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Click here to subscribeA photographic portrait of Sir Jonathan Frederick Pollock, 1st Baronet, British lawyer and Tory politician, wearing judge's robes by John & Charles Watkins of 34 Parliament Street, London, housed in a gilt frame measuring approx. 61.5cm x 54cm externally Condition Report:Available upon request
Christopher Darton Watkins (1928 - 2010) 'Albufeira' Oil on canvas painting Measures 81cm x 56cm. Having studied at Ruskin School of art, Christopher gained his master's degree at Oxford University. He was known for his precise and atmospheric landscapes, this 1961 painting depicting a street in Algarve Portugal. In 1990 he received a Pollock-Krasner Foundation award 'because of the exceptional quality of work and the extent of artistic achievement.'
A large quantity of letters from Lieutenant Charles H Pollock, to his wife and family members, from the period 1921 - 1937, Lieutenant Pollock was stationed on HMS Dragon, HMS Repulse, HMS Vindicative, HMS Osbourne, and HMS Arundel Castle during this period, and there are various letter over this time from Gibraltar, Bermuda, and Malta
Corgi - A boxed collection of diecast model vehicles from various Corgi Ranges. Lot includes CC13611 'Rigids' DAF CF Curtainside 'Pollock (Scotrans) Ltd'; #21303 'Whisky Collection' AEC Ergomatic 'Bells'; #33301 'Premium Public Transport' Bristol LL6B / Duple Coach 'Southern National and similar. Models appear to be in Mint condition - a couple of trucks have had mirrors fitted. Boxes range Fair Plus - Very Good with general wear. All items are unchecked for completeness. (This does not constitute a guarantee) (K)
* PETER MCLAREN (SCOTTISH B.1964), STILL LIFE WITH POPPIES oil on board, signed and titled '91 versoframedimage size 64cm x 74cm, overall size 80cm x 90cm Exhibition label verso: Modern Masters, The Scottish Gallery 2013, EdinburghNote: Peter Mclaren was born in Edinburgh in 1964, he was schooled in Fife then studied at the Edinburgh College of Art. He won the John Kinross Scholarship, from the Royal Scottish Academy, which allowed him to study in Florence, and the Richard Ford Award, from the Royal Academy in London, to study the works in the Prado, Madrid. Early influences include the collection of Scottish Colourists and post war expressionist paintings from his home town of Kirkcaldy's Museum. As a student Mclaren travelled by bicycle to see collections in Amsterdam, Arnhem, Paris and London. Post-graduation, he won an Andrew Grant Scholarship which introduced him first hand to American art. Wyeth, Pollock, Lichtenstein and Warhol. In 1989 Mclaren won the inaugural British Airways Most Promising Artist Award. His work is held in many public and private collections.Condition of picture is good overall, with no visible or known issues.
Robert Motherwell (1915–1991) was an American abstract expressionist painter, printmaker, and editor. He played a significant role in the development of abstract expressionism, a post-World War II art movement that emphasized spontaneous, gestural expression. Here are some key points about Robert Motherwell:1. **Early Life and Education:** Robert Motherwell was born on January 24, 1915, in Aberdeen, Washington. He studied at Stanford University, where he initially pursued a degree in philosophy. Later, he shifted his focus to art and earned a Bachelor of Arts in 1937.2. **Academic Background:** Motherwell pursued graduate studies in philosophy at Harvard University and later studied art at the California School of Fine Arts in San Francisco.3. **Introduction to Surrealism:** During a trip to Europe in the 1930s, Motherwell became exposed to Surrealist art and met several prominent artists associated with the movement, including Roberto Matta and André Breton. This exposure had a profound impact on his artistic development.4. **Abstract Expressionism:** In the 1940s, Motherwell became a key figure in the abstract expressionist movement, along with artists like Jackson Pollock, Willem de Kooning, and Mark Rothko. He was associated with the New York School, a group of avant-garde artists based in New York City.5. **Elegy to the Spanish Republic Series:** One of Motherwell's most significant and enduring bodies of work is the "Elegy to the Spanish Republic" series, which he began in 1948. This series, consisting of over 100 paintings, prints, and collages, was inspired by the Spanish Civil War.6. **Collage and Mixed Media:** Motherwell was known for incorporating collage elements into his paintings, often using torn paper, newspaper clippings, and other materials. This technique added depth and texture to his works.7. **Writings and Publications:** In addition to his artistic practice, Motherwell was actively engaged in writing about art and aesthetics. He edited the documents of the Surrealist movement and wrote essays on art theory.8. **Teaching Career:** Motherwell had a notable career as an educator. He taught at several institutions, including Black Mountain College and Hunter College. His influence on younger artists was significant.9. **Exhibitions and Recognition:** Motherwell's works were featured in numerous solo and group exhibitions throughout his career. He received several awards and honors for his contributions to modern art.10. **Legacy:** Robert Motherwell's impact on abstract expressionism and the broader art world is considered profound. His dedication to exploring the emotional and intellectual dimensions of art has left a lasting legacy.11. **Death:** Robert Motherwell passed away on July 16, 1991, in Provincetown, Massachusetts.Robert Motherwell's work is characterized by its intellectual depth, use of symbolism, and exploration of the human experience. His contributions to abstract expressionism continue to be studied and celebrated.Measures 18 x 24.Linen backed.
Hans Namuth (1915–1990) was a German-born American photographer known for his iconic images of artists, particularly his famous series capturing Abstract Expressionist painter Jackson Pollock at work. Born on March 17, 1915, in Essen, Germany, Namuth fled the Nazi regime and later settled in the United States. In the 1950s, he began photographing prominent figures in the New York art scene, gaining access to artists such as Willem de Kooning, Mark Rothko, and Pollock. Namuth's most renowned work emerged from his collaboration with Pollock, producing striking black-and-white images that documented the artist's intense and dynamic painting process. The series, which included photos of Pollock dripping and pouring paint onto canvases, became iconic, capturing the energy and spontaneity of Abstract Expressionism. Namuth's contribution to the documentation of the artistic process has had a lasting impact on art history, providing a visual narrative of the creative act.Measures 10.25 x 13.Printed circa 1970s.
George Morrison (Ojibwe, 1919-2000). Woodcut on paper depicting an intricate pattern of contrasting woodgrains in gold metallic ink, 1976-78. Pencil signed and dated along the lower right; numbered P.P. 1/4 along the lower left; Vermillion Editions Limited blindstamp along the lower left.Provenance: Private Minnesota Collection.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 29 1/2 in x width: 44 1/2 in. Framed; height: 33 1/2 in x width: 48 in.
George Morrison (Ojibwe, 1919-2000). Color lithograph on Japan paper titled "Surrealist Landscape" depicting a horizon in vibrant colors, 1990-96. The colors fit together perfectly, as if pieces of a puzzle, to form a colorful whole. Pencil signed and dated along the lower right; numbered CTP 10/22 along the lower center; titled along the lower left.Provenance: Private Minnesota Collection.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Height: 21 in x width: 17 in.
George Morrison (Ojibwe, 1919-2000). Mixed media on paper painting depicting an abstracted figure in blue, red, yellow, and black, 1946. Pencil signed and dated along the lower right.Provenance: Private Minnesota Collection.Reference: "Modern Spirit: The Art of George Morrison," Minnesota Museum of American Art, 2013. A very similar work is illustrated in this exhibition (plate 5, pg. 68), depicting three figures.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 10 1/4 in x width: 8 in. Framed; height: 23 1/4 in x width: 19 in.
Grace Hartigan (American, 1922-2008). Large oil on canvas painting titled "Dublin" depicting an abstract expressionist painting executed in muted colors with splashes of bright blue and purple, 1958-59. Part of her "European Place" painting series, inspired by her travels to eight cities in Europe and Ireland from 1958 to 1959. This painting is very similar to a work in the collection of the Guggenheim titled "Ireland," which is the largest work in this series. This series did not depict literal views of the cities or places she visited, but were rather "evocations of place" inspired by her experiences there.Provenance: The artist via Tibor de Nagy Gallery, New York; Collection of Beatrice & Hart Perry, New York; Collection of John Raimondi, Palm Beach, Florida; Private Connecticut Collection; Private Minnesotan Collection.Exhibition History: Columbus Gallery of Fine Arts, "Contemporary American Painting," Columbus, Ohio, January 14 - February 18, 1960; Newport Harbor Art Museum "Action/Precision: The New Direction in New York 1955-1960," Newport Beach, California, 1984-1986.Reference:Robert S. Mattison, "Grace Hartigan: A Painter's World," New York: Rizzoli International Publications, 1990. Pgs. 46 & 47."Action/Precision: The New Direction in New York 1955-1960," Newport Beach, California: Newport Harbor Art Museum, 1984. Pgs. 86 & 87.Lot Essay:Grace Hartigan (March 28, 1922 – November 15, 2008) was a trailblazing American Abstract Expressionist painter, celebrated for her bold and dynamic contributions to the mid-20th-century art scene. Born in Newark, New Jersey, her artistic journey began at an early age, and she later pursued formal training at the Newark College of Engineering and the George Washington University. However, it was in the vibrant atmosphere of post-war New York City that Hartigan truly found her artistic voice.In the early 1950s, Hartigan became associated with the famed New York School, a group of avant-garde artists who played a pivotal role in the development of Abstract Expressionism. She was notably close to Willem de Kooning, Jackson Pollock, Helen Frankenthaler, Alfred Leslie, Franz Kline, and other influential artists of the era, yet her unique approach to painting set her apart. Hartigan's work often blended abstraction with elements of figurative representation, creating a distinctive style that defied easy categorization.The European Place paintings, to which the present work belongs, were inspired by her travels to eight cities in Europe and especially Ireland from 1958 to 1959. She felt a special affinity for her "dear, dirty Dublin" which reminded her of New York as well as her Irish heritage. The dark, rectangular planes of the work suggest the sooty buildings while the blue expanse in the center recalls the feeling of strolling along the seaside boardwalk at the edges of the city. The delicate, white linear patterns along the lower edge reflect Hartigan's romanticism. At the time of this painting's conception, she was involved in a love affair with Franz Kline and has described these white lines as "a love letter to Franz." The white also suggests the word "Dublin" itself, showing the lyrical and poetic nature of Hartigan's artworks.Hartigan's impact on the art world extended beyond her prolific studio practice. She was a prominent figure in the burgeoning feminist art movement, advocating for greater recognition and opportunities for women artists. In 1982, she was appointed the first female full professor of art at the Maryland Institute College of Art, solidifying her role as a trailblazer for women in the arts.Her extensive body of work has been exhibited in major institutions around the world, including the Museum of Modern Art, the Whitney Museum of American Art, and the National Museum of Women in the Arts. Grace Hartigan's legacy endures as a testament to her innovative spirit and unwavering commitment to pushing artistic boundaries. Her influence continues to inspire contemporary artists, ensuring that her contributions to the rich tapestry of American art remain both celebrated and influential.Sight; height: 83 1/2 in x width: 71 in. Framed; height: 84 3/4 in x width: 72 1/4 in.
George Morrison (Ojibwe, 1919-2000). Black ink on Strathmore paper depicting a horizon comprised of thousands of lines, 1972. A thread of lines runs through the center of the composition - connecting the upper and lower halves of the drawing - creating a continuous weaving passage. Signed and dated along the lower left. A tag from the Walker Art Center is affixed to the verso.Provenance: Private Minnesota Collection.Exhibition: George Morrison Drawings Dates: 15 April - 27 May 1973; Heard Museum Phoenix, Dates: 23 June - 5 August 1973; Amon Carter Museum of Western Art, Fort Worth Dates: 10 November - 5 January 1974.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.In an interview with Philip Larson conducted for the 1973 Walker exhibition Morrison stated that these drawings were "laid out with precise straight and curved lines, all the same distance apart, and the whole surface is evenly textured. There is an effect of shallow cubist depth made with overlapping lines, and a sense of indefinite space extending outwards from all four sides...I sometimes deliberately create a passage going up diagonally from the bottom left to top right. That it is going through is very obvious - a passage of lines that becomes immersed in other lines, weaving in and out." This ink weaving is clearly evident with the central vertical passage in this work, creating a connection between the top quarter of the painting into the lower half.Sight; height: 23 1/8 in x wide: 23 1/8 in. Framed; height: 25 1/4 in x width: 25 1/4 in.
Abu Feralite Mark 7 hollow glass match rod 13ft 3pc 26" handle composite reel fittings, lined butt/tip rings, MCB; Apollo by Accles & Pollock Ltd Taper Flush Match Rod 14ft 4pc (inc handle) 26" handle, alloy reel fittings, lined butt/tip rings stand off throughout, cloth bag; Browning River Match 39 carbon match rod 13ft 3pc 24" handle, composite/cork sliding reel fittings, lined stand off rings throughout, MCB, very light use, plastic on handle. (3)
BR SR Drivers bag and assorted modellers tools (qty), including Leather Drivers bag containing EMU Drivers hat, written handbooks and rulebooks relating to electric working (11), Dremel Mini Drill and cutter set in original toolbox, Craft knife set in box, Mini soldering iron set, metal Pollock builders plate, F-G, boxes G, (qty)
Worksplate ROBERT STEPHENSON & HAWTHORNS LTD NEWCASTLE WORKS 7645 1949 ex 0-4-0 ST delivered new to Corrall & Co Hamworthy and named Western Pride. Sold to Pollock Brown Northam and scrapped in March 1966. Oval cast brass in lightly cleaned condition measuring 13in x 8.5in. Note this is the other side to the one we sold in July 2021.
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left) 60 x 70cm (23½ x 27½ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) VISAGE IMAGINAIRE Oil on canvas Signed (lower left) 60 x 50cm (23½ x 19½ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
ALFONSO OSSORIO (FILIPINO/AMERICAN 1916-1990) UNLIKELY CLUTCH Ink, wax, watercolour and wash Signed and dated 1954 (lower right) 102 x 76cm (40 x 29¾ in.) Provenance: Tower Gallery, Southampton, New York Betty Parsons, New York Private Collection, Robert Stigwood (1934-2016), music and film producer, whom purchased from the above circa. 1980s 'These works stand out for their vivid, saturated colors, distinctive formal characteristics, and pulsating energy.' Michael Rosenfeld Gallery, New York, Alfonso Ossorio Retrospective. Alfonso Ossorio was at the centre of the Abstract Expressionist and Art Brut movements which flourished during the 1950s. This passion for the arts and exploration of abstraction, alongside his close friends Jackson Pollock and Jean Dubuffet, was reflected in not only his own practice but also his collecting habits. Financially supported by his family, Ossorio established one of the earliest collections of Art Brut and Abstract Expressionism, helping to consolidate and promote the movements in America. Ossorio's family made their wealth through the sugar-refining industries in Negros Occidental in the Philippines. Ossorio was educated in England before relocating to Rhode Island at the age of 14. Ossorio studied Fine Art at Harvard University and held his first solo exhibition in New York with Betty Parsons in 1941. Ossorio's interest in art reached further than just practice, he was a keen collector and whilst studying at Harvard the Fogg Museum exhibited his early collection of works including pieces by Eric Gill and David Jones. Whilst exhibiting with Betty Parsons throughout the 40s, Ossorio became aware of Jackson Pollock's work, another artist Parsons was supporting and he was immediately drawn to his unique talent. Ossorio purchased his first Pollock 'drip' painting in 1949 titled Number 5, 1948. From this moment forward a strong friendship ensued between Ossorio and Pollock, both as artists but also as patron and artist. 'Europe no longer had anything to offer but a mixture of memories.' Harold Rosenberg, The De-Definition of Art (New York: Collier, 1972). P. 194 In November 1949, Pollock encouraged Ossorio to travel to Paris to meet with his friend Jean Dubuffet. At the time Dubuffet had experienced a great deal of criticism in Europe for his highly textured Art Brut works but his reputation was growing across the pond. Ossorio returned to New York with three new purchases Robinson, Figure au site Champetre and La dame au pompom and most importantly a new friendship which would continue in perpetuity. By 1951 Dubuffet was arguably the most famous French artist in America, possibly with the help of Ossorio. Together with Ossorio's lifelong partner, Ted Dragon, he purchased an estate on Long Island called The Creeks. The estate became synonymous with lavish parties attended by some of the most important artists of the 20th century Mark Rothko, Willem de Kooning and Lee Krasner. The Creeks, arguably helped to develop the strength of abstract expressionism in America. In 1952, Dubuffet's The Art Brut Collection which included 1200 works by approximately 100 artists was installed at Ossorio's estate. The collection hung on the upper floors of The Creeks alongside Ossorio's personal collection of works by Jackson Pollock, Clyfford Still, Lee Krasner and Willem de Kooning. In 1962 the collection returned to Paris to a purpose made space organised by Dubuffet and from 1976 the collection was moved to Lausanne in Switzerland in the Collection de l'Art Brut, where it remains today. Lot 161 represents Alfonso Ossorio's exploration of surrealism, characterised as "metaphysical fantasies," featured emotionally charged expressionistic brushstrokes. Influenced by his return to the Philippines in 1949, to carry out a mural commission for the chapel of St. Joseph the Worker in his hometown Victorias, he introduced the 'wax-resist' technique, inspired by Victor Brauner, giving rise to the Victorias Paintings series. This collection delved into the complexities of Catholicism, homosexuality, and racism. His early pieces depicted the emotional turmoil of a young homosexual male with a deeply rooted Catholic upbringing, set against the backdrop of World War II. These emotions were vividly portrayed through highly detailed surrealist designs. Additionally, Ossorio's art drew inspiration from psychoanalyst Nandor Fodor's writings on sexuality, birth, and motherhood. The present lot reflects the work of Jackson Pollock, most notably a piece titled Pattern c. 1945 held in the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.'These works stand out for their vivid, saturated colors, distinctive formal characteristics, and pulsating energy.' Michael Rosenfeld Gallery, New York, Alfonso Ossorio Retrospective. Arguably, Ossorio's collecting habits and socialite lifestyle have overshadowed his artistic capabilities. A turning point came in 2013 with the exhibition Angels,Demons and Savages: Pollock, Ossorio, Dubuffet curated by Dorothy Konsinski and Klauss Ottman at the Phillips Collection in Washington D.C. before travelling to New York. This exhibition placed Ossorio in the centre of Pollock and Dubuffet shining a light on the importance of his career as both an artist and collector. Condition Report: Executed on artist's board. Some very minor damage to the extreme tips of the lower corners, not visible when framed. Otherwise in very good original condition. Framed under glass. Condition Report Disclaimer
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left); further signed (verso) 65.5 x 92cm (25¾ x 36 in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) VISAGE IMAGINAIRE Oil on canvas Signed (lower right) 65 x 54cm (25½ x 21¼ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
λ JOHN CLUYSENAAR (BELGIAN 1899-1986) COMPOSITION ABSTRAITE Oil on canvas Signed (lower left) 65.5 x 54.5cm (25¾ x 21¼ in.)Provenance: Direct from the Cluysenaar family estate, thence by descentJohn Cluysenaar (1899-1986) hailed from a family deeply rooted in the practice of architecture and artistry, fostering a rich creative heritage in Belgium. Following in the artistic footsteps of both his father and grandfather, Cluysenaar initially delved into sculpture, establishing a studio in Uccle, Belgium. His prowess in this medium garnered recognition when, in 1924, he secured a shared First Prix de Rome and the Godecharle Prize. Cluysenaar travelled to France and Italy on study trips but settled in the UK during the Second World War. The turning point in John Cluysenaar's career occurred in 1939, marked by the passing of his father on April 7th. Following this poignant event, Cluysenaar pledged to abandon sculpture forever, redirecting his focus towards his true passion-painting. Speculation arises regarding his strained relationship with his father, a successful artist himself, who may have felt threatened by his son's artistic talent, nudging John towards sculpture.The rhythmic essence flows through the core of John Cluysenaar's paintings. Profoundly influenced by his love for music, his canvases exemplify the fluidity of brush strokes, resembling notes dancing across sheet music. Notable among his later works are the series Composition Abstraite (lot 120,121 & 124) and Visage Imaginaire (lot 122 & 123).Cluysenaar embraced the 'all-over' composition, a concept gaining prominence in America through artists like Jackson Pollock and Willem De Kooning. With Composition Abstraite, he sought to inundate the canvas with a fiery burst of strokes, departing from a central focal point, infusing spontaneity into the artwork. Employing a restricted colour palette for each piece, Cluysenaar delved into various shades, creating depth and mystique in his works.Visage Imaginaire reflects Cluysenaar's early fascination with German expressionist artists like Kokoschka and Emil Nolde. Inspired by the tormented faces depicted by Edvard Munch, Cluysenaar transformed this interest into an obsession. This resulted in a series of paintings aimed at deconstructing and simplifying the elements of the human face into a web of entangled lines, producing a camouflage effect that dissolved the face into infinity. The canvas was adorned with scattered lines, intentionally devoid of a central focus, achieving an anonymizing effect and establishing a network of black lines that dictated both contours and rhythm.This collection of works are coming to market for the first time, direct from the descendants of the Cluysenaar family.
STAR WARS: A NEW HOPE (1977) - Charles Lippincott Collection: Production Documents on Early Interest in Star Wars Merchandising - Production documents on early interest in Star Wars merchandising from George Lucas' Star Wars: A New Hope. This lot comes from the collection of the film's advertising and publicity supervisor Charles "Charley" Lippincott. It consists of a manila folder featuring a Lippincott stamp marked "The Star Wars - Merchandising" with two printed articles of a Jaws poster magazine, three pages of licensed merchandising fields represented by Allan Stone with printed newspaper articles, three handwritten notes, a typed Note-O-Gram from Pollock, Rigrod, and Bloom Attorneys at Law to Lippincott dated August 4, 1976, and two correspondences from Thomas Pollock to William Immerman dated September 4, 1974 and from Keith Shackleton to Robert Watts Esq. dated October 9, 1975 paperclipped together with a handwritten note. This lot exhibits extensive discoloration from age, stains to the folder, and rust stains from the paperclip. Dimensions: (largest) 9.5" x 15" x 0.25" (24.25 cm x 38.25 cm x 0.75 cm)This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.
NIVEN DAVID: (1910-1983) British actor, Academy Award winner for Best Actor in 1958 for his role as Major Angus Pollock in Separate Tables. Signed 8 x 10 photograph of Niven in a head and shoulders pose wearing a uniform in costume as General Sir Roland 'Rollo' Dane from the American romantic drama film Enchantment (1948) set in London during World War II. Signed by Niven in black ink to a light area of the background. EX
ACADEMY AWARD WINNERS: A good selection of signed 8 x 10 photographs by various actresses, each of them Best Supporting Actress Academy Award winners from 1998-2002, comprising Judi Dench (for her role as Queen Elizabeth I in Shakespeare in Love, 1998), Angelina Jolie (for her role as Lisa Rowe in Girl, Interrupted, 1999), Marcia Gay Harden (for her role as Lee Krasner in Pollock, 2000), Jennifer Connelly (for her role as Alicia Nash in A Beautiful Mind, 2001) and Catherine Zeta-Jones (for her role as Velma Kelly in Chicago, 2002). All are boldly signed in blue or black inks, the majority to clear areas of the images, and none are inscribed. Colour (3). VG to EX, 5
Corgi: A collection of assorted Corgi Classics commercial vehicles to include: Scammell Eskimo Foods, Atkinson 8 Wheeler Tennant, Atkinson Tanker Pollock, Scammell Pointer, Bedford BRS, Foden Pickfords, Atkinson Eddie Stobart, Scammell Crane Pickfords, Atkinson Lucozade, and ERF Tanker Esso. All boxed as new, two still in factory tissue. Please assess photographs. (one box)
This outstanding color lithograph on wove paper is a rarely offered example of Abstract Expressionist Jackson Pollock's evolution that foreshadows his non-representational paintings. The easel portrait and the interior scene include dribbling and lyrical lines that Pollock mastered in the 1950's. Housed in a red and silver marbleized frame. Signature in plate and below image in pencil with edition number and dedication: To Judy & Walter R. Rey & Katrin (?) Pollock, 16 of 75. Artwork dimensions: 9.15"L x 6.15"H. Frame size: 11.50"L x 9.25"H x 0.80"W. Artist: Jackson Pollock (American, 1912-1956)Issued: c. 1940Edition Number: 16 of 75 Country of Origin: United StatesCondition: Age related wear.
A collection of big game hunting and travel books including: Through the Heart of Patagonia by H Hesketh Prichard, Kill or Be Killed by Major W R Foran, Big Game and Pygmies, Eight Years in Ceylon by Sir S W Baker, Incidents of Foreign Sport and Travel by Colonel Pollock, Men Mines and Animals in South Africa by Lord Randolph Church, Big Game by Frank Wallace, Uhuru by Robert Ruark, Through the Highlands of Siberia, etc.
Harold Ambellan, Frauenkopf & 3 Tänzer, Zeichnung & Zeichnung/Aquarell um 1960/70, beide gleich gerahmtHarold Ambellan, 1912 Buffalo/USA - 2006 Arles/Frankreich, amerikanisch-französischer Maler und Bildhauer, hier: Picasso-esker Frauenkopf und 3 Tänzer, Fettstift-Zeichnung, 38 x 30 cm, r. u. sign. // Fettstift-Zeichnung aquarelliert, 45 x 58 cm, l. u. sign., beide in gleichen weißen RahmenWährend seines Studiums der Bildhauerei und Bildenden Künste in Buffalo erhielt Harold Ambellan 1930 ein Stipendium der Art Student League. Er war auch einer der Künstler, die 1938 in der Gruppenausstellung „Subway Art“ im Museum of Modern Art vorgestellt wurden. Ambellan wurde 1941 zum Präsidenten der Sculptors Guild of America gewählt, im selben Jahr, in dem seine Arbeiten in Gruppenausstellungen sowohl im Metropolitan Museum of Art in New York als auch in der Academy of Fine Arts in Philadelphia ausgestellt wurden. Obwohl er mit den Künstlern Jackson Pollock, Willem de Kooning und Marc Rothko befreundet war blieb Ambellan sowohl in seiner Skulptur als auch in seiner Malerei dem Figurativen verpflichtet.1954 übersiedelte Ambellan nach Frankreich. Nachdem Ambellan mehrere Jahre in Montparnasse, einer der bedeutendsten Künstlergemeinden von Paris, gelebt hatte, beschloss er, sich in Antibes an der Côte d'Azur niederzulassen. 1980 zog er in die provenzalische Stadt Arles um, wo er bis zu seinem Lebensende lebte und arbeitete
Jackson Pollock (after) Untitled II, lithography print, sheet size 50 x 70 cm, plate signed bottom right, numbered with pencil bottom left, limited edition 48/300, with embossing stamp 'SPADEM, Paris' and 'ArtiGraficheRoma', heavy cotton paper, without additional documentation, sold unframed
After Jackson Pollock, American 1912-1956,Beyond the Edge, the Studio Set 1;four archival pigment prints on Hahnemühle paper with hand torn edges, hand numbered in pencil 15/125, each bear the blind stamp of the Jackson Pollock studio, each sheet: 46 x 61 cm, (unframed)Provenance: Iconic Moments in association with the Jackson Pollock studio.
Marie Miles, head and shoulders portrait of a young woman (Margaret Agnata Pollock), oil on canvas, signed and dated 1901, 61cm x 47cm, original frameVery good untouched original condition, no canvas damage patches or repairs, original gesso frame with several very minor chips, from a local deceased estate
MATHEW POLLOCK FOR WYLIE AND LOCHHEAD, ARTS & CRAFTS OAK BESIDE CABINET, CIRCA 1900 enclosed by a floral marquetry panel door, chequered border, on square section supports joint by an H-stretcher base42cm wideWater staining / fading to the top and front most noticeably, light surface scratches all over, a scratch of note to the top, structurally sound. Please see additional images.82cm high.
GROUP OF DIECAST MODEL LORRIES, including a Corgi Mercades-Benz Actros (MP4) Super Trailer in Pollock Scottrans Ltd livery, a Corgo Bon-Accord (Transport) Ltd of Aberdeen Volvo F12 fridge trailer, a Dukes Transport Limited Volvo F10 fridge trailer and other diecast model lorries, all in original boxesQty: contained in three boxes
Entertainment Collection of 12 signed photos of various sizes including names of Joy Nichols, Eileen Pollock, Alison Steadman and many more. Dedicated. 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
Renfrewshire Rifle Volunteers 1865. A circular engraved medal with decorated rim, 49mm, silver (Hallmarks for Glasgow 1862), obverse engraved with a kneeling Rifleman in the firing position, ‘In Defence of our Queen and Country’ around, reverse engraved ‘7th. R.R.V. Annual Competition. First Prize with £2 won by Sergt. Pollock. 1865.’, with integral loop and straight bar suspension, good very fine £80-£100 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
Miscellaneous Shooting Medals. A First Surrey Rifle Volunteers Medal, 43mm, silver, the reverse engraved ‘The Pollock Challenge Cup 1866 Won by Colr. Sergt. R. A. Puckle. No.4 Compy.’; a circular stuck medal, 39mm, silver, the reverse engraved ‘4th L.R.V. Won by Henry Lord, 2nd. Best Shot. 1st Period 1871’; a silver cross, 28mm, the obverse engraved ‘3rd. Company 39th. Mid. R.V.C. Champion Badge’, the reverse engraved ‘Won by Serjt. G. Page 1877.’, with ring suspension; and a silver-gilt shield medal, 40mm x 30mm, the obverse engraved ‘1st V.B.W.R. Regt.’, the reverse engraved ‘E Company Efficiency and Shooting won by Corpl. W. Miller 1899’, with ring suspension, edge bruising and contact marks, generally nearly very fine and better (4) £80-£100 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK ---
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