The Football Match
POA
Laurence Stephen Lowry, R.A. (1887-1976)
The Football Match, 1973
Offset lithograph on wove paper, after the original pencil drawing from 1946 of the same title (Collection: Private Collection)
Signed ‘L.S. Lo... Read More
Product Variations
The Football Match
POA
Laurence Stephen Lowry, R.A. (1887-1976)
The Football Match, 1973
Offset lithograph on wove paper, after the original pencil drawing from 1946 of the same title (Collection: Private Collection)
Signed ‘L.S. Lowry’ lower right and numbered from the edition of 850 lower left in pencil
Published by Harold Riley (with blindstamp lower left)
Size: 9 x 14 in. (22.3 x 35.5 cm.)
(Please enquire for availability)
Unlike Lowry's best-known sporting picture (the magisterial Going to the Match housed in the Professional Footballer’s Association Collection) which depicts a specific location, Burnden Park, the former home of Bolton Wanderers, The Football Match is rather a celebration of the place that football held in the heart of the ordinary working man at a time when the teams of the North-west dominated English football with teams like Manchester United, Bolton, and Blackpool winning cups and titles year after year.
The prospect of such events being opportunities to see people in groups whose mood was almost tangible, be that in victory or defeat, clearly intrigued Lowry, and it is perhaps notable that Going to the Match, often lauded as one of the greatest football paintings, does not actually feature pitch, players, or ball. Indeed Andras Kalman, Lowry's friend and dealer and staunch Chelsea supporter remembered that if he wanted to tempt Lowry out from home, the offer of taking him to a match usually worked. In contrast, in The Football Match the game itself is central to the composition. Using just the merest deft touches, Lowry fills the pitch with players whose varied states of animation contrast well with the densely packed crowds along the touchline. Ostensibly unified, we know that these crowds will be divided at least two ways, and Lowry often used crowds as a vehicle for expressing the innate loneliness of individuals within the group.
The present work was published in 1973 by the celebrated Salford artist Harold Riley, Lowry’s friend and collaborator. Beginning in the 1960s, Lowry and Riley worked on a continuing project to document the city of Salford.
Although similarly rendered in the monochrome of the original pencil sketch, the present work is not to be confused with Lowry’s original lithographs which are not reproductions of original paintings or drawings, but rather made for the purpose, and published in smaller editions of 75.
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Laurence Stephen Lowry, R.A. (1887-1976)
The Football Match, 1973
Offset lithograph on wove paper, after the original pencil drawing from 1946 of the same title (Collection: Private Collection)
Signed ‘L.S. Lowry’ lower right and numbered from the edition of 850 lower left in pencil
Published by Harold Riley (with blindstamp lower left)
Size: 9 x 14 in. (22.3 x 35.5 cm.)
(Please enquire for availability)
Unlike Lowry's best-known sporting picture (the magisterial Going to the Match housed in the Professional Footballer’s Association Collection) which depicts a specific location, Burnden Park, the former home of Bolton Wanderers, The Football Match is rather a celebration of the place that football held in the heart of the ordinary working man at a time when the teams of the North-west dominated English football with teams like Manchester United, Bolton, and Blackpool winning cups and titles year after year.
The prospect of such events being opportunities to see people in groups whose mood was almost tangible, be that in victory or defeat, clearly intrigued Lowry, and it is perhaps notable that Going to the Match, often lauded as one of the greatest football paintings, does not actually feature pitch, players, or ball. Indeed Andras Kalman, Lowry's friend and dealer and staunch Chelsea supporter remembered that if he wanted to tempt Lowry out from home, the offer of taking him to a match usually worked. In contrast, in The Football Match the game itself is central to the composition. Using just the merest deft touches, Lowry fills the pitch with players whose varied states of animation contrast well with the densely packed crowds along the touchline. Ostensibly unified, we know that these crowds will be divided at least two ways, and Lowry often used crowds as a vehicle for expressing the innate loneliness of individuals within the group.
The present work was published in 1973 by the celebrated Salford artist Harold Riley, Lowry’s friend and collaborator. Beginning in the 1960s, Lowry and Riley worked on a continuing project to document the city of Salford.
Although similarly rendered in the monochrome of the original pencil sketch, the present work is not to be confused with Lowry’s original lithographs which are not reproductions of original paintings or drawings, but rather made for the purpose, and published in smaller editions of 75.
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Pay Monthly
You can secure a piece of art from £425 with a payback term of between 5 to 20 months interest free.*
0% Interest Free Credit
Spread the cost over up to 20 months with absolutely no interest to pay across all artworks.
Pay in 3 installments with Klarna.
Pay a low deposit, then between 3 to 12 months interest free.*