We found 42501 price guide item(s) matching your search
There are 42501 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
42501 item(s)/page
Lot 1007
1950'S FOOTBALL PROGRAMMES Over 45 programmes including Manchester United homes v Arsenal, split spine and Middlesbrough 53/4, Charlton homes v Arsenal and Blackpool 50/1, Brentford v Sheff. Weds. 51/2, West Ham United v Brighton 58/9 Met. League plus 6 West Ham homes, 6 X England homes, 7 X Arsenal homes, Nottm. Forest v Arsenal, Chelsea and Leeds 59/60, Bolton 58/9 FA Cup and Orient 56/7 and a Southend United handbook from 1957/8. Fair to generally good
Lot 1094
FOOTBALL PROGRAMMES Ten programmes, mostly Friendlies: Birmingham City v Sampdoria 57/8 and Barcelona 57/8 ICFC S-F, Blackburn v Fulham 57/8, Sunderland v Rapid Vienna 59/560, Sheff. Weds. V Arsenal 57/8, Charlton v Fulham 57/8, Arsenal v Spartak Moscow 54/5 and Juventus 58/9, Chelsea v Red Banner 54/5 and Celtic v Tottenham 67/8. Generally good
Lot 1352
ASTON VILLA Eight home programmes v Wolves 21/5/1945, Blackpool Reserves 27/10/1945, Bolton Reserves 5/1/1946, joint Millwall 1/5/1946 & Derby Reserves 29/4/1946, Leicester 22/4/1946, Blackpool 25/1/147, wear on the spine, Brentford 28/9/1946 and Chelsea 48/9 plus a June-July 1947 Villa News and Record. All are ex-binder. Fair to generally good
Lot 133
ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) BRETON WOMEN SITTING ON A BEACH Oil on canvas laid down on boardDimensions:46cm x 61cm (18in x 24in)Provenance:Provenance: Bequeathed by the Artist to John Russell GreigHis Studio sale 1905 (no.76) as 'Brittany Peasants', where acquired by Dr. Norah Wattie, GlasgowExhibited:Aberdeen Art Gallery, Aberdeen, Robert Brough ARSA, 18 February-25 March 1995, no. 38, illustrated in colour on back coverIn the catalogue for the 1995 Aberdeen Art Gallery exhibition, Jennifer Melville stated: 'In Breton Women Sitting on a Beach Brough sets the silhouettes created by such local costumes against a glowing pink sand - coming as close to Gauguin's flat patterns as in any work.'Note: Note: In around 1900 a young Aberdonian artist named Robert Brough arrived in London. A rising star whose recent paintings had prompted a media frenzy, Brough felt compelled to relocate to the English capital to further develop his artistic career. Chelsea was the beating heart of London’s art world; accordingly, Brough took a lease at Rossetti Studios in Flood Street.Despite his youth, Brough already had the experience and credentials to mark him as an artist of consequence. He had trained in Paris at the Académie Julian, where in 1894 he shared lodgings with the Scottish Colourist S. J. Peploe (1871-1935), and following this spent a period working in Brittany, inspired by Paul Gauguin (1848-1903). He was charmed by the traditional way of life of the Breton people, and by the distinctive quality of light and vivid colouring of the landscape.Both Gauguin and Brough assimilated the tenets of the Synthesist movement, a painting style which prioritised the use of flat planes of harmonious colour and of rhythmic, pattern-inflected composition over more naturalistic representation. Brough’s Brittany work firmly acknowledges Syntheticism but is tempered by an observational grounding, owing to his fascination with the Breton peoples’ lives and customs. His paintings from this period constitute a sensitive record of a traditional people, rendered with an innovatively modern, almost post-Impressionist eye.Jennifer Melville observed that ‘In Breton Women Sitting on a Beach Brough sets the silhouettes created by [the] local costumes against a glowing pink sand - coming as close to Gauguin’s flat patterns as in any work’. (Jennifer Melville, Robert Brough, Aberdeen Art Gallery, 1995, p.21)Upon returning to Aberdeen in 1894, Brough began to earn a living as a portrait artist. He soon attracted commissions from notable families in the area, particularly those involved with the arts. His style retained the compositional brilliance of his earlier work, but his technique became increasingly dynamic and ‘sweeping’ owing to his confident application of licks of oil pigment. Sweet Violets dates to 1897, when Brough was establishing himself as an accomplished society portraitist, and is one of the artist’s masterpieces. His characteristically flamboyant brushwork delineates the elegant profile and fashionable attire of his subject, Barbara Staples, whom Brough had secured permission to paint after a meeting in Aberdeen. Affixed under Staples’ spectacular hat is a delicate patterned veil, through which her pink lips and cheeks are visible. She holds aloft a jar of violets, with their purple hues reflected at her throat and cuffs, inviting comparison between the beauty of the sitter and the flowers she holds. Sweet Violets and a companion painting titled Fantaisie en Folie (now in the Tate collection) implement a similar palette and portray their sitter in profile against a plain background, which Thomas Cooper suggests may have been informed by John Singer Sargent’s Madame Gautreau Drinking a Toast (1882-1883). (Thomas Cooper, ‘A Monstrous Imagining of Matter and Spirit: Robert Brough’s Fantaisie en Folie (1897)’, Immediations, Courtauld Institute of Art on-line journal, vol.4, no.3, 2018, accessed 10 May 2023) Brough’s companion portraits were exhibited widely to exceptional acclaim, rendering the young artist something of a critical phenomenon.Sweet Violets was acquired by Alexander Ogsten and hung in his home at Ardoe House, Aberdeen, for many years. So enamoured was Ogsten with the painting that he declined the many offers he received for it - including those made by Barbara Staples’ husband. Eventually the portrait was exhibited in a Munich gallery in 1960, where Staples’ family were able to purchase the picture and return it to the family. They, in turn, refused to accept any offer that was made for it, and for a long time it remained a family treasure. In the 1990s an article appeared in Country Life magazine searching for Brough’s lost masterpiece, and the Staples family responded explaining that the portrait was in their collection, and that the sitter was their grandmother. In 1995 Sweet Violets was included in Aberdeen Art Gallery’s Brough exhibition, after which it was loaned to, and ultimately purchased by, the present vendor.The success of Sweet Violets and Fantaisie en Folie encouraged Robert Brough to move to London. He promptly joined the Chelsea Arts Club, where he met Sargent, one of his artistic heroes. The pair became close friends, developing a mentor-protégé relationship and taking nearby Chelsea studios. Thanks in part to Sargent’s support, Brough’s painting career flourished year upon year.Young, ambitious, and precociously talented, Brough was on an impressive professional trajectory, yet was unable to reach the soaring heights for which he appeared to be destined on account of a tragic accident. On 20th January 1905 Brough was travelling by train from Perth to London when a major crash occurred. He suffered serious burns and died the following day, with his mother and Singer Sargent at his bedside. His life, and extraordinary potential, was thus curtailed.Throughout his life Brough was successful and well-known; his obituary recorded that he combined ‘the dash of Sargent and the beautiful refinement of Velazquez.’ (The artist W. G. Robb quoted in an obituary in a Scottish newspaper, 1905) Despite this, his early death appears initially to have prevented him from being fully admitted to the canon of great painters in the history of Scottish art. This is largely due to the brevity of his career: relatively few artworks survive and he had less time than most to crystallise his artistic legacy. Fortunately, recent reviews of Scottish painting have done much to reinstate Brough’s status as a painter of remarkable quality, who worked at the forefront of innovative artistic movements, both in Britain and in France.Robert Brough’s artworks appear on the market infrequently, and Lyon & Turnbull is therefore particularly delighted to be offering two tour-de-force oils, both of exceptional importance and each dating to key moments in his career.
Lot 132
â—† ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905) SWEET VIOLETS Oil on canvasDimensions:68.5cm x 104cm (27in x 41in)Provenance:Provenance: Alexander Ogston, ArdoeAcquired from the above by the sitters's husband and thence by family descentPrivate Collection, Scotland Exhibited: Royal Glasgow Institute, Glasgow, 1897, no.149Aberdeen Artists Society, Aberdeen, 1906, no.488Burlington Fine Arts Club, London, 1907, no.43Royal Scottish Academy, Edinburgh, 1926, no.335Palace of Arts, Empire Exhibition, Bellahouston Park, Glasgow, 3 May-29 October 1938, no. 59.Aberdeen Art Gallery, Aberdeen, Robert Brough ARSA, 18 February-25 March 1995, no.63, pp.50-51 Note: Note: In around 1900 a young Aberdonian artist named Robert Brough arrived in London. A rising star whose recent paintings had prompted a media frenzy, Brough felt compelled to relocate to the English capital to further develop his artistic career. Chelsea was the beating heart of London’s art world; accordingly, Brough took a lease at Rossetti Studios in Flood Street.Despite his youth, Brough already had the experience and credentials to mark him as an artist of consequence. He had trained in Paris at the Académie Julian, where in 1894 he shared lodgings with the Scottish Colourist S. J. Peploe (1871-1935), and following this spent a period working in Brittany, inspired by Paul Gauguin (1848-1903). He was charmed by the traditional way of life of the Breton people, and by the distinctive quality of light and vivid colouring of the landscape.Both Gauguin and Brough assimilated the tenets of the Synthesist movement, a painting style which prioritised the use of flat planes of harmonious colour and of rhythmic, pattern-inflected composition over more naturalistic representation. Brough’s Brittany work firmly acknowledges Syntheticism but is tempered by an observational grounding, owing to his fascination with the Breton peoples’ lives and customs. His paintings from this period constitute a sensitive record of a traditional people, rendered with an innovatively modern, almost post-Impressionist eye.Jennifer Melville observed that ‘In Breton Women Sitting on a Beach Brough sets the silhouettes created by [the] local costumes against a glowing pink sand - coming as close to Gauguin’s flat patterns as in any work’. (Jennifer Melville, Robert Brough, Aberdeen Art Gallery, 1995, p.21)Upon returning to Aberdeen in 1894, Brough began to earn a living as a portrait artist. He soon attracted commissions from notable families in the area, particularly those involved with the arts. His style retained the compositional brilliance of his earlier work, but his technique became increasingly dynamic and ‘sweeping’ owing to his confident application of licks of oil pigment. Sweet Violets dates to 1897, when Brough was establishing himself as an accomplished society portraitist, and is one of the artist’s masterpieces. His characteristically flamboyant brushwork delineates the elegant profile and fashionable attire of his subject, Barbara Staples, whom Brough had secured permission to paint after a meeting in Aberdeen. Affixed under Staples’ spectacular hat is a delicate patterned veil, through which her pink lips and cheeks are visible. She holds aloft a jar of violets, with their purple hues reflected at her throat and cuffs, inviting comparison between the beauty of the sitter and the flowers she holds. Sweet Violets and a companion painting titled Fantaisie en Folie (now in the Tate collection) implement a similar palette and portray their sitter in profile against a plain background, which Thomas Cooper suggests may have been informed by John Singer Sargent’s Madame Gautreau Drinking a Toast (1882-1883). (Thomas Cooper, ‘A Monstrous Imagining of Matter and Spirit: Robert Brough’s Fantaisie en Folie (1897)’, Immediations, Courtauld Institute of Art on-line journal, vol.4, no.3, 2018, accessed 10 May 2023) Brough’s companion portraits were exhibited widely to exceptional acclaim, rendering the young artist something of a critical phenomenon.Sweet Violets was acquired by Alexander Ogsten and hung in his home at Ardoe House, Aberdeen, for many years. So enamoured was Ogsten with the painting that he declined the many offers he received for it - including those made by Barbara Staples’ husband. Eventually the portrait was exhibited in a Munich gallery in 1960, where Staples’ family were able to purchase the picture and return it to the family. They, in turn, refused to accept any offer that was made for it, and for a long time it remained a family treasure. In the 1990s an article appeared in Country Life magazine searching for Brough’s lost masterpiece, and the Staples family responded explaining that the portrait was in their collection, and that the sitter was their grandmother. In 1995 Sweet Violets was included in Aberdeen Art Gallery’s Brough exhibition, after which it was loaned to, and ultimately purchased by, the present vendor.The success of Sweet Violets and Fantaisie en Folie encouraged Robert Brough to move to London. He promptly joined the Chelsea Arts Club, where he met Sargent, one of his artistic heroes. The pair became close friends, developing a mentor-protégé relationship and taking nearby Chelsea studios. Thanks in part to Sargent’s support, Brough’s painting career flourished year upon year. Young, ambitious, and precociously talented, Brough was on an impressive professional trajectory, yet was unable to reach the soaring heights for which he appeared to be destined on account of a tragic accident. On 20th January 1905 Brough was travelling by train from Perth to London when a major crash occurred. He suffered serious burns and died the following day, with his mother and Singer Sargent at his bedside. His life, and extraordinary potential, was thus curtailed. Throughout his life Brough was successful and well-known; his obituary recorded that he combined ‘the dash of Sargent and the beautiful refinement of Velazquez.’ (The artist W. G. Robb quoted in an obituary in a Scottish newspaper, 1905) Despite this, his early death appears initially to have prevented him from being fully admitted to the canon of great painters in the history of Scottish art. This is largely due to the brevity of his career: relatively few artworks survive and he had less time than most to crystallise his artistic legacy. Fortunately, recent reviews of Scottish painting have done much to reinstate Brough’s status as a painter of remarkable quality, who worked at the forefront of innovative artistic movements, both in Britain and in France. Robert Brough’s artworks appear on the market infrequently, and Lyon & Turnbull is therefore particularly delighted to be offering two tour-de-force oils, both of exceptional importance and each dating to key moments in his career.
Lot 167
SCOTT (ROBERT FALCON)Autograph letter signed ('R.F. Scott') to Pauline Chase ('My dear Pauline'), a letter of congratulations and wishing her good luck ('...I'm sure you are going to make this thing go because you've set your obstinate little teeth and stand firm... You know how well I wish you and how I love to think of and encourage your pluck...'), 3 pages on a bifolium, dust-staining and marks, discolouration at edges where previously mounted, remains of mounts, 8vo (150 x 108mm.), Oakley Street, Chelsea Embankment, 7 November 1907 [date as postmark]; with autograph envelope (2)Footnotes:SCOTT WRITES TO HIS LOVER, THE 'POCKET VENUS OF NEW YORK'.The recipient of this letter, Pauline Chase (1885-1962) was an American stage actress best known for her extended run in the title role of Peter Pan at London's Duke of York's theatre and on tour from 1906-1913. A renowned beauty, she became synonymous with the role, giving over 1,400 performances, amassing a large fortune in the process, and enjoying an extravagant lifestyle. J. M. Barrie and Ellen Terry were her godparents at her baptism into the Church of England in 1906. Our fond letter from Scott adds weight to the widely-reported premise that she had an affair with him after his first Discovery expedition, and before his marriage to the sculptor Kathleen Bruce in September 1908. Bruce was part of the artistic and literary circle that included J.M. Barrie, Max Beerbohm and Henry James, and had met Scott through Mabel Beardsley in 1906.For further information on this lot please visit Bonhams.com
Lot 52
Crespo, Gallas, Jones, Johnson, Abraham, Di Matteo, LeBeouf Chelsea Footballers Selection of 12 Signed Magazine Images & Photos. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 271
Werner, Lukaku, Rudiger, Abraham, Havertz, Mount & More Chelsea F.C. Past & Present 14x various size photos. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.
Lot 384
19TH CENTURY ENGLISH SCHOOL "Carrick Roads, Falmouth, Cornwall", a Coastal landscape with various shipping, two figures in a row boat in foreground, watercolour, unsigned 22 cm x 52 cm together with N LOCKING "Chelsea" study of the Thames barges with church towers in background, oil on panel, titled and dated 1891 lower right and signed verso 23 cm x 15.5 cm (2)
Lot 636
A group of reference books relating to pottery and porcelain, to include Lewis (Griselda) A Collector's History of English Pottery, Dogs and English Porcelain of the 19th Century, English Earthenware Figures, works relating to Creamware, Bow porcelain, Chelsea porcelain, Minton, Mason, etc. (1 shelf)
Lot 1246
A run of thirteen F.A. Cup Final programmes, 2010 to 2022 all played at Wembleyall with ticket stubs, and some with other F.A.Cup related ephemera and limited edition Chelsea v. Liverpool 2022 hardback programme, No.2154 of 2410 (a lot)No Ticket issued for 2020 Final, game played behind closed doors due to COVID
Lot 1251
Five Manchester United match programmes, 1946-47 to 1957-58comprising Preston, 5th October 1946, cover poor and folded, text on cover, spine taped, Aston Villa, 8th March, four page edition, 8th March 1950, Chelsea, 7th April 1952, Sheffield Wednesday, 19th February 1958 and Aston Villa, Charity Shield, 22nd October 1957 (5)
Lot 1295
Bound volume of Tottenham Hotspur match programmes, season 1914-15Vol. VII, No.1, Everton, 2nd September to Vol. VII, No.49, Croydon, 26th April, including Tottenham Hotspur v. Woolwich Arsenal, in aid of The Prince of Wales's National Relief War Fund, 22nd August, Clapton Orient, 7th September, Norwich City, 12th September, (2 copies), Southend, 12th October, Arsenal v. Crystal Palace, Semi-Final, 9th November, Manchester United, 21st November, Cardiff City, 1st January, QPR, 11th January, Chelsea, 30th January, Boscome, 13th February, Croydon Common, 27th February, Arsenal, 13th March, Oldham Athletic, 20th March, Newcastle, 2nd April, Gillingham, 6th April, Cameron Highlanders, 17th April, Croydon 26th April etc contained within contemporary bindings, inscribed to the front T.H.F.C. Programmes, 1914-15, the spine similarly inscribed, the cover damaged, the programmes generally in very good condition (47)
Lot 1320
Eighteen various Tottenham Hotspur match programmes 1940s to 1960sincluding Brentford Reserves (away), London Challenge Cup, 13th October 1947, Blackpool, F.A.Cup Semi-final, 13th March 1948 and 21st March 1953 both at Villa Park, West Bromwich Albion, 4th January 1947, Chelsea Reserves, 26th December 1947, Chesterfield, 25th December 1947 etc and Southend United v. Portsmouth Ray Hollis and John Duffy Testimonial single-sheet programme 27th April 1959 (19)
Lot 1361
Collection of seventeen Manchester United programmes from 1956-57 to 1968-69including Sheffield United, 14th January 1957, Tottenham, 6th April 1957, Arsenal, 21st September 1957, Luton Town, 25th December 1957, Chelsea, 14th December 1957, Leeds United, 7th September 1957, Hibernian F.C. (Malta) 20th September 1967, Benfica, 1968 European Cup Final, 2nd May 1968 (17)
Lot 1414
Arsenal FC West Stand official opening of the West stand by H.R.H. The Prince of Wales on 10th December 1932 bookletand programme,comprising 16-page booklet with embossed red cover, featuring a brief record of the Arsenal Stadium, centre page loose from staples; four page programme with team line-up of Arsenal v Chelsea with centre pages detailing the musical selections to be played by the band of Arsenal FC under the direction of J.H Kitchenside, fold and some water staining to cover, (2)
Lot 318
London Transport Football fixture poster, November 25th,featuring fixtures Chelsea v Portsmouth, Crystal Palace v Southend, Millwall v Arsenal, 'Spurs v Charlton Athletic and West Ham v Watford, with relevant local stations, glazed and framed, 106 by 68cm.Poster bears wear and yellowing, quite creased, and fading.
Lot 406
An interesting and extensive autograph album containing football and cricket team autographs from the 1930s including Arsenal F.A.Cup winners, Sunderland League Champions and F.A.Cup winners, Manchester City League Champions, Celtic Scottish Cup Winners, Inter-Trial match at Goodison Park, Chelsea, New Zealand, Durham, Yorkshire, Staffordshire, Oxford University XI, Minor Counties XI etc and a miniature bat autographed West Indies v. Durham, July 1939
Lot 455
Heurelho Gomes green No.1 Tottenham Hotspur v. Chelsea match worn goalkeepers shirt, 2009-10, Puma, XL, with v-neck style collar and embroidered badge, the reverse lettered GOMEZ, the sleeves with Barclays Premier League flashesThe above shirt was worn by Heurelho Gomes in the match against Chelsea played on 17th April 2010, the match ending in a 2-1 victory for Spurs
Lot 464
Juan Sebastian Veron blue and white No.20 Chelsea Champions League long-sleeved shirt, 2003-04, Umbro, L, with v-neck collar and embroidered cloth badge inscribed CFC, the front of the shirt bearing numerous squad player autographs the reverse lettered VERON, the right sleeve with Champions League flash
Lot 474
James Collins claret and blue No.29 Aston Villa v. Chelsea F.A. Cup Semi-Final match worn short-sleeved shirt, 2009-10, Nike, XL, with crew-neck collar and embroidered cloth badge inscribed AVFC, PREPARED, the reverse lettered COLLINS, the left sleeve with The FA CUP e.on flash and the right sleeve with The FA Respect flashIn the 2010 F.A. Cup semi-final match played on 1st April at Wembley, Chelsea defeated Aston Villa 3-0
Lot 491
Didier Drogba signed blue and gold No.15 Chelsea long-sleeved Centenary shirt, season 2005-06, Umbro, XXL, the sleeves with Barclays Premiership Champions 2004-2005 flashes, with crew-neck collar and embroidered cloth badge inscribed CHELSEA FOOTBALL CLUB, 100 YEARS CENTANARY 1905-2005, the reverse lettered DROGBA, the reverse also autographed by Drogba
Lot 492
Frank Lampard signed blue & white No.8 Chelsea Champions League shirt, season 2009-10, Adidas, XL, long-sleeved, with Champions League and Respect flashes, with crew-neck collar and embroidered cloth badge inscribed CHELSEA FOOTBALL CLUB, the reverse lettered LAMPARD, the reverse also autographed by Lampard,
Loading...-
42501 item(s)/page