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ELISEO MEIFRÈN ROIG (Barcelona, 1857 - 1940)."Marina".Oil on canvas pasted on board.Signed in the lower right corner.Measurements: 47 x 46 cm; 64 x 63 cm (frame).In this composition, the coastal landscape is stripped of all superfluous elements. The ochers with golden shades harmonize with iridescent blues and cerulean. A beautiful formal and chromatic purification with which Meifrèn transmits the intense calm of the Mediterranean. A painter of landscapes and seascapes, Eliseo Meifrèn is considered one of the first introducers of the impressionist movement in Catalonia. He began his artistic training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba and Ramón Martí Alsina, with whom he began to create romantic landscapes of academic style. After finishing his studies, in 1878, he moved to Paris in order to broaden his artistic knowledge, and there he got to know first hand the "plen air" painting, which would influence him powerfully in his Parisian landscapes of those years. Likewise, in Paris he coincided with the public beginning of impressionism. A year later he made a trip to Italy, during which he visited Naples, Florence, Venice and Rome; there he made contact with the circle of Catalan artists formed by Ramón Tusquets, Arcadio Mas i Fondevila, Enrique Serra, Antonio Fabrés and Joan Llimona, among others. That same year, 1879, he participated in the Regional Exhibition of Valencia, and won a gold medal. Once back in Barcelona, in 1880 he made his individual debut in the Sala Parés in Barcelona, where he continued to exhibit regularly since then. During these years he was part of the modernist group, and frequented Els Quatre Gats. In 1883 he returned to Paris, where he made numerous drawings and watercolors with views of the city and its cafés, which earned him a warm welcome from French critics and the French public. At the end of the eighties he returned to Barcelona and continued to show his work at the Sala Parés, as well as at the Centro de Acuarelistas. Also, in 1888 he was a member of the jury of the Universal Exhibition held in Barcelona. In 1890 he returned for the third time to the French capital, where he participated in the Salon des Beaux-Arts and in the Salon des Indépendants of 1892, together with Ramon Casas and Santiago Rusiñol, artists with whom he had formed the Sitges pictorial group a year earlier. In the following years Meifrèn would send his works to numerous official exhibitions and competitions, among them the National Exhibitions of Madrid and Barcelona, and was awarded the third medal at the Paris Universal of 1889 and 1899, silver medal at the Brussels Universal of 1910, grand prize at the Buenos Aires Universal of the same year, medal of honor at the San Francisco International of 1915 and grand prize at the San Diego International of the following year. He also won the Nonell Prize of Barcelona in 1935. In 1952, the Barcelona City Council dedicated a retrospective exhibition to him, held at the Palacio de la Virreina. His initial landscapes, characterized by an academic and romantic concept, would later evolve towards an impressionist language; abandoning the Roman preciosism, his would be a technique of loose brushstrokes and clear palette, in which the luminous conception approaches symbolist budgets, within the orbit of Modesto Urgell. He is currently represented in the Prado Museum, the National Art Museum of Catalonia, the MACBA in Barcelona and the Thyssen-Bornemisza, among many others.

DIONÍS BAIXERAS VERDAGUER (Barcelona, 1862 - 1943)."Port view".Oil on canvas.Signed in the lower left corner.Measurements: 50 x 81 cm; 73 x 103 cm (frame).In this port scene, Baixeras transmits us a costumbrista image devoid of all folkloric eagerness. On the contrary, he captures the everyday moment charged with harshness, but also with poetry, with sailors repairing their boats on a cold winter morning. He also highlights the gradual remoteness of the boats, glimpsed through the humid atmosphere. All of this is resolved with his characteristic thick and emphatic brushstrokes.A disciple at the Escuela de la Lonja of Martí Alsina and, above all, of Antonio Caba, during his student years Baixeras received the nickname of "el medallas" (the medal winner), due to his ease in winning competitions. He exhibited for the first time in 1882, at the Sala Parés in Barcelona, and four years later he traveled to Paris, where he was enthusiastic about the peasant-themed realism of Millet and Bastien-Lepage. During these years he won awards at the Fine Arts Exhibitions of Madrid (1884, third medal) and Paris (1886, honorable mention). Back in Barcelona he made great compositions of historical character, such as those of the auditorium of the university (1888), those of the seminary (1904, destroyed in 1936) and those of the dome of the hall of Sant Jordi of the Generalitat (1928). In 1907 he made a series of drawings of documentary type, focused on the representation of the corners of Barcelona that would disappear with the construction of the Via Layetana, which earned him a prize from the City Council. In 1926 he joined the Royal Academy of Fine Arts of Sant Jordi, and was linked to the Artistic Circle of Sant Lluc since its foundation. During his last years he wrote some interesting memoirs, the original manuscript of which is currently preserved in the Academy of Sant Jordi. Baixeras devoted himself mainly to naturalistic painting, with marine or rural themes, in works that show a certain influence of the school of Olot. He meticulously elaborated his works in the workshop, so his previous drawings have much more freshness and interest. In 1908 he made a collection of drawings, of great documentary value, of places in old Barcelona that were to disappear during the construction of the Via Layetana. His work is preserved in the Metropolitan of New York, the Museum of Art and Industry of Roubaix (France) and the MACBA, among others.

JOSEP BUSQUETS ÓDENA (Fontscaldes, Tarragona, 1914 - Barcelona, 1998)."Nude woman".Carved stone sculpture on felt-lined base.Signed on the side of the base.Measurements: 117 x 30 x 30 cm (sculpture); 40 x 33 x 33 x 33 cm (base).One of his favorite themes of Josep Busquets was the representation of the female figure in the nude aspect of noucentista roots, which we can appreciate in the nude that concerns us. It is a work that manifests an artistic language rooted in the classical world: beauty, proportion, serenity and balance. In this work Busquets also connects with the avant-garde, thanks to a work of purification and formal synthesis that strips the work of any accessory and anecdotal element, looking for the essence, that immutable, which unites the archaic world with the present of the twentieth century.Josep Busquets Odena began his artistic training at the Escuela del Trabajo de Valls, later passing through the Taller-Escuela de Tarragona, where he had outstanding teachers such as Joan Rebull and Salvador Martorell. He later settled permanently in Barcelona, but always maintained links with the city of Valls, from where he received various sculptural commissions. The Civil War momentarily truncated his career and when it was over, at the age of twenty-six he resumed his career by making religious works for the temples that had seen their artistic heritage destroyed. One of his greatest works was the reproduction of the main altarpiece for the parish church of San Juan in Valls, and he also made processional steps for Easter Week. With his marriage in 1942 he settled in Barcelona, where he opened his workshop in the district of Gracia, moving later to the district of Horta, Busquets made several trips to Greece, Italy and Paris, places that were a source of inspiration in his sculptural work, his first exhibition was in the Collective of the Reig Galleries, his first solo exhibition was in 1943 in the Campañá Galleries; He exhibited regularly in the Syra Galleries and the Sala Parés, he also exhibited in the Salón de Arte Los Madrazo and the Galería El Cisne, both in Madrid.

JOAQUÍN SOROLLA Y BASTIDA (Valencia, 1863 - Cercedilla, Madrid, 1923)."Girl", 1882.Oil on canvas.Attached certificate of authenticity issued by Mrs. Blanca Pons Sorolla.Work exhibited at: Exhibition tribute to Sorolla. Sala Parés, 1948 (Reproduced in the catalog in black and white).Work reproduced in: Bernardino de Pantorba, The life and work of Joaquín Sorolla. Biographical and critical study. Madrid, 1970, nº1152.- Catalogue Raisonné of the artists BPS 256.Presents label of the Sala Parés (Barcelona) and the Montenegro Gallery (Vigo).Measurements: 49.5 x 37.5 cm; 63 x 50 cm (frame).During the years 1881 and 1882 Sorolla, traveled frequently to Madrid, where he came into contact with the painting of the Prado Museum in Madrid, opting for the baroque decided to copy the great masters such as Velázquez or Ribera. In this painting of a young Sorolla, we can already appreciate that loose brushstroke so characteristic of his painting, although it is still somewhat timid, in relation to his later paintings. The darkness of the background lets the influence of the great baroque masters pulsate. However, the luminosity of the white of the neck, added to the pearly and pink skin of the protagonist, allows us to perceive a certain luminosity in the scene.Already in his school days, Joaquín Sorolla showed his fondness for drawing and painting, attending in the afternoons the drawing classes taught by the sculptor Cayetano Capuz at the School of Artisans. Awarded upon finishing his preliminary studies at the Escuela Normal Superior, he entered the prestigious Escuela de Bellas Artes de San Carlos in Valencia in 1879. Also, during his visits to Madrid in 1881 and 1882, he copied paintings by Velázquez, Ribera and El Greco at the Prado Museum. Two years later he obtained a great success at the National Exhibition of Fine Arts with a history painting, which stimulated him to apply for a scholarship to study at the Spanish Academy of Fine Arts in Rome. Having achieved his goal, in 1885 Sorolla left for Rome, staying in Paris for several months before arriving. In the French capital he was impressed by the paintings of the realists and the painters who worked outdoors. At the end of his years in Rome he returned to Valencia in 1889, settling in Madrid the following year. In 1892 Sorolla showed a new concern in his art, becoming interested in social problems by depicting the sad scene of "¡Otra Margarita!", awarded a first class medal at the National, and the following year at the International in Chicago. This sensitivity would remain in his work until the end of the decade, in his performances on the Valencian coast. Gradually, however, the Valencian master will abandon the themes of unhappy children that we see in "Triste herencia", which had been awarded a prize at the Universal Exhibition in Paris in 1900 and at the National in Madrid a year later. Encouraged by the success of his resplendent images of the Mediterranean, and stimulated by his love of the light and life of its sunny beaches, he focused on these scenes in his works, more cheerful and pleasant, with which he would achieve international fame. In 1906 he held his first individual exhibition at the George Petit Gallery in Paris, where he also demonstrated his skills as a portraitist. In 1908 the American Archer Milton Huntington, impressed by the artist's exhibition at the Grafton Gallery in London, sought to acquire two of his works for his Hispanic Society. A year later he himself invited Sorolla to exhibit at his institution, resulting in an exhibition in 1909 that was a huge success. The relationship between Huntington and Sorolla led to the most important commission of the painter's life: the creation of the immense canvases destined to illustrate, on the walls of the Hispanic Society, the regions of Spain.

IGNACIO DÍAZ OLANO (Vitoria, 1860 - 1936)."Las langosteras", ca.1925.Oil on canvas.Signed in the lower right corner.Work reproduced in color in "Basque painters and sculptors of yesterday, today and tomorrow", page 307.Measurements: 100 x 90 cm; 120 x 110 cm (frame).The production of Ignacio Díaz Olano is inscribed within the framework of the rise of regionalism in Spain in the second half of the 19th century and the first third of the 20th century. In this canvas, Olano offers us a realistic portrait of local customs, centered on the representation of two lobsterwomen from the Basque Country. The two women converse relaxedly beside the estuary of the village, while the basket with the lobsters caught during the day rests next to them. The clothes they both wear, with clogs and wide aprons, as well as the regional hairstyles they wear, denote the painter's search to reflect the types and customs of the Basque Country, which make it different and unique. In this boom of regionalist art, painters like Olano vindicated their own roots and, above all, the traditions and forms of dress, at a time when customs were threatened by the notable growth of urban areas and the imposition of new fashions brought from outside. Art, fundamentally in its pictorial aspect, thus became in a certain way a vehicle of expression capable of making regional peculiarities known to the rest of the nation.Ignacio Díaz began his training in Vitoria, and then studied in Barcelona, with a scholarship from the Vitoria City Council, between 1876 and 1880. In Barcelona his teacher was Gustavo Bacarisas, and he studied at the School of Fine Arts. After finishing his apprenticeship he returned to his native city, where he collaborated for some time in the weekly magazine "El Danzarín", signing his drawings with the pseudonym "Galop". Then, in 1890, he moved to Paris, where he spent four years studying anatomical drawing. He also worked in the French capital as a set designer for the Opera House. In 1894 he went to Rome with his friend Felipe Arrieta. After two years in Italy, in 1896 he took up permanent residence in Vitoria. Between 1890 and 1925 Díaz participated in multiple editions of the National Exhibitions of Fine Arts, obtaining a bronze medal in 1895 and a silver medal in 1899 and 1901. He taught at the School of Arts and Crafts of Vitoria, and was a professor of drawing at the Institute of the same city. His work is mainly costumbrista, and is impregnated by a great naturalism. He was also a great portraitist, having also cultivated still life and landscape. In 1963 the Provincial Council of Alava held an anthological exhibition of his work in his honor, exhibiting one hundred and fifty-eight works. The critic Mario Ángel Marrodán stated: "The ardent and powerful lyricism of his painting is the result of the fusion or confrontation of man with his time, of the painter and his environment, or of the artistic reality between rustic and wild from which he has extracted the new fruits of the work of art". Ignacio Díaz is currently represented in the Prado Museum (his work is on deposit in the Fine Arts Museum of Asturias), the Fine Arts Museums of Vitoria and Asturias, the Provincial Museum of Alava, the City Hall and the School of Arts and Crafts of Vitoria, the Caja Vital Foundation and the collection of the Bank of Vitoria, as well as in numerous private collections.

FEDERICO BELTRÁN MASSES (Güira de Melena, Cuba, 1885 - Barcelona, 1949)."Lady in Venice", Paris, 7-4-1924.Oil on canvas. Relined.Signed, dated and located in the lower right corner.Work included in the exhibition of the Caja Vital Kutxa in 2002.Measurements: 170 x 186 cm.Federico Beltrán Masses was a unique and unrepeatable artist, indisputable renovator of the aesthetic postulates of the beginning of the 20th century. His captivating style, influenced by the great traditional Spanish masters, but categorically modern, can be contextualized between Art Deco and symbolism, with costumbrist influences in its early stages. Masses produced numerous large format works such as the one in question, in which he painted beautiful women, all of them endowed with a remarkable eroticism and a stark sexuality that explain how the painter became the portraitist par excellence of the aristocracy of the time, as well as the first Hollywood stars of the 1920s and 1930s. The sophisticated young woman who is the protagonist of our work is dressed in a sumptuous dress with attention to the quality of the details, and is surrounded by lavish bouquets of red roses. Behind her, a figure covering her head with a turban dedicates a song to her on a stringed instrument. The scene, with the Doge's Palace and St. Mark's Bell Tower in Venice as a backdrop, is bathed in the night light and the deep blue tone that characterized his compositions, earning him the nickname "Blue Beltran". Venice was for Masses the city of his dreams and fantasies. Its palaces and canals awakened his deepest feelings and brought, with their unmistakable style, the fabulous Italian past closer to the charm and enchantment of the Belle Époque.Beltrán Masses, despite his Cuban origin, studied art in Spain. He began his training at La Llotja School in Barcelona, and was a disciple of Joaquín Sorolla. In 1905 he moved to Madrid to study first-hand the works of the masters in the Prado Museum. In 1916 he settled in Paris, where he achieved great commercial success, receiving commissions from illustrious people in the United States, Belgium, Italy and India. He was a member of the Royal Academies of Madrid, Barcelona, Zaragoza, Lisbon, Cordoba and Malaga. He was also a member of the Hispanic Society of New York, the Institute of France, the Academy of Fine Arts in Paris, knight of the Order of Malta and the French Legion of Honor, and general curator of the International Art Exhibition in Bordeaux in 1928. He participated in many exhibitions and shows, such as the one held at the Sala Parés in Barcelona in 1910, the Hispano-French Fine Arts Exhibition in Paris in 1919 and the Venice Biennial in 1921. In 1924 he received the Cordon de Isabel la Católica, and in 1934 he exhibited his works at the Royal Watercolour Society in London. Among his official commissions, the portrait he painted of King Alfonso XIII stands out. In 2007 a retrospective exhibition of Federico Beltrán Masses was held at the Casa Lis Museum of Art Nouveau and Art Deco. Beltrán Masses devoted himself to both landscape and figure painting, although towards the end of his career he focused fully on portraiture. He developed a totally unique style, influenced by the great Spanish masters but decidedly modern. Works by Beltrán Masses are currently preserved in the Prado Museum, the Jeu de Paume Museum in Paris, the Casa Lis in Salamanca and the Reina Sofía in Madrid.

Two hardback Manchester United UEFA Champions League Final Souvenir programmes, each limited edition of 100, comprising vs. Chelsea Football Club, Moscow 2008, and vs. Bayern Munchen, Barcelona 1999.

After Ludwig Mies van der Rohe, a pair of Barcelona chairs in white leather upholstery on chrome supports. H.80 W.75 D.51cm

A monkey pendantNaturalistic polychrome enamelled decoration set with 8 rose cut diamondsEurope, possibly Barcelona, séc. XVIUnmarked in compliance with Decree-Law 120/2017, art. 2º, nº.2 C(some wear to enamel) Literature:Priscilla E. Muller"Joyas en España 1500-1800", coeditado con el CEEH y The Hispanic Society of America; 2012; and "The Thomas F. Flannery Jr. Collection of Medieval and Later Works of Art"Sotheby's, December 1983 lot 291, pp. 202, 2031,5x2,3 cm7.5 g

Signatory Vintage - eight speciality bottlings including six for the Wee Dram, Blackpool:Glen Rothes, 16 year old, single Highland malt, Preston Guild Charter bottling, bottle #49 of 180, 5cl, 43%Deluxe Blended, Preston Guild Charter bottling, bottle #97, 5cl, 43%Glantauchers, 10 year old, England Grand Slam Double 1991-1992 bottling, bottle #141 of 250, 5cl, 43%Longmorn, 12 year old, Hogmanay 1993 Blackpool Malt Whisky Society, bottle 14 of 120, 5cl, 43%Balvenie, 15 year old, Barcelona '92 bottling, bottle #38, 5cl, 43%Deluxe Blended, Barcelona '92 bottling, bottle #12, 5cl, 43%Uisge Beatha, 18 year old, 5cl, 40%Deluxe Blended, World Pipe Band Championship 11th August 1990, 5cl, 40%each in carton.Qty: (8)

A Spanish Modernist silver and enamelled vase, Barcelona circa 1970s, ball knopped trumpet or Gu form, decorated in mottled green and brown enamel, 21.5cm high

A Spanish Modernist silver and enamelled pedestal bowl, Barcelona, circa 1970s, the shallow dish, decorated in abstract yellow and green enamel, on a splayed foot, set with five cabochons, 29.5cm diameter

Lounge-Chair. Sessel in der Art des "MR 90 Barcelona Chair". Verchromtes Stahlgestell, gesteppte, braune Lederpolsterung. L. Gebrauchsspuren. 20. Jh. Ca. 73x 74x 76 cm.

Lounge-Chair, Sessel in der Art des "MR 90 Barcelona Chair". Verchromtes Stahlgestell, gesteppte, braune Lederpolsterung. L. Gebrauchsspuren. 20. Jh. Ca. 73x 74x 76 cm.

Lounge-Chair. Sessel in der Art des "MR 90 Barcelona Chair". Verchromtes Stahlgestell, gesteppte, braune Lederpolsterung. L. Gebrauchsspuren. 20. Jh. Ca. 73x 74x 76 cm.

Lounge-Chair. Sessel in der Art des "MR 90 Barcelona Chair". Verchromtes Stahlgestell, gesteppte, braune Lederpolsterung. L. Gebrauchsspuren. 20. Jh. Ca. 73x 74x 76 cm.

Beistelltisch, in der Art des "Barcelona Table". Vierbeiniges, verchromtes Stahlgestell mit aufliegender, quadratischer Glasplatte (best.). L. Gebrauchsspuren. 20. Jh. Ca. 45x 110x 110 cm.

Lounge-Chair. Sessel in der Art des "MR 90 Barcelona Chair". Verchromtes Stahlgestell, gesteppte, braune Lederpolsterung. L. Gebrauchsspuren. 20. Jh. Ca. 73x 74x 76 cm.

Christo & Jeanne-Claude (AMERICAN, 1935-2020; 1935-2009)Orange Store Front, Project, from 'Fifteen Years of Polígrafa' (Schellmann 102) Lithograph printed in colours with collage of brown paper, 1979, on Arches, signed and numbered 37/100 in pencil, printed and published by Ediciones Polígrafa, Barcelona, the full sheet, 375 x 270mm (14 3/4 x 10 5/8in)(SH)This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Antoni Tàpies (Spanish, 1923-2012)Untitled (Galfetti 30) Lithograph printed in colours with embossing, 1960, on wove, signed and numbered 4/50 in pencil, published by Sala Gaspar, Barcelona, with margins, 570 x 696mm (22 3/8 x 27 3/8in)(SH)(unframed)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Josep Bofill, geb. 1942 BarcelonaGruppe von 5 KleinplastikenMaximale Höhe: 16 cm. Minimale Höhe: 11 cm. Drei der Objekte signiert und nummeriert: 110/275, 46/275 sowie 106/175.Kombinationen von menschlicher Figur in kubisch abstrakter Einbindung, in Bronze und Stein. Jeweils mit zugehörigem Holzbehälter. Bedeutender spanischer Bildhauer, der 1958 die Arts and Crafts-Schule besuchte, 1983 erstmals seine Werke ausstellte. 2016 kreierte er die „Sculptures à porter“ und war damit der Erfinder der sog. Juwelen-Miniatur-Skulpturen. Seine Arbeiten wurden – und werden – in allen Galerien weltweit gezeigt. Auch für seine Monumente, wie etwa für Girona, Barcelona, Zaragoza, in der Schweiz oder Hong Kong erhielt er vielfach hohe Auszeichnungen, wie den „Communication Award“, den „ISS Top Management Award“ oder den „Sant Lluc“-Preis des Magazins Arte y Joya. Bekannt wurde er zudem für seine Szenen-Gestaltungen für Bühnen, etwa der „Dart Dance Comany“. A.R. (1291422) (1) (11)

Collection of various unframed bookplates and engravings, 18th century and later, to include Magdalen Tower and Grove, an edition of 'A Collection of One Hundred Views in Great Britain' (AF), an edition of 'El Gobo', Barcelona 1848 (AF), Dewsbury Church in Yorkshire etc. (qty)

A GOLD PLATED 'HEURE H' WRISTWATCH, BY HERMÈS, CIRCA 2021The 3-jewel Cal-901001 quartz movement, square white dial with centred sunburst detailing, Arabic numerals with polished gilt hands, gold plated steel H-shaped case with back held by 6 screws, crown with H logo, fitted maker's light brown leather strap with signed gold plated steel buckle, dial, case and movement signed, serial no. 34655**, ref. HH1.50*, with original fitted display box, guarantee booklet from Hermès, Paseo de Garcia, 77 in Barcelona, dated June 6th 2021, case (including crown): 2.8cm, length 23cmCondition Report: Glass: no scratches or wear observedCase: No scratches or wear observedLeather bracelet: No signs of wearIn running condition at the time of inspectionRetail price: €2600An external watch specialist who verifies each watch prior to each auction in order to open them, checks their working condition, mentions any potential damage, mentions any movement ref numbers etc...For any additional assistance, please refer to the department.

Irish Clubs in European Football Soccer:  F.A.I. [European Club Competition] 1960's:  a large collection of Official Match programmes for European Cup Matches for Drumcondra F.C., Shelbourne, Shamrock Rovers, Dundalk, St. Patrick's, Waterford (Home and Away to United 1968), against other teams such as Liverpool, Galatasaray, Eintracht, Real Zaragoza, Barcelona, etc., all illus. and adverts, ptd. wrappers approx. 19, as a collection, w.a.f. (1)

Fine Facsimile Book of Hours Illustrated Volume:  [Rodriquez (M.M.) director]  Libro de Horas de Luis de Orlens, 8vo, Barcelona (M. Moleiro) 2001, Limited Edn. of 231 (987) Copies, numerous coloured illustrations, letter of authenticity,  a.e.g. purple cloth binding, matching gilt decor. leather clam box. (1)

Football Autographs, a collection of 17 A4 pages signed in ink by leading European Football Teams 1990's onwards inc. Shalke, 2001/2002 (18 signatures), Deportivo La Coruna 2000/2001 (13), Dynamo Kiev 1998/99 (17), Barcelona 2001/02 (14), A C Milan 1994 (13) etc (vg)

Football autographs, 3 colour 12" x 8" match action photographs, each one signed boldly to image, Fernando Torres, playing for Spain, Lionel Messi celebrating for Barcelona & Sergio Aguerro celebrating goal for Atletico Madrid (ex)

A 1999 era FC Barcelona football shirt (XL) with Figo 7 printed to reverse signed faintly to front of shirt in black marker pen by Luis Figo. Signature obtained in person by Milan Stoykovic - a dedicated autograph collector from the Manchester area, who collected many tens of thousands of signatures, often with photo evidence during the signing.

FOOTBALL PROGRAMMES & PUBLICATIONS to include Programmes from 1954 - 1961 featuring Birmingham, Blackburn, Bolton, Charlton, Doncaster, Huddersfield, Luton, Millwall, Manchester Utd, Rotherham, Wolves and Barcelona, there are some Cup Finals and ties in the collection, the publications include a Bartholomew Football History Map of England & Wales

* SHONA BARR (SCOTTISH b. 1965),SKYE MEMORIESoil on canvas, signed, titled and dated 2004 labels verso image size 40.5cm x 40.5cm, overall size 57cm x 57cm Framed.Handwritten artist's label verso.Note: Shona Barr was born in 1965 in Glasgow. After graduating from the Glasgow School of Art in 1988, where she won the Landscape Prize and the Armour Prize for Still Life, she continued her training at the Kunstakedimi in Oslo, Winchester School of Art, in Barcelona and at the University of Southampton. Drawing her inspiration from nature, Barr's paintings reflect her continued interest in capturing the vitality of the British landscape. Shona Barr has been successfully exhibiting widely since 1989. Her work has been critically acclaimed over the years and can be found in many public, corporate and private collections in Hong Kong, Australia, South Africa, Canada, the USA and throughout the UK.

Joan Miró (1893 Barcelona - 1983 Palma de Mallorca) (F)Incertitude prolongée aus 'Hommage à Lazzaro', Farbaquatintaradierung auf Papier, 1977, 43,5 cm x 32,5 cm Passepartoutinnenmaß, 34 cm x 24,5 cm Plattenmaß, signiert, 5/15 nummeriert, an den Rändern vergilbt, minimal gewellt, Kaufbeleg anbeiProvenienz: Orangerie Reinz, Köln 1978Literatur: Cramer 229, Dupin 985Miro schuf die Folge von Grafiken als Hommage an den drei Jahre zuvor verstorbenen italienischen Kunstschriftsteller Gualtieri di San Lazzaro (1904-1974), der 1938 die berühmte Kunstzeitschrift XXe Siècle (20. Jahrhundert) begründete. San Lazzaro publizierte darin nicht nur hochwertige Abbildungen, sondern in jeder Ausgabe auch Originalgrafiken als Beilagen, unter anderem von Joan Miro. Die Blätter Nr. 7 'L'ultime ménace' und Nr. 8 'Incertitude prolongée' der Hommage sind von großer Seltenheit, weil sie nicht in der gesamten Auflage der Edition enthalten sind, sondern nur in 15 nummerierten Exemplaren existieren. Sie werden daher auch als "die letzten beiden Radierungen" bezeichnet. Joan Miró (1893 Barcelona - 1983 Palma de Mallorca) (F)Incertitude prolongée from 'Hommage à Lazzaro', aquatint etching in colours on paper, 1977, mat inner dimensions 43.5 cm x 32.5 cm, signed, numbered 5/15, margins age toned, slightly cockled, with purchase invoiceProvenance: Orangerie Reinz, Cologne, 1978Literature: Cramer 229, Dupin 985Miro created this sequence of prints as a tribute to the Italian art writer Gualtieri di San Lazzaro (1904-1974), who had died three years previously. San Lazaro founded the famous art magazine XXe Siècle (20th Century) in 1938, which published not only high-quality illustrations, but also original graphics as inserts in each issue, including works by Joan Miro. The sheets no. 7 'L'ultime ménace' and no. 8 'Incertitude prolongée' of the Hommage are exceedingly rare because they were not included in every copy the edition, but only in 15 numbered copies. They are therefore also referred to as ''the last two etchings''.

Antoni Tàpies (1923 Barcelona - 2012 ebenda) (F)Aus der 'Suite Catalana', 2-tlg., Farbaquatintaradierung auf Bütten, 1972, 76 cm x 100 cm Blattmaß, je signiert, 41/75 nummeriert, leicht gewellt, partiell knickfaltig, minimal fleckigAntoni Tàpies wurde am 13. Dezember 1923 in Barcelona geboren und zählt zu den bedeutendsten Künstlern und den wichtigsten Vertretern des Informel Spaniens. Der Maler, Grafiker und Objektkünstler interessierte sich schon früh für Kunst, widmete sich der Malerei jedoch erst vollends nach Abbruch seines Jurastudiums 1946. Der autodidaktische Künstler folgte zuerst den Werken von Vincent van Gogh und Pablo Picasso. Später orientierte er sich zunehmend an den surrealistischen Arbeiten von Joan Miró, Paul Klee und Max Ernst. 1948 begründete er die Gruppe "Dau al Set" mit. Nach seinem Paris-Stipendium im Jahr 1950 begann Tàpies sich mit den Strukturen unterschiedlicher Materialien auseinanderzusetzen und sich in seinen malerischen Ausdrucksmitteln auf das Essenzielle zu beschränken. Ab 1959 begann er mit der Fertigung von Druckgrafiken, insbesondere von Lithografien. Tàpies hatte internationalen Erfolg und wurde unter anderem auf der documenta II, III, IV und VI in Kassel (1959-1977) ausgestellt, sowie mehrfach auf der Biennale von Venedig.Die Auseinandersetzung des Künstlers mit seinem Heimatort Katalonien war immer eine wichtige thematische Quelle im Werk von Tàpies. In der im Jahr 1972 zusammen mit Gustavo Gili aus Barcelona veröffentlichte Suite Catalana verwendet er die Formen und Farben der katalanischen Flagge um eine kraftvolle visuelle Darstellung von Emotionen und Protest zu schaffen. Antoni Tàpies (1923 Barcelona - 2012 ibid) (F)From the 'Suite Catalana', 2 pieces, aquatint etching in colours on laid paper, 1972, sheet size 76 cm x 100 cm, each signed, numbered 41/75, slightly cockled, creased, and stainedAntoni Tàpies was born on 13th December 1923 in Barcelona and was one of the most important artists, as well as the most important representatives of the Informel movement, in Spain. The painter, graphic artist and sculptor showed an interest in art from an early age, but only devoted himself fully to painting after dropping out of his law studies in 1946. The self-taught artist first followed the works of Vincent van Gogh and Pablo Picasso. Later he increasingly oriented himself towards the surrealist works of Joan Miró, Paul Klee and Max Ernst. In 1948 he co-founded the group "Dau al Set". After his Paris fellowship in 1950, Tàpies began to explore the structures of different materials and to limit his painterly means of expression to the essential. In 1959 he began to produce prints, especially lithographs. Tàpies enjoyed international success and was exhibited at documenta II, III, IV and VI in Kassel (1959-1977), among many other shows, as well as several times at the Venice Biennale.The artist's preoccupation with his native Catalonia has always been an important thematic source in Tàpies' work. In Suite Catalana, published in 1972 with Gustavo Gili from Barcelona, he uses the shapes and colours of the Catalan flag to create a powerful visual representation of emotion and protest.

Slot - A Scaleauto slot car Model Car Competition BMW Z4 GT3 Barcelona 2011 #2 winner, Team Schubert. Appears in mint condition in excellent original presentation box with factory seals.

Slot - A Scaleauto slot car Model Car Competition HSV-010 GT 24h Barcelona 2014 #4 WES Special Edition SC-6064. In mint condition in original presentation box with factory seals.

A Barcelona lounge chair

JOAN MIRÓ(Montroig 1893–1983 Palma de Mallorca)Miró sculpteur. 1974.Farblithografie. 30/100. Unten rechts mit Bleistift signiert: Miró. Darstellung 20 × 40 cm auf Vélin von Guarro 35 × 52 cm. Erschienen und gedruckt bei Ediciones Polígrafa, Barcelona.Werkverzeichnis: Miró, Lithographe V, Nr. 940.

JOAN MIRÓ(Montroig 1893–1983 Palma de Mallorca)Aus: Homenatge a Joan Prats. 1975.Farblithografie. 100/100. Unten rechts mit Bleistift signiert: Miró. Blattmass 56 × 75,2 cm auf Vélin. Erschienen bei der Fundació Joan Miró, Barcelona. Gedruckt bei La Polígrafa, Barcelona.Werkverzeichnis: - Miró, Lithographe V, Nr. 1034.- Cramer, Illustrated Books, Nr. 208.

Football Memphis Depay (born 13 February 1994), also known simply as Memphis, is a Dutch professional footballer who plays as a forward for La Liga club Barcelona and the Netherlands national team. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

TOZZI ANTONIO: (1736-1812) Italian Opera Composer. Rare A.L.S., `Antonio Tozzi´, one page, 4to, Barcelona, 21st November 1795, to Mariano Tambuini, Bologna, in Italian. Tozzi, to the heading, requests a favour from his correspondent `You will kindly forward the letter enclosed to my son.´ Further saying in part `… we are anxious about the arrival of Mrs. Marcheti, who, should have arrived in Genoa on the nine or tenth..´ Fully addressed to the verso in Tozzi´s hand. Overall creasing with two stains corresponding to the opening of the letter and only affecting the first word Barcelona. G   

Inscribed by Picasso to the life-long friend who saved him from drowning PICASSO PABLO: (1881-1973) Spanish painter, a co-founder of the Cubist movement. A good signed and inscribed 6 x 4 postcard photograph by Picasso `Para mis amigos Pallarés, 1917 Picasso´ in Spanish (“To mi friends Pallarés, 1917 Picasso”) Signed and inscribed in bold brown ink to the verso of a postcard showing to the front Picasso´s early work Verre et Bouteille de Rhum (1914) (“Glass and Bottle of Rhum”). Attractively framed and glazed beneath a 6 x 4 image of Picasso´s painting Verre et Bouteille de Rhum, identical to the image shown to the front of the postcard, to an overall of 14.5 x 17.5 (37 cm x 17.5 cm). With very slightly light ink, otherwise G to VG   The present autograph provenance is from the Pallarés family collection.Manuel Pallares i Grau (1876-1974) met for the first time Pablo Picasso, five years younger, the first day they assisted to the School of Arts in Barcelona in 1895. Since that day and until Picasso´s death, they remained friends, a friendship which last 78 years. Pallarés worked as assistant to Picasso´s father, teacher at Llotja, and replaced him when he retired. From 1896 to 1899 they spent long periods together, studying and on holidays. Pablo would spend over eight consecutive months at Horta del Ebro, village where Pallarés´ family home was located, to recover from scarlet fever. Later in his life, and during few days journey of Pallarés visiting his friend Picasso, Pablo recalled how Pallarés saved him from falling and dying drowned in a mighty river, mentioning that he didn´t know how to swim at that time, and recalling that he said `I will never forget that you have saved my life”

HEMINGWAY ERNEST: (1899-1961) American novelist, Nobel Prize winner for Literature, 1954. Book signed, being a hardback Spanish edition of Fiesta ('The Sun Also Rises'), translated by Jose Mora Guarnido and John E. Hausner and published by the editor Jose Janes, Barcelona, September 1955, for the Club de los Lectores. Signed by Hemingway in dark fountain pen ink to a preliminary page, 'with sincere best wishes, Ernesto Hemingway', adding the place and date, Zaragoza, 16th October 1956, in his hand beneath his signature. The signed page is detached from the book and a little unevenly torn to the left edge. The binding a little loose and with age toning to the interior pages and some overall age wear. Lacking the dust jacket and bound in the publisher's green cloth with gilt stamped design to the front board and title to the spine. FR  

SPAIN, International Exposition, Barcelona, 1929, a silver-gilt medal by A. Parera, conjoined busts of Alfonso XIII and Victoria left, rev. Barcelona standing facing, palace in background, edge stamped 916, 50mm. About extremely fine; in fitted case by E. Ausio, Barcelona £60-£80

Football Louis Van Gaal 16x12 overall mounted signature piece includes one signed colour photo and one unsigned. Aloysius Paulus Maria Louis van Gaal OON ( born 8 August 1951) is a Dutch football manager and former player who is the current head coach of the Netherlands national team. At club level, he served as manager of Ajax, Barcelona, AZ Alkmaar, Bayern Munich and Manchester United, as well as having three spells in charge of the Netherlands national team. Van Gaal is one of the most decorated managers in world football, having won 20 major honours in his managerial career. He is sometimes nicknamed the Iron Tulip. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99

Rangers FC team-signed blue retro jersey from the European Cup Winners Cup Final v Dynamo Moscow at the Camp Nou, Barcelona, 24th May 1972,long-sleeved, embroidered EUROPEAN CUP WINNERS CUP FINAL 1972 with club crest, full set of 11 signatures of the winning Rangers team in silver marker pen including John Greig, Colin Stein, Willie Johnston and othersRangers beat Dynamo Moscow 3-2.

Manchester United v F.C. Barcelona Champions League Final Welcome pack, played at Wembley, 28th November 2011,includes programme, one match ticket in the Royal Box and another ticket for VVIP Complimentary Wembley Suite, Wembley Suite itinerary and accreditation badge with champions league lanyard, good conditionBarcelona defeated Manchester United 3-1.Provenance: belonged to F.A. goalkeeping coach.

Two 2006 UEFA Champions League Final official warm-up tabards from Arsenal v Barcelona at Stade de France, Paris, 17th May, comprising one yellow and one red version, with black binding, each printed with UEFA STARBALL CHAMPIONS LEAGUE PARIS FINALE 2006 on each side, with elasticated side-bands, good condition Barcelona beat Arsenal 2-1, with goals by Eto'o and Belletti for Barcelona and a single goal by Campbell for Arsenal.

Arsenal's Cesc Fabregas Nike Zoom Air football boots v Barcelona in the UEFA Champions League Final in Stade de France, 17th May 2006,silver and black boots each embroidered CESC 15 on the fold over tongue and ARSENAL V BARCELONA 17TH MAY 2006 PARIS on the outside of each boot, un-used in good conditionBarcelona defeated Arsenal 2-1, with Cesc Fabregas substituted off in the 74th minute.

Yellow and black Arsenal away jersey v Barcelona for UEFA Champions League final at Stade de France, Paris, 17th May 2006,short-sleeved with UEFA STARBALL and RESPECT sleeve badges, embroidered with UEFA CHAMPIONS LEAGUE FINAL 2006 FC BARCELONA V ARSENAL FC PARIS, 17.95.06 and club crest with sponsor logos, un-numbered or namedBarcelona defeated Arsenal 2-1.

Tomas Rosicky red and white Arsenal No.7 home jersey v Benfica in the Emirates Cup at Emirates Stadium, 2nd August 2014,short-sleeved with EMIRATES CUP 2014 sleeve badges, club crest and sponsor logos, reverse lettered ROSICKYArsenal defeated Benfica 5-1, with four goals by Sanogo and the fifth by Campbell for Arsenal and the single goal by Gaitan for Barcelona.

Unusual grey Atletico Madrid No.1 goalkeeper's jersey bearing a logo patch for the Barcelona 1992 Olympic Games, by Puma, long-sleeved with with club rest and sponsor logoIt is believed the only times Atletico Madrid wore shirts bearing the Barcelona '92 Olympics patch was in away matches during the 1985-86 European Cup Winners' Cup campaign. This was in the run-up to the IOC's decision to announce the Host City in October 1986. The Atletico Madrid goalkeeper during the 1985-86 Recopa was Pato. However, he consistently wore a green shirt. So this jersey would appear to be a colour change version that was never required.

A pair of vintage Spanish black leather and elm slipper chairs by Pierre Lottier for Valenti With close-nailed shaped seats on 'X' form legs joined by stretchers, each 46cm wide, 51cm deep, 76cm high, seat height 36cm. (2)Designed by Pierre Lottier in the 1920's for Valenti. Lottier was a lover of Jean Cocteau and emigrated to Spain, he designed the Barcelona residence of the American actress Ava Gardner.For a similar pair see The Pedestal, Design For Living, 11 May 2021, lot 165.

Joan Miró  Gaudí XVII. Orig.-Farbradierung mit Aquatinta. Signiert. Auf Arches Papier. Blattgröße 90,3 : 63 cm. Barcelona, Joan Barbara für Maeght 1979. - 1 von 50 numerierten Exemplaren - Geniale Verbindung von Mirós Formelementen mit der Architektursprache Gaudís Zeitlebens schätzt Joan Miró seinen katalanischen Landsmann Gaudí als künstlerisches Genie. Für die Galerie Maeght in Barcelona schuf er eine umfangreiche Serie von Radierungen, die dem Baumeister gewidmet ist. - ZUSTAND: Stellenw. mit schwachen Bereibungen, 1 kl. Griffknick am Unterrand, verso am Ober- und Seitenrand mit 3 Montierungsresten. - LITERATUR: Dupin 1076. Gaudi XVII. Aquatinta, etching in colors on Arches wove paper. Published by Maeght, printed by Joan Barbara, Barcelona. Signed. 90,3 : 63 cm. - Partly minim. rubbed, lower margin with 1 small crease due to handling, verso with 3 small traces of mounting at top and side edges. Dieses Objekt wird regel- oder differenzbesteuert angeboten.

Joan Brossa  El pa a la barca. Barcelona, Sala Gaspar 1963. - Eines der wichtigen Malerbücher des 20. Jahrhunderts - Tàpies' erstes illustriertes Buch - 'Verblüffende Reduktionen' (Carl Vogel) - Exemplar mit Orig.-Zeichnung und eigenhändiger Widmung des Künstlers 'The publication still holds a prominent place in what has since become a most diverse and significant contribution to the art of the illustrated book.' (Andreas Franzke) 1 von 70 numerierten Exemplaren, im Druckvermerk von Autor und Künstler signiert. Schöner breitrandiger Druck auf kräftigem, chamoisfarbenem Guarro-Bütten mit Wasserzeichen 'Tapies'. - Schönes vollständiges Exemplar, beiliegend die französische Übertragung des gesamten Textes als Typoskript. Zudem ein sehr besonderes und persönliches Exemplar für den Schweizer Galeristen, Verleger und Sammler Jürg Janett (1927-2016), u. a. Mitbegründer der Erker-Galerie in St. Gallen, mit halbseitiger signierter Orig.-Widmungszeichnung sowie eigh. Widmungseintrag von Antoni Tàpies, datiert Nov. 1964. 'Genausowenig wird das abgesteckte Feld der klassischen Graphik verlassen, obwohl man in 'El pa a la barca' verblüffende Reduktionen findet sowie aufgeklebtes Papier mit abgetrennten Ecken oder gar eine aufgerissene ganz gewöhnliche Tüte, reine Objekte also, und doch mag man diesen Begriff noch weniger anwenden als den der Graphik. Die Abbildungen im Buche liessen ohne Legende den Gedanken nicht aufkommen, es könnte sich um etwas anderes handeln, und in der Tat erscheint es gerechtfertigt, alle bildnerischen Teile dieses merkwürdigen Buches im Verzeichnis der Graphik zu registrieren.' (Carl Vogel, in Galfetti S. XXIII) 'This book of collages, typewritten text, torn sheets, and other unconventional methods and materials is covered with vellum in simulation of the kind of bindings found on old manuscripts and early printed books in monastic libraries.' (Riva Castleman) Einband: Lose Lagen in illustriertem Orig.-Umschlag und Orig.-Pergamentumschlag mit schwarzgeprägtem Rückentitel. 40 : 28,5 cm. - ILLUSTRATION: Mit 25 Orig.-Lithographien und -Collagen von A. Tàpies. - ZUSTAND: Schönes und wohlerhaltenes Exemplar. - PROVENIENZ: Schweizer Sammlung. LITERATUR: Galfetti 48-72. - Franzke S. 351. - Tàpies. Escriptura materiel S. 42ff. - Castleman S. 221. - Arnold 362. One of the most important artist's books of the 20th century, at the same time Tàpies' first illustrated book. 1 of 70 numb. copies, imprint signed by the author and the artist. With 25 orig. lithographs and collages by Antoni Tàpies. Unique copy with autograph dedication and signed orig. drawing by Tàpies for Swiss art dealer, publisher and collector Jürg Janett (1927-2016), amongst others founder of the Erker Galerie, St. Gallen. Loose sheets in illustr. orig. wrappers and orig. vellum wrappers with title printed in black on spine. - Clean and well-preserved copy from a Swiss private collection. Dieses Objekt wird regelbesteuert angeboten (R).

Pieter Verbiest   Nova carte del muy podroso reyno d'Espania. Grenz- und flächenkolorierter Kupferstich von P. Verbiest, Amsterdam 1639. 42 : 55,5 cm. - Einblattdruck - Wie alle Arbeiten des Amsterdamer Kupferstechers und Verlegers Pieter Verbiest (um 1605-1693) sehr selten - Geschmückt mit 3 Bildleisten mit Stadtansichten und Kostümdarstellungen - Zweiter, bei Hollstein nur als Anmerkung erwähnter Druckzustand 'An untraced second state of the plate' (Hollstein) Schöne barocke Karte der Königreiche Spanien und Portugal, an drei Seiten von acht Kostümdarstellungen und sieben Stadtansichten (Toledo, Burgos, Madrid, Sevilla, Valladolid, Granada und Barcelona) eingerahmt. Das Kartenbild mit Grenzkolorit, die beiden Kartuschen (darunter die große Titelkartusche mit Wappen), die Trachtenfiguren, Städteansichten und das maritime Beiwerk koloriert. Hier im zweiten Druckzustand (von 3; erste Ausgabe datiert 1629, dritte Ausgabe 1649) mit dem Jahr 1639 in der Verlegeradresse und ohne eine vierte Leiste mit weiteren Stadtansichten im unteren Rand. - Von dem vermutlichen Brüderpaar Pieter und Isaak Verbiest aus Amsterdam ist lediglich eine Anzahl Einblattdrucke mit Karten der niederländischen Provinzen und weiterer einzelner europäischer Länder sowie zwei schöne Weltkarten bekannt (vgl. Shirley 338 Anm.), ferner ein kleiner Atlas Novus tabularum geographicarum Belgicae liber (1616). - ZUSTAND: Bis auf einen Rand von ca. 0,5 cm leicht unregelmäßig beschnitten, bzw. unterer Rand entlang der Einfassungslinie angesetzt, wie vom Verleger herausgegeben. Mit kl. restaurierten Randläsuren und - einrissen. Ursprünglich mehrfach parallel gefaltet, mit fachmännischen Restauirerungen in den Falzen bzw. der rechte Falz neu zusammengesetzt, dort mit nur leichtem Bild- und Textverlust z. B. in der Wappenkartusche. Punktuell auf Karton aufgelegt, unter Glas gerahmt, nicht geöffnet. - LITERATUR: Hollstein XXXV, 183 Anm. - Tooley, Mapmakers VI, 317. Single-sheet map and carte-à-figures of Spain and Portugal. Engraving with outline and surface color by little-known engraver, publisher and cartographer Pieter Verbiest. Very scarce second state (of 3) with date 1639 and 3 borders instead of 4 with costumes and town views. - Trimmed to a margin of ca. 0,5 cm, resp. remargined along the bottom of the sheet (as published), with small restored defects and tears to margin. With 3 vertical folds, all with skilfull restorations, the fold on the right joined with only little loss of matter. Laid down on cardboard in places, framed under glass (not opened). Dieses Objekt wird regel- oder differenzbesteuert angeboten.

TOTTENHAM BILL NICHOLSON AUTOGRAPH Album page removed from vintage autograph book with good example of Bill Nicholson's signature  We have been instructed by our vendor who’s Father was a prominent figure in Football during the 1950’s & 60’s to offer some extremely rare autographs all of which were gained personally. Our clients Father worked for many of the top European clubs in dealing with all their requirements when playing European games or Friendly tours. He was employed by Barcelona, Real Madrid, Athletic Bilbao and many others.This unique autograph book gives a timeline of his work and the many friends he made during this time including some of the greatest footballers of this era.

BARCELONA - TELLO AUTOGRAPHED PHOTO Size approx 8 x 12 inches

FULHAM & STOKE CITY AUTOGRAPHS EARLY 1960'S Album pages removed from vintage autograph book Stoke page dated 24th April 1963 the day that played played Real Madrid in a friendly Fulham pages dated 17th Aug 1963 which was the day before they played in Bilbao against Athletic Club FC The Stoke and first page of Fulham signatures are back to back We have been instructed by our vendor who’s Father was a prominent figure in Football during the 1950’s & 60’s to offer some extremely rare autographs all of which were gained personally. Our clients Father worked for many of the top European clubs in dealing with all their requirements when playing European games or Friendly tours. He was employed by Barcelona, Real Madrid, Athletic Bilbao and many others.This unique autograph book gives a timeline of his work and the many friends he made during this time including some of the greatest footballers of this era.

MANCHESTER UNITED V BARCELONA IN USA MATCH BADGE 2003

VALENCIA V WOLVES AUTOGRAPHS 1957 4 Pages from vintage Autograph book Pages 1 & 2 - Wolves trip to Valencia March 1957 for a friendly. 15 autographs of the players that travelled Pages 3 & 4 - Valencia trip to the Wolves April 1957 for a friendly 12 autographs Pages 2 & 3 are back to back Unique set of original signatures for these two games We have been instructed by our vendor who’s Father was a prominent figure in Football during the 1950’s & 60’s to offer some extremely rare autographs all of which were gained personally.Our clients Father worked for many of the top European clubs in dealing with all their requirements when playing European games or Friendly tours. He was employed by Barcelona, Real Madrid, Athletic Bilbao and many others.This unique autograph book gives a timeline of his work and the many friends he made during this time including many of the greatest footballers of this era.

BIRMINGHAM CITY FAIRS CUP FINALS V BARCELONA AND A.S. ROMA  A.S. Roma very good. Barcelona folds, otherwise good.