THE RUGBY LEAGUE CLUB HOUSE: 1936 GREAT BRITAIN RUGBY LEAGUE JERSEY WORN BY HAROLD 'HAL' JONES (1907-1955) for tour of Australia and New Zealand for which Hal Jones was selected as one of four props. With sewn-on embroidered 'Rugby League Tour' breast patch dated 1936, label for 'Sports & Pastimes Ltd' Bradford, size 40, inscribed in ink '20 Jones' under label, rear sewn on patch No20.Harold James Jones was a Welsh rugby union, and professional rugby league footballer who played in the 1920s and 1930s. He played representative level rugby union for Wales, and at club level for Neath RFC, Maesteg RFC, Cardiff RFC, Glamorgan Police RFC and Glamorgan County RFC, as a lock, i.e. number 4 or 5, and representative level rugby league (RL) for Wales, and at club level for Wigan and Keighley as a prop, or second-row, i.e. number 8 or 10, or, 11 or 12, during the era of contested scrums. Born in Ogmore Vale, Wales, he and his wife; Ida were the landlord, and landlady of The Goat public house in Steeton, West Riding of Yorkshire, England, and he died aged 47 in Staincliffe, Batley, West Riding of Yorkshire. Jones made his début for Wigan in the 7–8 defeat by Leigh at Mather Lane (adjacent to the Bridgewater Canal), Leigh on Saturday 31 August 1929, he scored his first try for Wigan in the 23–6 victory over Wakefield Trinity at Central Park, Wigan on Wednesday 1 January 1930, he scored his last try for Wigan in the 15–8 victory over Widnes at Naughton Park, Widnes on Saturday 4 March 1933, he played his last match for Wigan in the 10–11 defeat by Halifax at Thrum Hall, Halifax on Saturday 11 November 1933.[5] and played right-prop, i.e. number 10, in Keighley's 5–18 defeat by Widnes in the 1937 Challenge Cup Final during the 1936-37 season at Wembley Stadium, London on Saturday 8 May 1937, in front of a crowd of 47,699. He won caps for Wales (RU) while at Neath RFC in 1929 against England, and Scotland. Jones also won three caps for Wales Rugby League in 1935–1936.It was while at Keighley that Harold Jones was selected for Great Britain was issued this jersey for the 1936 Great Britain Lions tour of Australia and New Zealand in which he played in some of the games against representative sides. The tour took place between May and August and involved 24 games, 16 in Australia and the last eight in New Zealand, with five Tests: three vs Australia and two against the Kiwis. The tourists travelled to Australia by boat, the SS Cathay which was later used as an armoured merchant cruiser during World War II.The team docked at Melbourne on the May 25 and travelled to Sydney by train the following day. There was much fanfare around the first Test on June 29, with interest being so high that it only took 30 minutes after the gates opened at 9am at the Sydney Cricket Ground for the stadium to fill. The kick-off was not until 3.00pm! The Test was notable for being the first time the Courtney Goodwill Trophy was awarded in international competition to promote goodwill between the Test-playing nations. Near to reaching half-time, Australian prop Ray Stehr started a fight with his opposite number, Nat Silcock of Widnes, who was later described by a British journalists as “one of the toughest and best forwards ever to wear the red, white and blue” Despite Silcock’s efforts, the Lions lost the game 24-8.For the second Test played at Brisbane played just six days later, Australia were fired up for the challenge of winning back the Ashes for the first time since 1920. However, through the sheer power of second row Martin Hodgson, centre Gus Risman and Alan Edwards, the Lions roared back to level the series with a 12-7 victory. Edwards, a Welsh winger with Salford, made a big impression on Australia’s Vic Hey, who would go on to enjoy success in England at Leeds. “Of the moderns, the men I saw in England during the last Kangaroo tour (1933-34) and those with the present team, this lad is the daddy of the lot. The instantaneous pace he makes is amazing, and how he can fool ’em with the variety of his attacks!” During the third Test at the SCG on July 18, Ray Stehr provoked another fight, this time involving Warrington prop Jack Arkwright. This resulted in Stehr receiving a three-match ban and Arkwright games being suspended until July 31. A 12-7 victory saw the Lions take the series and retain the Ashes before going on to New Zealand where they won all eight games, including a 10-8 and 23-11 successes in two Tests played at Carlaw Park.For the second Test played at Brisbane played just six days later, Australia were fired up for the challenge of winning back the Ashes for the first time since 1920. However, through the sheer power of second row Martin Hodgson, centre Gus Risman and Alan Edwards, the Lions roared back to level the series with a 12-7 victory. Edwards, a Welsh winger with Salford, made a big impression on Australia’s Vic Hey, who would go on to enjoy success in England at Leeds, “Of the moderns, the men I saw in England during the last Kangaroo tour (1933-34) and those with the present team, this lad is the daddy of the lot. The instantaneous pace he makes is amazing, and how he can fool ’em with the variety of his attacks!” During the third Test at the SCG on July 18, Ray Stehr provoked another fight, this time involving Warrington prop Jack Arkwright. This resulted in Stehr receiving a three-match ban and Arkwright games being suspended until July 31. A 12-7 victory saw the Lions take the series and retain the Ashes before going on to New Zealand where they won all eight games, including a 10-8 and 23-11 successes in two Tests played at Carlaw Park.Provenance: private collection West Yorkshire
We found 3230 price guide item(s) matching your search
There are 3230 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
3230 item(s)/page
GABLE CLARK: (1901-1960) American actor, Academy Award winner. An unusual vintage signed and inscribed 9 x 7 photograph of Gable standing outdoors in a full-length pose, most likely at a film studio or on location, alongside four other men comprising (from left to right) Bob Lander (a props and location manager), Frank Prehoda (1918-1970, make-up artist who worked with Gable on the American World War II film Run Silent, Rub Deep, 1958), Jesse ´Swede´ Munden (Gable´s personal wardrobe assistant) and Len Smith (a cameraman). Photograph by Bob Landry and bearing his credit stamp to the verso. Signed (´To Frank from Clark´) by Gable in dark fountain pen ink to a light area at the head of the image. Also individually signed by each of the four other men in fountain pen inks across their images, two with their names alone and two also adding inscriptions in their hands. Some light surface and corner creasing, G
* JONATHAN HOOD (SCOTTISH b. 1957), PEACE OFFERING oil on board, signed, titled versoframedimage size 44cm x 44cm, overall size 56cm x 56cm Note: Jonathan Hood was born in 1957 in Edinburgh, and grew up in Fife and Tayside. He was artistically trained at Duncan of Jordanstone College of Art, Dundee and at the Ecole des Beaux Arts, Paris. Jonathan became a full time painter in 1986, mostly working in watercolour and collage. He is a keen art teacher, regularly running children’s workshops as well as adult night-classes. In 2006, he conducted a collage and painting workshop in Morgan Academy, Dundee for the Racial Equality Commission enabling 2 school pupils to reach the final. Since 2006, Jonathan has also run the WASPS studio open weekend in Dundee. Currently, Jonathan is working mostly in oil, using bright colours and painting on board. He has been exhibiting regularly in galleries around the UK, and in Holland, France and Italy. Jonathan uses dramatic blocks of colour to create depth and texture within his works. His clever compositions create narratives through the interaction between figures, and the addition of carefully selected props to be interpreted by the viewer. It is a testament to his artistic skill that he can convey strong emotion with only the simplest of brushstrokes to represent facial features.
* JONATHAN HOOD (SCOTTISH b. 1957), BUSKER oil on board, signed and titled versoframedimage size 44cm x 44cm, overall size 56cm x 56cm Note: Jonathan Hood was born in 1957 in Edinburgh, and grew up in Fife and Tayside. He was artistically trained at Duncan of Jordanstone College of Art, Dundee and at the Ecole des Beaux Arts, Paris. Jonathan became a full time painter in 1986, mostly working in watercolour and collage. He is a keen art teacher, regularly running children’s workshops as well as adult night-classes. In 2006, he conducted a collage and painting workshop in Morgan Academy, Dundee for the Racial Equality Commission enabling 2 school pupils to reach the final. Since 2006, Jonathan has also run the WASPS studio open weekend in Dundee. Currently, Jonathan is working mostly in oil, using bright colours and painting on board. He has been exhibiting regularly in galleries around the UK, and in Holland, France and Italy. Jonathan uses dramatic blocks of colour to create depth and texture within his works. His clever compositions create narratives through the interaction between figures, and the addition of carefully selected props to be interpreted by the viewer. It is a testament to his artistic skill that he can convey strong emotion with only the simplest of brushstrokes to represent facial features.
* JONATHAN HOOD (SCOTTISH b. 1957), WEDDING FEAST oil on board, signed and titled versoframedimage size 76cm x 98cm, overall size 88cm x 112cm Note: Jonathan Hood was born in 1957 in Edinburgh, and grew up in Fife and Tayside. He was artistically trained at Duncan of Jordanstone College of Art, Dundee and at the Ecole des Beaux Arts, Paris. Jonathan became a full time painter in 1986, mostly working in watercolour and collage. He is a keen art teacher, regularly running children’s workshops as well as adult night-classes. In 2006, he conducted a collage and painting workshop in Morgan Academy, Dundee for the Racial Equality Commission enabling 2 school pupils to reach the final. Since 2006, Jonathan has also run the WASPS studio open weekend in Dundee. Currently, Jonathan is working mostly in oil, using bright colours and painting on board. He has been exhibiting regularly in galleries around the UK, and in Holland, France and Italy. Jonathan uses dramatic blocks of colour to create depth and texture within his works. His clever compositions create narratives through the interaction between figures, and the addition of carefully selected props to be interpreted by the viewer. It is a testament to his artistic skill that he can convey strong emotion with only the simplest of brushstrokes to represent facial features.
Frog Aircraft including three Frog Mark IV Interceptor Fighters, including Camouflage livery fighter with RAF roundels and K 8672 markings, boxed with instructions, rod and lubricant bottles, fair condition, some rubs/scratches to fuselage, propeller replaced, box good to fair, some wear, another with black top fuselage, good condition, box good and a regular Interceptor, lacks propeller and added wooden props to fuselage, box fair, together with boxed Frog ‘The Imp’ Aeroplane, ‘The Speed Demon’ made of Quaker Oats, the aircraft construction boxes(lack contents), Caton’ Brown rubber strips and more, (lot).
Football Programmes. A quantity of Football Programmes comprising of 1980s to 2000s to contain F.A Cup Finals and Semi-Finals to include F.A Cup Final Liverpool v Sunderland 1992, Middlesbrough v Chelsea 1997 Final, Manchester City v Tottenham 1981 Final (100th Year) and others. Nice varied selection for any collector. Conditions generally appear Fair to Good with nothing been checked. See Photos.
Football Programmes. A quantity of Football Programmes comprising of 1980s to 2000s to contain Cup Finals from The Milk Cup, Champions League, Scottish Cup and others, some of the bigger games include Liverpool v Juventus 1984 Champions League, Rangers v Aberdeen 1983 SKOL Final and others similar. Nice varied selection for any collector. Conditions generally appear Fair to Good with nothing been checked. See Photos.
Football Programmes. A quantity of Football Programmes comprising of 1980s to 2000s to contain League Cup Finals, Worthington Cup Finals and Play off programmes to include, League Cup Middlesbrough v Chelsea 1998, League Cup Manchester United v Sheffield Wednesday 1991, 2001 Worthington Cup Final Liverpool v Birmingham and others. Nice varied selection for any collector. Conditions generally appear Fair to Good with nothing been checked. See Photos.
Football Programmes. A quantity of Football Programmes comprising of 1950s to 1960s to contain League Games, FA Cup, League games and Europe games others with some big games being Manchester United vs Red Star Belgrade 1958 in the European Cup, Liverpool v Watford 1967 FA Cup game and others, Nice varied selection for any collector. Conditions generally appear Poor to Good with nothing been checked. See Photos.
Silver gelatine print 41 x 51 cm/ image 33 x 49 cm. Features Hansen during a performance held on 18 February 1966. Depicts the artist on stage reciting a text while brushing a girl’s hair, surrounded by various props. Reverse shows the event title and photographer's name written in black ink: #1, Al Hansen. Happening, McLuhan Megillah, 2/18/66. Photo: Ronald Maker a.k.a. Ronald Miglionico. With stamp of Armstrong Hansen Collection at top left. Traces of tape around all edges of the reverse. Fine copy. Unique at this (large) size.
Tom McGuinness (1926-2006) "Pipe Men" Signed and dated (19)65, mixed media, 32.5cm by 45.5cmThis work is a preparatory drawing for the oil painting of the same name. (see lot 520)Over the course of his career, Tom McGuinness (1926-2006) created an extraordinary and highly personal artistic record of the life of a miner in the North East.Born into the poverty-stricken community of Witton Park, which was still feeling the effects of the closure of the nearby smelting works at the end of the 19th century, McGuinness showed an early talent for drawing. Leaving school in 1940, he held several odd jobs before being conscripted into the mines as a Bevin Boy, to help bolster a shortfall in the coal industry left by an aging and dwindling workforce. Throughout the course of his 39 years in the mines, McGuinness worked in many of County Durham’s collieries, and whilst it provided a stable income for him and his family, the ever-looming extremes of mining – the backbreaking work, the constant threat of injury and death, the harsh conditions – sparked a creative urge in him. The mines proved a powerful inspiration, and he turned his experiences into an important body of art.With the encouragement of his family and his colliery training officer, who spotted him drawing on the side of coal tubs, he enrolled in Darlington School of Art in 1944, but all the while continued to educate himself by studying human anatomy and visiting galleries and exhibitions in his own time. In 1948, however, he joined the Spennymoor Settlement – a miners’ education and recreation organisation – and came into the circle of writer Sid Chaplin, artist Norman Cornish and Bill Farrell, the Settlement’s director. Farrell was an exponent of experiential art, and encouraged McGuinness to paint what he knew, which was mining.A fine draughtsman, McGuinness gradually began to find his unique artistic voice by distorting imagery to powerful emotive effect. Line, tone, colour and composition were exaggerated and twisted to greater express what it felt like to be in the mines. The figures are quite literally shaped by the mines; they become hunch backed, rounded like the tunnels, their legs skinny and bowed to echo the arching props, whilst unnatural perspectives leave the viewer feeling off-balance and at the mercy of the sloping, twisting, coffin-like spaces, claustrophobic and vulnerable. Vibrant, almost surreal glazed colours heighten the unearthly, almost nightmare quality of his work. McGuinness lived this world every day, filling sketchbooks in brief breaks underground; he was a participant in his art not merely an observer.In 1958, his work was first shown in London at the offices of the Coal Industry Social Welfare Organisation, and in 1969 he was part of a collaborative exhibition at The Stone Gallery, Newcastle with Norman Cornish and Josef Herman, who painted the Welsh coalfields. Working in partnership with an agent, Lord Hirshfield, he secured his first solo London exhibition at the John Whibley Gallery, Cork Street in 1972 and went on to be the star of a BBC Omnibus documentary. By the time of his death in 2006, McGuinness had held over 50 solo exhibitions, with his work held in public and private collections throughout the world. Despite being made redundant in the early 1980s, McGuinness remained dedicated to portraying world of the miner and the changing face of the mining communities as the collieries gradually shut down. Today, his work remains a visceral reminder of the lives of generations of men and women in the North East.Lots 519-522 form part of a private collection. The vendor's father, Sidney Lockey was at Witton Park school with McGuinness and the two remained great friends throughout their lives. Lockey often visitied Tom's studio to watch him paint. Slight cockling to the paper. Some light surface dirt and debris trapped under the glass. Otherwise appears in good overall condition. Not examined out of the frame.
Outstanding Native American full size elk hide featuring a Battle by The Tom Damiani Crew who follows the traditions of California artist Thomas Damiani, known for his Hollywood movies props, artworks and designs in needlework. This beaded elk skin depicts a group of warriors and their chief in the climax of a fierce battle. The characters are handmade with hunter green, burgundy, brown, white and mustard yellow colored beads. Housed in a caramel color wood frame under glass. Artwork dimensions: 49"L x 34"H. Frame size: 56"L X 42"H x 2.25"W. Artist: The Tom Damiani CrewIssued: c. 1990Country of Origin: United StatesProvenance: Van Zelst Family Collection Condition: Age related wear.
Robert Bénard (French 1734-1777): Rural Economy - Method to Make Clogs and Props and Moulders, set three engravings pub. Diderot’s Encyclopedia c1751; English School (18th century): 'To Face Electricity', engraving pub. New Royal and Universal Dictionary of Arts and Sciences c1860 (4) (unframed)
James Bond - Dr No (1962) Le Cercle £1 casino jeton chip. Le Cercle plaques and jetons were used as film props in the scene where Sean Connery utters the characters name for the first time: Bond, James Bond. This jeton was previously owned by Robert Mills, son of Le Cercles owner: John Mills. Comes with LOA.
James Bond - Casino Royale (2006), airport scenes (filmed at Dunsfold Aerodrome) danger obstruction warning light markers x2 film props; supplied with coloured reflector caps and interchangeable canvas ballast bag, With COA and supporting documentation including inventory document, order form and invoice from the original film prop hire company.
An original call sheet for a day filming on A Hard Day's Night (Tuesday 17th March 1964), filming scene numbers 44,46,49 and 64. Measures 20 x 33cm. Also a copy of AHDN (PMC 1230, 3N matrix, VG/VG, mono)"Another Greenwich Market find. I would never leave Beatle albums just sitting there for just a couple of quid and stockpiled them. When I got the copy of A Hard Days Night home it had this call sheet inside it for the 18th March 1964. A proper relic. It shows the props needed for the backstage scene in wardrobe and even what time the tea trolley would be coming round. There’s also the numbers of their allocated dressing rooms and the names of their camera stand ins: Johnny Derek Eddie Ricky. The “Alternate” Fab Four. Now there’s a pub trivia question."
The Victors (1963). Original Production Call Sheet and related Production Memorandum from director, Carl Foreman, both Signed by cast member, Colin Maitland The Call Sheet, numbered 17, dated Wednesday 5th September, 1962, Signed in blue ink lower left by Colin Maitland, typescript on one side of a single sheet, as used during filming an exterior Italian street scene, and exterior Army Department on location in southern Italy, with detail call times for the main cast and supporting actors, including Rosanna Schiaffino, Vincent Edwards, George Peppard, Eli Wallach, Colin Maitland and others, as well as shooting requirements for crowd, props, and special effects including 125 soldiers, 180 villagers, 4 GMC lorries, 2 Jeeps, dummy grenades, practical rifles and arms, blank ammunition and bullet effects to road and wall; together with, The Victors: Memorandum from Carl Foreman, Signed by Colin Maitland, dated September 3rd, 1962, two typescript pages, headed Memorandum From: Carl Foreman, To: All Concerned, the director very firmly lists the procedures that must be followed and observed everyday without exception, warning the cast that there would be severe consequences if any props, including rifles and packs were mislaid, many of which, particularly the rifles were irreplaceable, each document folded, 20.5 x 33cm. (2) Provenance: Personal copies of British actor and cast member Colin Maitland (b. 1942-) who also starred in The Dirty Dozen (1967), Lolita (1962) and Shoestring (1979). Carl Foreman (1914-1984) was an American screen writer and film producer, also known for High Noon, The Guns of Navarone, and Bridge on the River Kwai. Foreman only directed one film, The Victors, and was one of the screenwriters who were blacklisted in Hollywood in the 1950s because of their suspected communist sympathies or Communist Party membership.Condition Report: overall good conditions with strong signatures,
Star Wars: Episode VII-The Force Awakens (2015) Large production used concept drawing copy, presented to Neal Scanlan, British Oscar winning Creature and Special Makeup Effects Supervisor, best known for his work on the Star Wars sequel trilogy and Anthology films, 31 x 42.5 cm, framed and glazed. Provenance ex Hero Props, USA.
Loading...-
3230 item(s)/page