrama -- a buildup at the end of each chapter to entice the reader's interest for the following month. Hardy's major works included The Return of the Native (1878), The Mayor of Casterbridge (1886), Tess of the D'Urbervilles (1891) and Jude. It was the reception of Jude which turned Hardy to his first love, poetry, for the remainder of his sixty-one-year writing career. The most notable of these poems was the three installments of The Dynast, a drama of the Napoleonic Wars. Hardy died in 1928 and his ashes were placed in Westminster Abbey. Image Size: 17.75 x 21.5 in. Overall Size: 20.5 x 23.5 in. Unframed. (B12492)
Signed Theatre programme collection. 68 included. Amongst signatures are Teddy Johnson, Pearl Carr, Ellen Pollock, Patricia Hodge, Patricia Michael, Gay Soper, Ray Hatfield, Dolores Gray, Roy Dotrice, Nick Lundon, Petula Clark. 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.
Quantity of various makes. 4x Joal Compact series Volvo Coaches, Jetways, Wallace Arnold, Air France and Parrys. 3x Oxford Haulage series articulated trucks - 2x MAN John Mitchell and Pollock and a DAF McCulla. Oxford Scania T Cab low loader, Ridgway Rentals. 3x Hess Gasoline promotional vehicles - Patrol Car, an RV with motorcycle dune buggy and a Rescue Truck, all in white and green promotional livery. 2x Corgi - Zephyr Racing Set and a Ford Model t Van. Playworld II truck set. 2 OutKast Andre 3000 Gruntz, variations. Nylint Refuse Collection Vehicle. Matchbox - The Direct-Line Red Phone. 5x Coin banks including- Gearbox Toy 1912 Ford van. A Shell. John Deere 1930's. 2x ERTL 'Season's Greetings' truck and a 1932 Panel Delivery Bank. All boxed, minor wear. Contents VGC-Mint. (22) £60-80
A collection of Corgi 1:50 scale diecast models to include Kings of the Road, Heavy Haulage and Collectors Club Models, comprising two CC12503 Gibbs of Fraserburgh Atkinson Borderer Fridge Van, CC12504 Pollock Atkinson Borderer Flatbed Trailer, CC18303 JMT Renault Magnum, CC18008 Luxton & Coombes Volvo FH, 31004 Wynn's Scammell Articulated, Bedford S Articulated & Low Loader Set and 17501 Siddle Cook Scammell Constructor, all boxed. (7)
Six Corgi Rigids and Rigid Tippers 1:50 scale diecast models, comprising CC13520 DR Macleod Volvo FM Box Lorry, CC13611 Pollock DAF CF Curtainside, CC13515 The Real McKay Volvo FM Fridge, CC13508 Yuill & Dodds Volvo FM Bulk Tipper, CC13514 Albert Fyfe Haulage Volvo FM Bulk Tipper and CC14201 Roland Young Scania P Tipper, all boxed. (6)
Five Corgi 1:50 scale Truckfest and Cafe Connection diecast models, comprising CC11601 Andrew Wishart & sons Leyland Octopus (S/D to Silver Link Road House model), CC11701 McCall & Greenshields Guy Invincible Twin Axle Trailer, CC13410 Pollock MAN TGA XXL, C13523 MM & LM Finnie Volvo FM, and CC13244 R Flynn & Sons DAF XF, all boxed. (5)
A collection of Corgi 1:76 railway scale diecast models, including Roadscene and Trackside, with a selection of other similar models, including CC18002 Whitelink Seafoods Volvo FH Fridge Trailer, CC18105 A. Kerr & Co Scania R Series Fridge, CC18102 Scott Trawlers Scania R Series Topline Fridge, CC18001 Pollock Volvo FH Curtainside, etc., all boxed. (18)
CRICKET, press photos, mainly action shots, inc. Chris Broad, Mike Gatting, Ian Botham, Bob Taylor, Graeme Wood, Robin Jackman, Imran Khan, Phil Tufnell, Bruce Edgar, Allan Lamb, Bob Willis, Graeme Pollock, David Gower, Mike Atherton, Shaun Pollock, Paul Adams, Craig McDermott, Graham Hick, Alec Stewart, Gavin Larsen, Curtly Ambrose etc., colour (66) & b/w, mainly 8 x 10, a few smaller, many with photographers stamp or annotation laid down to reverse, VG to EX, 100*
A companion pair of George III marble top console tables, the rectangular top with green marbled scagliola decoration, the frieze similarly inlaid, one table in greek key, the other with fluted design, centred by a marble tablet with urn design, raised on square legs to spade feet, one with hand-written script to the underside 'Pollock, Sussex' 107 cm x 48 cm x 86.5 cm h (2)the marble tops showing numerous chips to edges, one corner chipped away, one tablet chipped away to one lower corner, areas of loss to faux green marble inlay areas, surface s all showing distresses of age and use, dirty
Four Corgi Truckfest 1:50 scale limited edition diecast model lorry tractor units Pollock (Scotrans) Ltd CC13704, Outdoor Services Colin McRae Tribute Magherafelt Co Derry Northern Ireland CC14110, Robert Laidlaw Haulage Falkirk Sterlingshire CC015203 and Reids Of Minishant CC13908, all in original display boxes.
The Badminton Library . 32 volumes, mixed editions, circa 1880-1900, including Archery, by C.J. Longman and H. Walrond, 1894, Big Game Shooting, 2 volumes, by Clive Phillipps-Wolley, 1894, Athletics and Football, by Montague Shearman, 1887, The Poetry of Sport, by Hedley Peek, 1896, Fencing, Boxing, Wrestling, by Walter H. Pollock et al, 4th edition, 1901, numerous monochrome illustrations, all in publishers original gilt decorated brown cloth, period inscriptions to some front endpapers, slight rubbing & discolouration to spines, 8vo plus duplicate copies of Driving, 1890, & Shooting, volume 1 (Qty: 32)
19th century toy theatre with Pollocks character scenery; wooden theatre has patterned stage front featuring guests in theatre boxes and full orchestra along the base, together with a collection of paper characters, scenes and backdrops, published by B. Pollock of Hoxton, including props for Don Quixote, Cinderella, The Children in the Wood, Pollock's New Fairies and side wings to suit any play etc. Stage has been later fitted with stage lighting, size 59cm x 52cm x 50cm
The Pollock Prize medal, for the Royal Military Academy, profile image of Major General Sir George Pollock, Cabul 1842, by B. Wyon, the reverse inscribed 'Founded by the British Inhabitants of Calcutta....awarded to the most distinguished cadet of the season', 43mm diameter, 64g, in a fitted case; The Armstrong Memorial Prize medal, by F. Bowcher, depicting Colonel R.Y. Armstrong C.B. Royal Engineers, awarded to Under Officer A. Carrow, July 1906, 56mm diameter, 106.4g.A. Carrow is recorded to have been awarded the Pollock Prize in July 1906, and although the Prize medal is not named it is assumed the Pollock Medal in this lot also belonged to A Carrow. The Pollock Prize was first awarded twice a year in 1847 to cadets at The East India Company's Military Seminary in Addiscombe. From 1861 the prize was awarded to cadets at the Royal Military Academy at Woolwich.(2)
A Large Glazed Wall Display containing approx 47 clay pipes. All numbered and described with central advertising plaque for Edward Pollock, Central Clay Pipe Works, Established 1879. Pipes to include Field Marshall Lord Kitchener, Mini Dragoon, General Buller, Monte Carlo, Bronte Lady, Claw Cutty, Boxer Community Putty, Mini Friendship, Death or Glory Community Cutter, General Gordon, Manchester Regiment etc. Overall size including frame 32 by 38 inches.
A collection of 1st Sussex Rifles items, including a white metal No.7 Coy Champions badge (possibly silver), a Volunteers 'Pollock Challenge Cup 1899' medallion, awarded to Private C.Horne, in Arthur Punt Silversmith fitted case, gilt and silver medals dated 1896 and 1898, the King's Medal and more (parcel)
14 Corgi Classics. ERF Tanker Blue Circle, Scammell Highwayman & 33ft Trailer Siddle C Cook,Seddon Atkinson Horse Transporter Whitbread, Atkinson Cylindrical Tanker Bulwark, AEC Regal Coach Timpsons, Atkinson Elliptical Tanker Pollock, Daimler CW Utility Bus Green Line, AEC Elliptical Tanker Major, Bedford O Articulated British Railways, AEC Cylindrical Tanker North Eastern Gas Board, AEC Truck Mackintosh's, Atkinson Cylindrical Tanker Mackeson and ERF Cylindrical Tanker Bass Worthington. All boxed, minor wear and fading to one. Contents Mint. £70-90
A quantity of Corgi Classics. 2x AEC Cylindrical Tanker North Eastern Gas Board, 2x Scammell Highwayman Tanker Shell Mex/BP, 2x Atkinson Elliptical Tanker Pollock of Musselburgh, Atkinson Cylindrical Tanker Mackeson, Foden Tanker Hovis, Scammell Highwayman Tanker Pointer, AEC Elliptical Tanker Major, Bedford Pantechnicon Slumberland, Scammell Scarab Corgi 1994, AEC Regal Coach Sheffield and General Motors 4506 Coach DSR. All boxed,minor wear/fading to some. Contents Mint. (14)£70-90
Loading...-
2837 item(s)/page