We found 2837 price guide item(s) matching your search

Two boxed Corgi diecast model Haulers of Renown to include CC14010 Volvo FH Curtainside Pollock (Scotrans) Ltd/Smith Anderson and CC13429 Man TGA-Macfarlane Transport (2)

Five Corgi Kings of the Road 1:50 scale diecast models, CC12503 Gibbs of Fraserburgh Atkinson Borderer Fridge Van, CC12602 CRTS (Ackworth) Ltd Scammell Crusader Tilt Trailer, CC12504 Pollock Atkinson Borderer Flatbed Trailer, CC12501 W&J Riding Ltd Atkinson Borderer Tautliner, and CC10701 British Oxygen Company Scammell Highwayman Trailer, all boxed. (5) PLEASE VIEW CONDITION REPORT

A Corgi CC99130 Scotland's Finest Pollock 1:50 scale gift set, comprising three tractor units, curtainside trailer and booklet, boxed. PLEASE VIEW CONDITION REPORT

Five Corgi Road Transport Heritage 1:50 scale diecast models, CC10803 Sam Longson Limited Foden S21 Tipper & Gravel Load, CC10101 Blue Circle Cement Foden 8 Wheel Platform Lorry, CC10503 Pollock ERF KV 8 Wheel Platform Lorry, CC11504 Spicers Road Services AEC MKV Mammoth Major Platform Lorry & Tyre Load and JW Richards Albion Reiver (LAD) Dropside Lorry, all boxed. (5) PLEASE VIEW CONDITION REPORT

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

Seven boxed 1/50 scale diecast tanker truck models from Corgi to include 27301 Bulwark Atkinson cylindrical tanker (box factory tissue wrapped/unopened), 24201 McKelvie & Co Ltd Leyland Octopus elliptical tanker (box factory tissue wrapped/unopened), 16303 Ever Ready Scammell Highwayman tanker (box factory tissue wrapped/unopened), 97970 Regent Foden tanker (model mint, box excellent), 97162 Pollock Of Musselburgh Atkinson elliptical tanker (model and box mint), 97328 Major AEC elliptical tanker (box opened, model factory bound, box mint) and 16302 Esso Scammell Highwayman and tanker trailer set (model would be mint but for some mild corrosion to cab radiator, see photos, box fair). Please note all models have been placed in protective plastic bags to preserve box condition

Matthew Dibble, July 2018 American, Echoing Continental Mixed Media Oil And Paper On Canvas Matthew Dibble, July 2018 American artist Matthew Dibble creates abstract and distorted figurative paintings and collages that express the relationship between inner and outer states of being. Matthews Abstract Expressionist approach and gestural mark making echoes the styles of Willem de Kooning, Jackson Pollock and Lee Krasner. On a quest for sincerity, Matthew is fascinated with the nuances of modern and postmodern sensibilities. The energy that exudes from Matthew canvases is dynamic, direct and fearless; he creates art that is as powerful through its visual impact as it is through its sense of depth Matthew style is unique in its extreme versatility. His signature gestural abstract paintings stand at odds with his figurative collages to form a portfolio of work that is captivating through its complexities. Matthew collection of monochrome paintings draw the viewer in through advancing and receding planes that construct the depth of each piece. Just as detailed and energetic as Matthew colourful works, these pieces engage with one another as they merge motifs, shapes and brushwork Framed 132 x 160cm

REGGAE - 7" COLLECTION. A collection of approx 62 x 7". Artists/ Titles include The Soul Kings - Magnificent Seven (BS 169, VG+), The Upsetters - Dry Acid (PH 19, Ex), Pat Kelley - If It Dont Work Out (GAS 125, VG), Music Doctors - The Wild Bunch (JDN-4411), Crystalites - Bombshell, Patrick And Lloyd - Return Of The Pollock (BI 550), Dawn Penn - You Don't Love Me, Symarip - Skinhead Moon Stomp, Prince Of Darkness - Burial Of Longshot, The Victors - Easy Squeeze, Andy Capp - Popatop, Laurel Aitken, Derrick Morgan and Don Drummond. The condition is generally VG to Ex with some falling below.

A quarter inch scale waterline model of the London & Rochester Trading Company MV 'Dominence', rigged cranes over canvas covered hold, wheel house , life boats and davits, the hull painted red, in a glazed oak case, 52x92x33cm., together with a note of provenance.'This model of The London and Rochester Trading Co, Ltd's motor coaster 'Dominence' to the scale of one quarter inch to one foot, was built by D.S. Hancock, with assistance of T.L. Manning, from plans supplied by James Pollock, Sons & Co. in 90 days without workshop facilities and is presented to E. A. Gill Esq, as a small token of gratitude for the many happy days spent aboard her prototype, and with all good wishes for the future to himself and Mrs Gill. Bon Voyage.*Notes- E. A. Gill was the owner of The London & Rochester Trading Company.

A large crate of pen and watercolour comical sketches; dating from 1980s & 90s. Drawn by S.G. Pollock. Two caricatures one by Bill Bates sketched aboard the QE2.

A Collection of prints & paintings; Original artworks by S G Pollock. Various original cartoon sketches and many more items

FOUR BOXED CORGI CLASSICS 'THE BREWERY COLLECTION' MODELS, E.R.F. V Delivery Truck 'John Smiths', No.09801, Foden FG Delivery Truck 'Fremlins', No.12401, Scammell Highwayman Tanker 'Guinness', No.16301, Leyland Octopus Tanker 'Youngers', No.24301, with three other boxed Corgi Classics Tanker Lorry Models, Leyland Octopus 'Power Petroleum', No.24202, Atkinson 'Pollock of Musselburgh' and A.E.C. Ergomatic 'Major', No.97328, all appear in very good condition, complete with accessories and limited edition certificates and look to have hardly, if ever, been removed from boxes, majority still wrapped in tissue paper, boxes are all complete but have some minor damage, marking and wear (7)

Corgi, a boxed 1:50 scale Commercial pair comprising of CC13107 Volvo F88 Sheeted Flatbed Trailer "Pollock Scotrans Ltd" along with CC12505 Atkinson Borderer Tautliner "Richard Preston & Son Ltd". Although unchecked for completeness, conditions generally appear generally Excellent in generally Good window boxes with some scuffing, creasing etc. See photos.

Corgi, a boxed "Premium Editions" Commercial group comprising of different series such as Fueling The Fifties, Building Britain and others to include CC11604 (Fueling The Fifties) Leyland Octopus (LAD) Tanker "Castrol", CC23301 (Fleets Of Renown) Ford Transcontinental Platform Trailer With Sheeted Load "Pollock OF Musselburgh" and others. Although unchecked for completeness, conditions generally appear generally Good to Excellent in generally Good boxes with some scuffing, indents etc. Some models may have been re packaged. Duplication. See photos.

Corgi "Marques Of Distinction" a boxed group of 1:50 scale Commercial models comprising of "Pollock", "Gibbs" and other liveries. Conditions although unchecked for completeness appear generally Good in Good boxes. (one missing top casing) Duplication. See photos.

Original vintage travel poster by London Transport - Grinling Gibbons - featuring an image of a wood carved wall, the caption below reads about Griling Gibbons - Anglo-Dutch sculptor and wood carver known for his work in England, including Windsor Castle, the Royal Hospital Chelsea and Hampton Court Palace, St Paul's Cathedral and other London churches, Petworth House and other country houses, Trinity College, Oxford, and Trinity College, Cambridge, London Transport roundel logo below. Printed by Curwen Press. Good condition, creasing, tears, minor staining. Country of issue: UK, designer: Barbara Pollock, size (cm): 101x63.5, year of printing: 1969.

An early 19th century Anglo-Indian silver on copper circular tray with central crest and motto of the clan Pollock 'audacter et stenue'. 56 cm diameter.

Sallys Irish Rogue (AKA The Poachers Daughter) (1958), British Quad, 40 x 30 inches, folded, printed by Stafford and Co Director George Pollock Stars Julie Harris, Tim Seely Provenance The Jack Hubbard artwork poster Archive. Jack Hubbard (1913 1985) was a British poster artist who worked from the 1950s to the 1980s producing artwork for 20th Century Fox, Gala, Eros, Mondial, New Realm, British Lion and Embassy. He started his career as a cartographer in the Royal Artillery, and was stationed in India where he achieved the rank of Conductor, a position held by a very small handful of selected Warrant Officers Class 1. After the war, he began painting for the British Studios, predominantly 20th Century Fox, but was not allowed to sign his work as he was freelance. He worked on almost every major Fox release for over 25 years. Jack would journey into Londons Soho Square on a Monday to pick up the film work folder which had stills, synopsis or a story description and other information about the film, and he had to return to the Fox offices on Thursday with usually 3 versions of a poster. Changes to the poster would be made during a meeting to be green lit by the studios publicity manager. Jack came up with the CinemaScope logo which became a registered trademark for Fox. This poster was part of his personal collection of printed works which he worked on. They all came to him direct from the printers and the quads and double crowns were all bi-folded. Condition Report: Excellent condition, minor edge creasing, fold creasing, small mark top left hand edge, light scuffing to reverse, tiny fold separation centre of image

Lledo Trackside Days Gone diecast model vehicles to include BR2002 two piece tin plate railway depot & AEC wrecker British Rail, DG112001 Scammell tractor with artic low loader and crated load LMS, DG150001 Foden S21 flatbed trailer Pollock, DG112002 Scammell tractor with arctic low loader and glass load BRS, BR1002 The Bygone Days of Road Transport, etc. each boxed. (19)

Corgi and Lledo Trackside 1:76 scale OO gauge model vehicles to include DG175009 Scammell Handyman Tanker Esso, DG150003 Foden S21 Sheeted Trailer Macbraynes, DG112005 Scammel Tractor with arctic low loader and cable drum load GPO, DG150001 Foden S21 flatbed trailer Pollock, DG175003 Scammell Handyman Tanker Shell, PO1004 Post Office set, RM2004 Royal Mail set, etc. each boxed. (46)

Ed Harris signed black & white photo 10x8 Inch. Is an American actor and filmmaker. His performances in Apollo 13 (1995), The Truman Show (1998), Pollock (2000), and The Hours (2002) earned him critical acclaim and Academy Award nominations. 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

Outdoor sports - a garden croquet set by Debenhams, six tubular metal arrows by Practistreak, both boxed, two vintage bows of which one wood by Jacques, the other steel by Accles and Pollock both 155 cm and a Ben Sayers golf putter marked MX7 [4-B

Corgi 1/50 diecast model truck issues comprising trio of issues including Eddie Stobart, BP and Pollock, as shown. Generally appear good to very good although not checked for absolute completeness.

THREE CORGI CLASSICS DIECAST MODEL COMMERCIAL VEHICLES comprising a No.CC13703, Scania R Series High Roof Curtainside 'C.S. Ellis'; No.CC12920, Scania Topline Fridge Trailer 'A.L. Campbell'; and No.76401, Scania Curtainside 'Pollock Scotrans', each boxed (unchecked for self-fit and detail parts, and enclosures).

A George III silver cream jug. Peter, Ann & William Bateman, London, 1802. With scrolling handle, decorated with floral motifs and small oval cartouches bordering the rim, the lower body with half lobed design and vacant cartouche to side, gilding to interior, 12cm high (inc. handle). Together with two Georgian silver cream boats, comprising: a George II example, London, 1740, John Pollock, with scalloped rim and flying C-scroll handle, chased with scrolling motifs and with vacant cartouche to side, engraved H over W M to underside, on three pad feet, 12.5cm wide; and a George III example, Edinburgh, 1771, Alexander Gardner (maker's mark indistinct), with scalloped rim and flying C-scroll handle, decorated with scrolling floral and foliate motifs, initials engraved to front, on three pad feet, 19cm wide, total weight approx. 12.6ozt (3) 

Noted Irish Lives Series. Eleven books including Patrick Sarsfield (Alice Curtayne, 1934); Henry Joy McCracken (Edna Fitzhenry, 1936); W.B. Yeats (J.H. Pollock, 1935); Owen Roe O’Neill (Elizabeth O’Neill, n.d.)

Cricket autographs, South Africa, two signed Official sheets, one from the South Africa v England Second Test from Johannesburg Dec 1964, signatures inc. Pithey, G Pollock, P Pollock, Van der Merwe, etc & UK Tour sheet from 1965, complete with 16 signatures inc. McKinnon, Gamsy, Botten, Barlow, etc (sl creasing, gen gd)

ABBA: Signed and inscribed record sleeve for the compilation album Greatest Hits Vol. 2 (1979) by all four members of the Swedish pop supergroup of the 1970s individually, comprising Agnetha Faltskog, Bjorn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad, signed by each in black inks to the front cover of the gatefold sleeve which features a colour image of the band in head and shoulders poses together. The cover also features an inscription in the hand of one of the band members, ´To The Guys in P. Nutt from Abba´. A printed label neatly affixed to the verso explains that the album sleeve was signed in November 1979 for the owners of the P. Nutt Records store. Record no longer present. Some age wear, scuffing and light overall creasing, only very slightly affecting the signatures, GAbba´s Greatest Hits Vol. 2 was released to coincide with the group´s tour of North America and Europe and reached Number 1 in the UK albums charts. The P. Nutt Records store was located on the High Street in Cheltenham, Gloucestershire, from 1978-81 and was managed by Phil De Wolfe and Charlie Pollock.

William Scott. (1913 Greenock - 1989 London). Scalpay. 1963. Farblithographie auf Arches Velin (mit WZ). 50 x 65,5 cm. Signiert, datiert und nummeriert. Mit dem Trockenstempel der Edition Wolfgang Ketterer. - An den Seiten mittig je mit kleinem Einstichloch als Spur der ehemaligen Montierung. Punktuell leichte Finger-, Farb- und Atelierspuren, auch verso. Insgesamt ausgesprochen gut. Prachtvoller, farbsatter und austarierter Druck der formatfüllenden Darstellung, mit Schöpfrand an der linken und rechten Seite. Ketterer Editionsverzeichnis 189. - Eines von 100 Exemplaren. - Aus dem Portfolio "Europäische Graphik I (Englische Künstler)". - Hg. Edition Wolfgang Ketterer in Zusammenarbeit mit Felix H. Mann, München 1963. - Der schottische Künstler William Scott RA ist mit seinem Werk der abstrakten Malerei der Nachkriegskunst zuzuordnen. Interessante Facetten erhält sein Werk auch aus der figurativen, klassischen Malerei, die Scott ab dem Alter von 14 Jahren intensiv studierte. Künstler wie Picasso, Modigliani und Cézanne prägten Scott in ästhetischer Hinsicht. Er beginnt 1928 ein Studium der Malerei am Belfast Collage of Art, welches er an der Royal Academy Schools in London fortsetzt. Bis dahin ist sein Frühwerk figurativer, verspielter. Mit einer Studienreise in die USA verändert sich Scotts Stil maßgeblich. Er lernt mit Mark Rothko, Franz Kline und Jackson Pollock die führenden Künstler des Abstrakten Expressionismus, Actions Painting und der New York School persönlich kennen. Sein Stil wird flächiger, die Formensprache wesentlich abstrahierter. Die Teilnahmen an der Documenta der Jahre 155, 1959 und 1964 mit seinen neu geschaffenen Werken eben Scott den internationalen Durchbruch, es folgen institutionelle Ausstellungen. 1984 wird zum Mitglied der Royal Academy berufen. 5 Jahre später, 1989 erliegt Scott einer langjährigen Alzheimer-Erkrankung. Colour lithograph on Arches wove paper. Signed, dated and numbered. With the dry stamp of Edition Wolfgang Ketterer. - Small pinhole in the centre of each side as a trace of the former mounting. Light finger, colour and studio traces in places, also On the verso. Extremely good overall. Splendid, colourful and well-balanced impression of the full-format depiction, with scoop margins on the left and right sides. - One of 100 copies. - From the portfolio "Europäische Graphik I (Englische Künstler)". - Pub. Edition Wolfgang Ketterer in collaboration with Felix H. Mann, Munich 1963. - The Scottish artist William Scott's work can be categorised as post-war abstract painting. His work also takes on interesting facets from figurative, classical painting, which Scott studied intensively from the age of 14. Artists such as Picasso, Modigliani and Cézanne influenced Scott aesthetically. He began studying painting at the Belfast Collage of Art in 1928, which he continued at the Royal Academy Schools in London. Until then, his early work was more figurative and playful. Scott's style changed significantly during a study trip to the USA. He became personally acquainted with Mark Rothko, Franz Kline and Jackson Pollock, the leading artists of Abstract Expressionism, Action Painting and the New York School. His style became more two-dimensional and his formal language much more abstract. Scott's participation in the Documenta in 1959 and 1964 with his newly created works led to his international breakthrough, followed by institutional exhibitions. In 1984 he was appointed a member of the Royal Academy. 5 years later, in 1989, Scott succumbed to Alzheimer's disease.

Schachgraphik. Schachturniere und -veranstaltungen. Konvolut von 5 Holzstichen / Drucken mit Schachmotiven aus der Zeit um 1880. Verschiedene Formate und Größen. (19) * Die Zusammenstellung enthält: "The Irish Chess Association at Belfast". Ca. 1886 (u. a. mit Pollock, Burn, Blackburne). / ”Sketches at the International Chess Tournament”. 1873 (u. a. mit Zukertort, Steinitz, Rosenthal, Mackenzie, Bird, Blackburne). / “Vom internationalen Schachcongreß in Wiesbaden”. Nach Foto von Kurtz, um 1880 (u. a. mit W. Paulsen, Mason, Steinitz, Zukertort, Schallopp, Blackburne, L. Paulsen). / “Das Schachturnier in Petersburg: Partie zwischen Tschigorin und Steinitz”. Ca. 1896 (mit Tschigorin, Em. Lasker, Pillsburg, Steinitz) / "Im Schachklub. Das Blindlingsspiel" 1894. Zustand: Die Blätter sind gebräunt und etwas fleckig. Ein Blatt mit einigen weißen Klebeetiketten. Rückseitig mit Klebe- und Montageresten und kleineren Randläsuren. Interessante Zusammenstellung, die vom interessierten Sammler via Internet besichtigt werden sollte.

Steinitz - Lasker. Cunningham, J. G. (Editor) The games in the Steinitz - Lasker championship match, with copious notes and critical remarks by Messrs. Gunsberg, Hoffer, Lasker, Mason, Pollock, Steinitz, and others ... together with biographical sketches of the two players ... Leeds, Whitehead and Miller, 1894. 8°. Mit einigen Diagrammen und 1 Textabbildung. 2 Bll., 80 Seiten. Roter Halblederband. (45) * Linde - N. 5034; Betts 27 – 20: “The 19 games, annotations combine the comments of each annotator.” Zustand: Innen starker gebräunt. Einband angestaubt und bestoßen.

Pollock, Charles (1930 Philadelphia - New York 2013) Vier Stühle "Penelope". Verchromte bzw. geschwärzte Metallgestelle. Gebrauchsspuren. Hersteller Anonima Castelli, Italien, 80er Jahre. H. 81 cm.

British War Medal 1914-20 (2/Lieut. M. P. Fraser. R.A.F.) minor edge nicks, good very fine £80-£100 --- Matthew Pollock Fraser was born in Glasgow in January 1889, and was educated at Edinburgh University. He was employed as a Tea Planter in Ceylon prior to the Great War. Fraser returned to the UK at the outbreak of the War, and was appointed a Cadet with the Royal Artillery. He transferred to the Royal Flying Corps in November 1917, carried out pilot training, and was posted for operational flying with 58 Squadron (F.E.2b’s and then Handley Page O/400’s) in August 1918. Fraser carried out bombing sorties with Second Lieutenant A. Spotswood as his observer, and Sergeant Mechanic T. H. Barron as his Air Gunner. Including the night of the 23/24 September 1918: ‘Approaching Froidment [Aerodrome], two E.A. were noticed on the tail on the right hand side, and were attacked. After about 80 rounds had been fired at them, the gun jambed. The machine was then swung round to face the E.A., but they had disappeared. After dropping bombs at St. Maur Aerodrome, 2 E.A. were sighted on the tail. Those machines kept up a continuous fire for about 12 miles from a range varying from 50 to 200 yards.’ (Combat Report refers). Fraser was transferred to the Unemployed List in January 1919. After the War, Fraser’s address is recorded as 2 Heriot Row, Edinburgh. However, he returned to employment in Ceylon, and continued to work there for several decades - surviving being stabbed by a shopkeeper in April 1939. Fraser died at his home address of 7 Redcliffe Street, London, in August 1961. Sold with copied research.

12 Corgi haulage lorries, Building Britain, Blue Circle Cement Foden 521 Cloud Tipper, London Brick Company Leyland 8 wheel platform lorry with bricks, Gibbs cab unit, Pollock Leyland Octopus Platform Lorry, Modern trucks "BODDINGTONS", HALLETT SILBERMANN, Scammell Highwayman Ballast and low loader, and others. All boxed, some have wear. VGC-Mint £80-120

Jackson Pollock,Summertime,colour print,39x149cm.

Virgin Trains poster, Return of the Train, 101x62cm.and a Jackson Pollock print

Jackson Pollock, two poster prints,Number 8,colour poster print for the Neuberger Museum of Art,74x125cm,Albright-Knox Art Gallery, Buffalo,69X99cm.Qty: 2

Comprises eight cards including: (1) Terry Atkinson, David Bainbridge, Michael Baldwin, Harold Hurrell. Art & Language Press. Galleria Sperone Turin 1971. (2) Art & Language 1966-1975. Museum of Modern Art Oxford, 1975. (3) A&L at Van Abbemuseum, Eindhoven 1980. Rare A4 flyer with a photographic image of a typical A&L book cover. Small pinholes, else a crisp copy. (4) A&L: Portraits of V. I. Lenin and others in the style of Jackson Pollock. Nicholas and Fiona Logsdail, London 1980. (5) A&L: An Incident in a Museum. La Galerie de Paris, Paris 1986. (6) A&L: Sites, An Incident in a Museum. The new paintings 1986-87. Lisson Gallery, London 1987. (7) A&L at Lisson Gallery, London 1988. (8) A&L: Hostages, Incidents and People's Flags. Galerie Max Hetzler, Cologne 1989. (total 8)

A WW2 JAPANESE NAVAL OFFICER'S KAI GUNTO SWORD The shagreen grip with brown ito wrap, floral cast mounts throughout, the tsuba of plain disc form cast with sunburst pattern, gilt seppa beneath, the saya of plain black lacquer, the whole measuring approx. 99cm in length, the blade approx. 66cm Provenance: by family repute, surrendered by a Japanese officer to Commander Charles Harington Pollock DSC, possibly while on HMS Repulse. Thence by descent. See also lots 2610 and 2613. Condition Report:The saya is very well worn with multiple chips/losses to the lacquer and gouges near to the open end. The upper suspension ring mount is loose. The ito wrap is worn and discoloured through handling. The grip beneath has deteriorated and there are multiple losses to the surface. The blade is generally good, with light tarnish/finger marks throughout. Some small nicks to the back edge of the blade. Minor nicks to the cutting edge at the tip. Mounts are all heavily tarnished/worn through handling. Some amount of play to the tsuba.

AN ATTRIBUTED 1846 PATTERN ROYAL NAVAL OFFICER'S SWORD The folding inner guard engraved "C.H. Pollock R.N." (Commander Charles Harington Pollock DSC), the blade measuring approx. 80cm in length and etched with trailing rope and oak foliage, fouled anchor and royal coat of arms, the ricasso etched on one side "By Warrant, Henry Wilkinson, Pall Mall, London", on the other, "By Appointment, Gieves Ltd., London, Portsmouth & Devonport", the spine marked "London Made" and numbered 60617, housed in a brass-mounted leather scabbard, together with leather protective casing monogrammed "C.H.P." See also lots 2613 and 2614. Condition Report:"Leather outer case is quite dry, with widespread wear to the surface and some cracking. Multiple marks, discolouration etc.Leather scabbard is also well-worn, with much of the polished finish damaged. Brass mounts are tarnished. The upper mount is totally loose, revealing the damaged upper portion of the leather scabbard beneath. The middle mount with some play up and down. Blade is fairly clean overall but with patches of corrosion, particularly to the back edge. Sword is solidly together, with no play to any element. General tarnish, patination to hilt. Bullion cord and knot somewhat dulled. Shagreen grip is dirty/marked through handling."

A WW2 JAPANESE NAVAL OFFICER'S KAI GUNTO SWORD The grip of black shagreen with brown ito wrap, floral cast mounts throughout, the tsuba of plain disc form with sunburst casting, the saya with black ray skin covering, the whole measuring approx. 97.5cm in length, the blade approx. 68.5cm Provenance: by family repute, surrendered by a Japanese officer to Commander Charles Harington Pollock DSC, possibly while on HMS Repulse. Thence by descent. See also lots and 2610 and 2614. Condition Report:"It has not been possible to remove the mekugi to view the tang. It is stuck fast and we cannot make further attempts to remove it without risking damage to the sword.Shagreen saya cladding is split along seam and generally worn, with tears/losses towards tip. Ito wrap is worn/stained through handling. Tsuba and mounts are all heavily patinated/tarnished. Sword is solidly together, with only minor play in the tsuba and habaki. Blade is tarnished, with corroded patches, finger marks etc. Cutting edge in good order."

FOUR CORGI 1:50 SCALE ARTICULATED LORRIES, to include Stan Robinson Scania CC12205, Olivers Scania CC12222, Kogel Race Power MAN 75801 and Pollock Scotrans Scania 76401

FOUR BOXED CORGI 1:50 SCALE ARTICULATED LORRIES AND TRAILERS, to include Pollock ERF 75204, HJ Van Bentum Scania CC12910, Jos Millicam ERF flatbed CC1905, TNT MAN 75701

A TRAY OF MIXED BOXED DIE CAST VEHICLES, to include Corgi Pollock articulated lorry and trailer with sheeted load 23301, Corgi Classic Cheshire Simon Snorkel fire engine 32001, D Ward Albion platform lorry 26101, Corgi Classic Guy Arab Wolverhampton bus 97312, Corgi Classic Cadbury Bedford tanker 22601, Corgi Double Cadbury Bedford tanker 22601, Corgi double coach set (AEC Regal and Bedford OB), Corgi Slumberland Beds Bedford van 97085, Corgi NSPCC Bedford van 97123 and an Omega Securicor Logistics articulated lorry and trailer

FOUR CORGI 1:50 SCALE ARTICULATED LORRIES AND TRAILERS,to include boxed Kings of the Road Pollock Atkinson Borderer flatbed cc12504, boxed Kings of the Road Gibbs Atkinson Bordered fridge van CC12503, Richards and Son ERF in plastic hard case and Stobart cab with Archbold trailer in plastic hard case

ELEVEN UNBOXED 1:50 SCALE CORGI ARTICULATED LORRIES WITH TRAILERS / TANKERS, to include BP and Esso tankers, Boddingtons, Stobart, Kent Connection, Pollock, Ferrymasters etc

Helen Pollock. Botanical garden, watercolour, 32cm x 26cm.

Aubrey Williams,  Guyanese/British 1926-1990 -  Untitled, 1967;  ink on paper, signed and dated 'Aubrey Williams 67', 12.4 x 14.7 cm (ARR)  Provenance: the Estate of Andrew Salkey (1928-1995)  Note: this piece is typical of Williams's style of the 1960s, combining abstract impressionist tendencies with the forms and symbols of the pre-Colombian art of the indigenous inhabitants of the Americas. Williams was strongly influenced by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami. 

Aubrey Williams,  Guyanese/British 1926-1990 -  Rastaman, 1970;  gouache on canvas laid down on board, signed and dated lower right 'Aubrey Williams 70' and titled lower left 'Rastaman', 47.8 x 32 cm (ARR)  Provenance: the Estate of Andrew Salkey (1928-1995) Note:  similar works are now in the Tate archive. Williams was strongly influenced in the 1950s by American artists associated with Abstract Expressionist such as Jackson Pollock, Mark Rothko and Willem de Kooning, having seen major exhibitions of their works at the Tate Gallery in London in 1956 and 1959. After moving to the city in the 1950s, Williams became a major figure in the London art world, especially through his connection with the South African artist Denis Bowen, who founded the New Visions Gallery in London. Williams co-founded the Caribbean Artists Movement with other London-based Caribbean artists and intellectuals, such as Ronald Moody, Stuart Hall and Orlando Patterson. His artwork is currently in the collection of the Tate in London, the Arts Council, the Royal Albert Memorial Museum and the Bristol Museum and Gallery, among others. His work was central to the 2022 exhibition, 'Post-war Modern: New Art in Britain 1945-1965' at the Barbican Centre, London and other recent internationally acclaimed shows including 'Life Between Islands: Caribbean-British Art 50s – Now', 2021 at Tate Britain and 'The Gift of Art', 2018 at the Perez Art Museum, Miami. 

Corgi - Four boxed Corgi diecast 1:50 scale model vehicles. Lot consists of Corgi #75205 ERF EC Series Curtainside 'Pollock (with certificate & accessories in sealed bag)', plus three 'De-Certificated' models being CC12817 'Truckfest' Scania T Cab 'Ce Fuller'; CC13607 'Rigid Tippers'; DAF CF Aggregate Tipper 'JC Balls'; and CC19904 Curtainside Trailer 'Eddie Stobart'. Models appear to be in Mint condition, in Fair Plus - Very Good window boxes with general wear. All items are unchecked for completeness. (4) (This does not constitute a guarantee) (K)

JEAN-PAUL RIOPELLE (1923-2002)Atlantica 1969 signé huile sur toile signed oil on canvas80.5 x 100 cm. 31 11/16 x 39 3/8 in.Réalisé en 1969.Footnotes:Provenance Collection Marguerite Maeght, Paris Don de celle-ci au propriétaire actuel, en août 1970Bibliographie Yseult Riopelle, Tanguy Riopelle, Jean-Paul Riopelle, Catalogue Raisonné, Tome 4, 1966-1971, Montréal 2014, p. 170, n°1969.006H.1969, illustré en noir et blancAtlantica, créée en 1969, porte en son sein les amours secrètes que l'on partage avec une œuvre d'art, conservée à l'abri des regards pendant plus de cinquante ans, où la toile, pour avoir été choisie et aimée, est devenue, au long des ans, un visage qui délie toute chose en nous tant le cœur s'y abandonne tout entier. Car il est de ces paysages qui sont des états de l'âme.Dans chaque œuvre de Riopelle, la perception aiguise notre désir de percevoir, car le peintre ne retient du vent que son souffle et de l'orage seulement la lumière de l'eau. Son art est une terre de combat, ce lieu où viennent se faire et se défaire les sens qu'on lui prête.C'est en couches épaisses qu'il allonge l'huile, dont l'artiste se plaît à redécouvrir les facultés, les nuances, les interpénétrations des coulures et des craquelures de séchage, faisant de la matière le seul guide de notre regard. Riopelle, dans un ébat suspendu, a doté la peinture de vie. « Ce peintre figure parmi la courte liste des créateurs de génie » tels sont les mots qui furent prononcés par le premier ministre lors des funérailles nationales du peintre au Canada en 2002. Point de rencontre entre deux civilisations, son art su établir la synthèse entre l'Europe et l'Amérique du Nord : extraire n'est pas abstraire.Le centre Georges Pompidou et la Fondation Maeght, en 2022-2023, ont organisé des expositions de grande envergure, mettant en lumière l'académisme (dans le sens noble du terme) et la transgression que ses deux maîtres Henri Bisson et Paul-Emile Borduas lui apprirent. Riopelle choisit tôt la voie du trouble, faisant de la mutation le produit de l'expérience, non de l'intention. Du groupe automatisme au Canada, il rejoint naturellement celui du surréalisme, ayant rencontré Breton dès son arrivée à Paris en 1947. Deux ans plus tard, la galerie d'avant-garde La Dragonne et Nina Dausset lui offrent sa première exposition personnelle. Véhémences confrontées, à l'instigation de Michel Tapié, confrontera dans une exposition sans précédent les œuvres de Mathieu, Riopelle, Hartung, Bryen, Pollock en 1951. 1953 offre au peintre la consécration pressentie : Pierre Loeb acquiert une grande partie de ses œuvres et le fait exposer chez Pierre Matisse à New York. Invité à participer à la célèbre exposition Younger European Painters : A Selection au musée Guggenheim cette même année, Riopelle rencontre Franz Kline et Joan Mitchell...Les plus grands collectionneurs européens, en cette fin des années 1950, se passionnent pour cet artiste dont les œuvres sensibles nous jettent dans l'émotion de la présence. Lorsque Riopelle peint un arbre, il n'en retient que l'écriture de ses branches dans le ciel. Le lisible, sous son pinceau, se meut en une invisibilité féconde, offrant une clarté qui ne naît pas de la lumière mais de sa réflexion.Le regard averti d'Aimée et Marguerite Maeght ne s'est pas trompé, ils consacrèrent au peintre plusieurs expositions dès 1966. Fruit de leur générosité, l'œuvre Atlantica fut un don à nos collectionneurs, qui eurent le privilège de choisir. Les mots qu'ils adressèrent au peintre, quelques années plus tard, dans une lettre, révèlent un amour jamais démenti : « Vingt ans déjà que je regarde votre toile, que je plonge de mon lit dans votre Atlantica, volupté laiteuse des blancs, spiritualité des bleus si légers, etc. ». L'émotion, un demi-siècle plus tard, est encore palpable dans le choix, éloquent, de ces mots qui tremblent...Nom d'un paléocontinent, le titre de cette peinture a la souveraineté de l'innocence et le frémissement nébuleux d'une prière murmurée au ciel. Le peintre sait que le vent la lui portera.Atlantica, created in 1969, carries within it the secret love one shares with a work of art; kept out of sight for over fifty years, the canvas, having been chosen and loved, had become, over the years, the soothing features one turns to as indeed the heart can trust them so completely. It is true that some landscapes reflect the states of one's soul.In each of Riopelle's works, perception sharpens our desire to perceive, for of the wind the painter only retains its breath and of the storm only the luminosity of the water. His art is a battleground, a space where are made and unmade the messages we perceive in it.In thick layers, he spreads out the oil, the faculties, nuances, interpenetration of drips and drying cracks of which the artist delights in rediscovering; thus matter is the sole guide to our gaze. Riopelle, in a moment of joyous intercourse, endows paint with life. 'This painter is one of a short list of creative geniuses' were the words spoken by the Prime Minister at Riopelle's state funeral in Canada in 2002. As a meeting point between two civilisations, his art was able to produce a synthesis of Europe and North America: to extract is not to abstract.The Centre Georges Pompidou and the Fondation Maeght, in 2022-2023, organised major exhibitions highlighting the academicism (in the noble sense of the term) and transgression that his two masters Henri Bisson and Paul-Emile Borduas taught him. Riopelle chose the path of disruption early on, making mutation the product of experience, not intention. From the Automatism Group in Canada, he naturally joined that of Surrealism, having met Breton on his arrival in Paris in 1947. Two years later, the avant-garde gallery La Dragonne and Nina Dausset offered him his first solo exhibition. Véhémences confrontées, at the instigation of Michel Tapié, brought together works by Mathieu, Riopelle, Hartung, Bryen and Pollock in an unprecedented 1951 exhibition. 1953 gave the painter his expected recognition: Pierre Loeb acquired a large number of his works and had him exhibited by Pierre Matisse in New York. Invited to take part in the famous exhibition Younger European Painters: A Selection at the Guggenheim Museum that same year, Riopelle met Franz Kline and Joan Mitchell...At the end of the 1950s, Europe's leading collectors were passionate about this artist, whose sensitive works threw us into an emotion of presence. When Riopelle paints a tree, he retains only the writing of its branches in the sky. Under his brush, the legible is transformed into a fertile invisibility, offering a clarity that is not born of light but of its reflection.Aimée and Marguerite Maeght's discerning eye was not mistaken; they devoted several exhibitions to the painter from 1966 onwards. Atlantica testifies to their generosity, as it was a gift to our collectors, who had the privilege of choosing it. The words they wrote to the painter a few years later reveal a love that was never tarnished: 'I have been looking at your canvas for twenty years now, diving from my bed into your Atlantica, the milky voluptuousness of the whites, the spirituality of the light blues, etc.'. Half a century later, the emotion is still palpable in the eloquent choice of these vacillating words...The name of a Paleocontinent, the title of this painting owns the sovereignty of innocence and the nebulous quiver of a prayer whispered to the heavens. The painter knows that the wind shall carry it above.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

NIKI DE SAINT PHALLE (1930-2002)Dominique (jambe en l'air) 1966 peinture, tissu, colle et grillage monté sur base en métal paint, fabric, glue and wire mesh mounted on metal base 116 x 113 x 52 cm. 45 11/16 x 44 1/2 x 20 1/2 in.Hauteur avec socle: 130 cm. Height with base: 51 3/16 in.Réalisée en 1966, cette œuvre est unique.Footnotes:Nous remercions la Niki Charitable Art Foundation des informations qu'ils nous ont aimablement communiquées sur cette œuvre. Provenance Guy Pieters Gallery, BelgiqueAcquis auprès de celle-ci par le propriétaire actuel en 1995L'art de Niki de Saint Phalle c'est d'abord et avant tout la transcription plastique du non-conformisme d'une femme engagée. Promise à une vie caricaturale de femme de son époque, Niki de Saint Phalle n'aura de cesse de se libérer des carcans dictés par la société tant dans sa vie que dans son art. La genèse de l'art de Niki de Saint Phalle c'est la création artistique pour thérapie ; celle-ci devient cathartique, elle dira de l'art qu'il lui permit de calmer le chaos qui agitait son âme et de fournir une structure organique à sa vie. Cette artiste autodidacte, puisant ses influences dans les créations d'Antonio Gaudi, de Jackson Pollock, ou encore du facteur Cheval, est la seule femme à rejoindre le groupe historique des nouveaux réalistes. Elle exposera à leurs côtés lors de l'exposition « Comparaisons : peintures-sculptures » au musée d'Art moderne de la Ville de Paris en 1961. Cette même année, elle initie la série des tirs, qui la fera connaitre mondialement. Apposés sur des planches de bois, Niki de Saint Phalle colle, intercale et enchevêtre des éléments manufacturés, au milieu de poches de peinture. Elle recouvre l'ensemble de plâtre, le peint en blanc, avant de tirer dessus à l'aide d'une carabine pour les asperger de couleur. Cette technique créative inédite permet à l'artiste de bousculer l'ordre établi et les conventions artistiques. Le cœur de lion que nous présentons fait écho à la série iconique des tirs, nous sommes ici dans l'iconographie joyeuse de l'enfance, où les figures animalières mêlées aux fleurs et lacets se retrouvent entachés par de la peinture rouge, évoquant, sans la mettre en lumière, l'enfance tourmentée de l'artiste. Cette œuvre clef fut notamment présentée lors de l'exposition Niki de Saint Phalle: Vive moi chez le galeriste Alexandre Iolas à New-York en 1965. A partir de 1964, Niki de Saint Phalle commence à créer ses célèbres Nanas qui lui apporteront une visibilité internationale. Grâce aux Nanas, ces sculptures aux corps de femmes rondes, joviales et dansantes, l'artiste, libre et en avance sur son temps, questionne la place de la femme à chaque moment important de sa vie.Dominique (jambe en l'air) que nous proposons lors de cette vacation, fait partie des premières réalisées par l'artiste. Niki de Saint Phalle modèle une structure grillagée, appose du papier-mâché, peint par-dessus et applique de la résine. Notre sculpture aux couleurs chatoyantes, à la gestuelle désinvolte et aux formes généreuses résume à elle seule l'idée des « nanas », aux antipodes de la femme-objet mais à l'image de l'artiste, affranchie et anticonformiste. L'Œuvre protéiforme de Niki de Saint Phalle marquera profondément la création artistique du vingtième siècle, exposée dans les plus grands musées internationaux tel que le centre Pompidou, où une rétrospective lui est consacrée en 1980, mais également en 2021 au MoMA de New-York lors de l'exposition Niki de Saint Phalle : Structures for life.The art of Niki de Saint Phalle is first and foremost an artistic representation of her commitment as a woman to non-conformism. Destined for the artificial life of a woman of her generation, Niki de Saint Phalle consistently rejected the rules dictated by society, whether in her life or in her art. The genesis of Niki de Saint Phalle's art was therapy through the creative process which became cathartic. She would say of art that it allowed her to calm the chaos that agitated her soul and to provide an organic structure to her life.The self-taught artist, who drew her influences from the creations of Antonio Gaudi, Jackson Pollock and Le Facteur Cheval, was the only woman to join the historic New Realist group. She exhibited alongside them at the exhibition 'Comparaisons: peintures-sculptures' at the Musée d'Art Moderne de la Ville de Paris in 1961. That same year, she began the Tirs series, which would earn her global recognition. Affixed to wooden planks, Niki de Saint Phalle glued interleaved and tangled manufactured elements among bags of paint. She covered the assemblage with plaster, painted it white, then took a rifle and shot at it thus bursting the pockets of colour. The artist's innovative creative technique aimed at disrupting the established order of artistic conventions. The Coeur de Lion we are presenting echoes the iconic Tirs series, here we are in the joyful iconography of childhood, where animal figures mixed with flowers and shoelaces are marred by red paint, evoking, without any clarification, the artist's tormented childhood. This key work was presented in 1965, at the Niki de Saint Phalle: Vive moi exhibition at the Alexandre Iolas Gallery in New York. In 1964, Niki de Saint Phalle began creating her notorious Nanas, which brought her international recognition. Thanks to the Nanas—her brightly coloured sculptures of round, jovial, dancing women— the artist, a free-spirited trailblazer, questioned the position of women at that time at each important moment of their life. Dominique (jambe en l'air) on offer in this sale is one of the artist's earliest works. Niki de Saint Phalle modelled a wire structure, applied papier-mâché, painted over it and covered the result in resin. Our sculpture, with its vivid colours, bold attitudes and generous forms, sums up the idea of 'nanas', the opposite of the trophy wife, a reflection of the artist: independent and free-wheeling. Niki de Saint Phalle's diverse Oeuvre made a permanent mark on the art scene of the twentieth century, and has been exhibited in major international museums such as the Centre Pompidou, where a retrospective was devoted to her in 1980, as well as in 2021 at MoMA in New York for the exhibition Niki de Saint Phalle: Structures for life.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

SCHULTZE, BERNARD1915 Schneidemühl - 2005 KölnTitel: "Penthesilea". Datierung: 1954. Technik: Öl und Collage auf Hartfaser. Maße: 137,5 x 104cm. Bezeichnung: Signiert und datiert unten rechts: Bernard Schultze 54. Zudem signiert, bezeichnet, betitelt und datiert verso rechts: Bernard Schultze Frankfurt/M Penthesilea 1954. Daneben gewidmet: für Ursel. Hier zudem mit Richtungspfeil versehen. Rahmen/Sockel: Modellrahmen.Provenienz:- Privatsammlung Nordrhein-WestfalenAusstellungen:- Kölnischer Kunstverein/Kunstverein Braunschweig/Haus am Waldsee, Berlin/Palais des Beaux-Arts, Brüssel, Köln 1968- Kunsthalle Darmstadt, 1968- Schleswig-Holsteinisches Landesmuseum Schloß Gottdorf, Schleswig 1996- Museum Kunstpalast, Düsseldorf 2007- Museum Kunstpalast, Düsseldorf 2010Literatur:- Diederich, Stephan/Hermann, Barbara (Hrsg.): Bernard Schultze - Verzeichnis der Werke, Bd. II, 1939 bis 1989, Köln 2015, WVZ.-Nr. 54/15- Ausst.-Kat. Alte und Neue Arbeiten, Kölnischer Kunstverein, Köln 1968, Kat.-Nr. 14 - Ausst.-Kat. Menschenbilder, Kunsthalle Darmstadt, Darmstadt 1968, Kat.-Nr. 14- Romain, Lothar/Wedewer,Rolf: Bernard Schultze, München 1991, Farbtafel 26- Ausst.-Kat. Bernard Schultze, Schleswig-Holsteinisches Landesmuseum Schloß Gottorf, Schleswig 1996, Kat.-Nr. 6- Althöfer, Heinz (Hrsg.): Informel (1). Der Anfang nach dem Ende, Dortmund 1999, S. 261, Abb.- Ausst.-Kat. Claude Monet und die Moderne, Kunsthalle der Hypo-Kulturstiftung, München 2001, S. 167, Abb.- Ausst.-Kat. Die Kunst zu sammeln, Museum Kunstpalast, Düsseldorf 2007, S. 104, Abb.- Ausst.-Kat. Le grand geste! Informel und Abstrakter Expressionismus 1946-1964, Museum Kunstpalast, Düsseldorf 2010, Kat.-Nr. 128, Abb.- Handschriftliche Werkliste Nr. 2/54- Spannungsvolle und farbgewaltige Komposition aus dem Frühwerk des Kölner Ausnahmekünstler- Solitär von musealer Qualität- Eines der informellen Hauptwerke- Marktfrische Arbeit aus langjährigem Privatbesitz in herausragender Qualität"Penthesilea"Schultze lebte seit 1947 in Frankfurt am Main. Bis 1968 wurde er zusammen mit seiner Frau Ursula zu einer festen Größe in der dortigen Kunstszene. Schultze war Mitbegründer der Gruppe Quadriga und stellte seit 1952 in der Zimmergalerie Franck aus. Seine ersten informellen Bilder entstanden 1951. Dank seiner regelmäßigen Besuche in Paris hatte er die Arbeiten von Wols, Dubuffet und Fautrier kennengelernt. Zu den früheren Inspirationsquellen gehörte neben Paul Klee und den Surrealisten auch der belgische Maler James Ensor, von dem er eine Publikation mit farbigen Abbildungen stets im Tornister dabeihatte, als er Soldat in Russland und Afrika war. Ensors Farben finden sich in Schultzes Gemälde "Penthesilea" wieder. Der Krieg hatte Bernard Schultze traumatisiert, und in seiner Kunst zeigt sich das deutlich. "Die düstere Seite, das Zerstörerische liegt mir sehr nahe, aber ich will es verwandeln in eine Kostbarkeit", schrieb er 1998 in einem Brief an den Sammler und Freund Willi Kemp. (Bernard Schultze: zit. nach "Gespräch mit Willi Kemp am 24.3.1998", in: Ausst.-Kat. Die Sammlung Ingrid und Willi Kemp, Stiftung museum kunst palast, Düsseldorf 2001, S. 121) "Penthesilea" ist eines der informellen Hauptwerke von Bernard Schultze. Es spiegelt die ganze Ambivalenz von Schultzes Malerei, in der sich Trauma und Optimismus auf vielschichtige Weise mischen. Anders als viele andere Gemälde aus dieser Zeit, die von einer einzigen Farbstimmung, etwa Rot, Blau oder sehr häufig auch verschiedenen Erdfarben dominiert werden, leuchten in "Penthesilea" äußerst fein und subtil gezeichnete Formen und Linien in Rosa- Gelb-, Hellblau und Weißtönen neben schwarzen Konfigurationen wie in einem üppig gewachsenen Garten. Schultzes Malweise war immer intuitiv, ohne Vorausplanung begann er seine Gemälde an irgendeinem Punkt auf der Leinwand und arbeitete langsam in alle Richtungen über die gesamte Bildfläche so lange, bis das Bild stimmte. Auch wenn er keine Gegenstände wiedergab, strahlten seine informellen Bilder doch eine starke, organische Körperlichkeit aus. Die Verwandtschaft zu Pflanzenformen, Wachstum und Verfall hob der Künstler selbst hervor: "Am Rande Frankfurts entstehen in einem Gemisch aus Kräutergärtlein und Hinterhof meine ersten informellen Bilder, gleichsam in Konkurrenz zu Fliederbusch und Apfelblütenbäumen." (Bernard Schultze in: Romain, Lothar und Wedewer, Rolf: Bernard Schultze. München, 1991, S. 13) "Penthesilea" ist ein besonders überzeugendes Beispiel für Schultzes Arbeitsweise.Malerei und LiteraturLiteratur war für Schultze ein ebenso wichtiges Bezugsfeld wie die Malerei. Er kannte die wesentlichen Werke seiner Zeitgenossen von Beckett bis Sartre, die Literatur der Surrealisten, und auch die Dichter der Romantik sowie die Klassische Dichtung seit der Antike. Seine Bildtitel sind sehr häufig poetisch und beziehen sich auf seine diverse Lektüre. Schultze wählte die Werktitel stets erst nach der Fertigstellung eines Gemäldes, und auch hier war das so. Penthesilea war in der griechischen Mythologie die Königin der Amazonen, Schultze kannte jedoch auch Heinrich von Kleists Drama nach diesem antiken Mythos. Das tragische Drama um den Tod der Penthesilea und ihres Geliebten Achill mit seiner Mischung aus Leidenschaft, Hoffnung, Gewalt und Zerstörung bietet viele Anregungen zur Auseinandersetzung mit Schultzes informeller, existenziell geprägter Malerei.Das Gemälde befand sich lange in Düsseldorfer Privatbesitz und wurde 2010 in der Ausstellung "Le Grand Geste. Abstrakter Expressionismus und Informel 1946-1964" im Museum Kunstpalast präsentiert. Neben dem Gemälde "Rosen-Geschwüre" (1955) aus der Sammlung Kemp war es einer der Glanzpunkte der Auswahl deutscher informeller Malerei, die sich neben Amerikanern wie Jackson Pollock, Philip Guston, Franz Kline, Adolph Gottlieb oder Joan Mitchell und Franzosen wie Jean Fautrier, Jean Dubuffet, Wols oder Georges Mathieu souverän behauptete.(Kay Heymer)VAN HAM Art Estate vertritt seit 2018 den künstlerischen Teilnachlass von Bernard Schultze des Folkwang-Museumsvereins e.V., Essen: www.bernard-­schultze.org Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.Erläuterungen zum Katalog Bernard Schultze Deutschland Informel Nachkriegskunst Unikate 1950er Modellrahmen Abstrakt Gemälde Öl

ALBERT C. POLLOCK (20TH CENTURY)  SAILING THROUGH THE STORM  Watercolour, signed lower left 'Albert', 62 x 54cm Condition Report:Available upon request

Archery equipment to include Samick SHB bow, together with an Accles & Pollock bow, large quantity of arrows and accessories (left handed)

Chubarov, Evgeny -- Ohne TitelÖl auf Leinwand. 1992.206 x 146 cm.Verso mit Pinsel in Rot mehrfach kyrillisch signiert "E. Chubarov" und datiert. Die monumentale Komposition entstand während Chubarovs Aufenthalt in Berlin zwischen 1989 und 1995. Die Gemälde aus der Berliner Zeit lassen sich als "nicht-relationale" Kunst bezeichnen, da die Komposition willkürlich, wie zufällig nach dem "All-Over"-Prinzip über die Leinwand verteilt ist und dennoch ein inneres Gleichgewicht von Farben, Formen und Strichen entstehen lässt. Das Gemälde ist von mehreren Schichten linearer Ornamentik überzogen, in der sich Mikro- und Makrostrukturen zu durchdringen scheinen. Chubarovs Bildsprache dieser Jahre vereint spirituelle Kunsttraditionen mit dem Konzept der reinen Abstraktion und schafft eine intellektuelle Form der vom Gegenstand gelösten, gestischen Malerei, bei der die Linie und ihre Umsetzung eine besondere Bedeutung und transformative Kraft besitzen. Ihn inspirierten mittelalterliche Relikte, christliche Ikonen und nahöstliche Manuskripte. Seine abstrakten Werke stehen damit im Dialog zwischen Ost und West und verbinden die Ästhetik antiker Kalligraphie und byzantinischer Kunst mit zeitgenössischer Malerei. Rhythmische Takte, visuelle Akzente und kraftvolle Pinselstriche verleihen seinen Bildern musikalische, beinahe symphonische Werte. Reisen nach Berlin und New York zum Ende der 1980er Jahre brachten Chubarovs Stil eine entscheidende Transformation; er entwickelte sich vom Impressionismus und Gegenständlichen hin zu einer reinen Abstraktion. Zu Beginn der 1990er Jahre erhielt der Künstler den prestigeträchtigen Förderpreis der Jackson Pollock Stiftung. Die in der Berliner Zeit entstandenen großformatigen Werke stellen einen wichtigen Meilenstein nicht nur im Schaffen Chubarows, sondern auch in der zeitgenössischen russischen Kunst dar. "Chubarov erreicht in seinen Werken einen Internationalismus, der sowohl in seiner konzeptionellen Reichweite als auch in seiner formalen Umsetzung höchste Anerkennung verdient. Hier haben wir es mit einem Künstler zu tun, der im Alter von 62 Jahren nicht nur den Westen und seine Kunst kennenlernt, sondern in kurzer Zeit in einem Zustand der Verzückung Werke schafft, die neue Dimensionen der Kontemplation eröffnen." (Tayfun Belgin, Begleittext zur Ausstellung, Osthaus Museum Hagen 2016, zit. nach chubarov-art, Zugriff 10.04.2024).Provenienz: Privatsammlung David Tetruashvili, Berlin (direkt beim Künstler erworben) Ausstellung: Return to the Abstract, Ludwig Museum im Staatlichen Russischen Museum, St. Petersburg 2004, Kat.-Nr. 19 (mit Abb.) - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Soulages, Pierre -- Eau-forte No 6 Farbige Aquatinta auf BFK Rives-Velin. 1957.59,5 x 43,5 cm (76 x 56,5 cm). Signiert "Soulages". Auflage 100 num. Ex.Duby VI.Soulages zog 1946 von Montpellier nach Paris, wo er 1948 von Hans Hartung und Francis Picabia entdeckt wurde. Bereits 1955 nahm er an der ersten Documenta in Kassel teil, und bald galt er als europäisches Gegengewicht zu den amerikanischen Abstrakten Expressionisten wie Franz Kline und Jackson Pollock. Die schwarzen, kalligraphiehaften Formen in wohlüberlegten, komplexen Kompositionen wurden schnell zu seinem Markenzeichen. Herausgegeben von Berggruen, Paris, gedruckt von Lacourière, Paris; hier möglicherweise fälschlich die Auflage mit 200 beziffert. Brillanter, kräftiger Druck mit herrlich ausgeprägter Reliefstruktur, tief eingeprägter Plattenkante und mit dem vollen Rand. - Wir bitten darum, Zustandsberichte zu den Losen zu erfragen, da der Erhaltungszustand nur in Ausnahmefällen im Katalog angegeben ist. - Please ask for condition reports for individual lots, as the condition is usually not mentioned in the catalogue.

Original Abstract Expressionist acrylic on board painted with earth and muted tones in the lyrical drip technique of Jackson Pollock. Signature and date on verso: Mc Clanahan? 1972. Housed in a metallic gold frame. Artwork dimensions: 14.50"L x 29.50"H. Frame size: 15"L x 30.25"H x 1.25"W. Issued: 1972Country of Origin: United StatesCondition: Age related wear.

George III's stables.- George III (King of the United Kingdom of Great Britain and Ireland, and King of Hanover, 1738-1820).- Pollock (David, saddler to the Royal family, of Charing Cross, 1739-1815).- Waste Book for His Majesty's Articles [for the King's stables "by order of the Master of the Horse"], manuscript in several hands, 137pp. excluding blanks, ruled in red, 3ff. with tears, slightly browned, original vellum, title lettered direct on upper cover, soiled, upper cover with several cuts, spine with some surface cracking, folio, 1798-1817.*** An interesting account book of day to day purchases of items for the king's and the Prince Regent's stables, including, "His Majesty... 2 Pairs of best white girths"; "Hampton Court To 8 foals Collars... 2/4"; "Pimlico [Stables] To covering 2 Cruppers with Lambskin... 5[s]"; "His Majesty The Hunt... To 14 Black reins... 1/15/0 [£sd]" etc.

IAN POLLOCK (B.1950): A WATERCOLOUR DRAWING ON PAPER DEPICTING TWO FIGURES, 50cm x 33cm Mounted in a frame and glazed. 73cm x 55cm