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Lot 407
HOWSONS FLAMBE. A Richard Howson (cousin of W H Taylor) flambe vase. Inscribed to the base, Howsons 1913, 205. Height 12cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.
Lot 301
* PETER HOWSON OBE (SCOTTISH b. 1958),STARING DOWN THE BOTTLEpastel on paper, signedimage size 28cm x 20cm, overall size 57cm x 47cm Mounted, framed and under glass.Note: As is well documented, Peter Howson has struggled in the past with issues of addiction including alcohol. It's rare to find any example of his work which so obviously explores the nature of alcoholism or perhaps of addiction more generally. As is also well documented, Peter, with the help of those close to him, eventually conquered his addictions.
Lot 92
* PETER HOWSON OBE (SCOTTISH b. 1958),WOMEN ON THE MIND - DON GIOVANNI 1995oil on canvas, signedimage size 123cm x 107cm, overall size 132cm x 117cm Framed.Note: In 1995 Peter Howson collaborated with John Cox and the Scottish Opera on a new production of Mozart’s Don Giovanni. In an amazing interview with the Glasgow herald in 1995 Howson commented: “It’s an incredible opera and a fantastic opportunity. I’ve got the opera bug now. Everything to do with Don Giovanni is curvaceous and sexy. The rest is sharp, pointed and angular. I’ve kept the colour scheme very simple: rich scarlet, vermilion, and cherry red for Don Giovanni’s territory: his bedroom, ballroom, the wedding party scenes, and for Hell. Soft greens, greys and cream for the rest. Howson produced 300 preparatory drawings for the Opera, together with a group of Oil paintings which were exhibited at Bilcliffe fine art, Glasgow in September 1995. These works were inspired by the party scene nudes in the opera. Howson explained in the interview with the Herald: 'There are hundreds of nudes everywhere, some friendly, some demonic. It's like Dante's Inferno. Don Giovanni is a man of incredible sexual appetite and John Cox wanted this depicted in a Rubenesque way: not pornographic or smutty, but with as much nudity as Scottish sensibilities allow. There's even nude caryatids and statuary carved over the door to his palace. Although Scottish Opera's audiences can be terribly Calvinistic. They don't want too much said about the nudes in case people cancel their tickets!'' Surely not? ''It's true. It happened once before with Life with an Idiot. I see Don Giovanni as the life force. His bed is red; his dressing gown is opulent, flowing gold and red. Of course, he's amoral, what used to be known as a libertine and blasphemer, but he's also a free-thinker, a man before his time, a revolutionary who rejects the religious and sexual code of his society. He's defiant and unrepentant. He never forces himself on women, merely seduces. His affair with Donna Anna is the first time in his amorous career that things have gone wrong. He doesn't feel guilty for the Commendatore's death as the duel was fought in self-defence. When he's dead the town stagnates and misses him. The Don Juan story has always been popular even in folklore. Back in 1787 when the opera was first performed in Prague it must have seemed scandalous but today it's not so. We've tried to avoid setting the opera in any specific period. Hopefully, it's timeless.'' Provenance: Sotheby's, Gleneagles, lot 1024, 31st August 2005, estimate £10,000 - £15,000.
Lot 174
A Ruskin Pottery four handled vase signed to base "W Howson-Taylor" stamped "Ruskin England 1931" 25 cm high together with a Ruskin vase of blue and orange colour way signed "W Howson-Taylor" to base and stamped "Ruskin" indistinctly dated 23 cm high CONDITION REPORTS The four-handled vase has general wear and tear and is in need of a clean, especially to the interior. Wear and tear conducive with age and use.The other vase has a large crack running through it, particularly to the base. In need of a clean. General wear and tear. See images for more details.
Lot 120
§ ADRIAN WISZNIEWSKI (SCOTTISH 1958-) UNTITLED Signed with initials and dated 2011 lower right, oil on canvas(84cm x 60cm (33in x 23.5in), unframed)Footnote: Note: Adrian Wiszniewski was another key figure in the ‘New Generation’ of talent produced by the Glasgow School of Art in the 1980s; one of the so-called ‘New Glasgow Boys’. Like many of his contemporaries including Howson, Campbell and Conroy, Wiszniewski’s art is grounded in an expressionist tradition. As suggested by the title of the blockbuster Vigorous Imagination exhibition at the Scottish National Gallery of Modern Art in 1987, a showcase of these artists to the world, his work possesses an ambitious, eccentric quality. An oblique, poetic exploration of burgeoning adolescent sexuality typifies his subject matter, as does an underpinning current of melancholia. Akin to his peer Steven Campbell, there is something consciously staged and mannered in the depiction of his ‘languorous youths’. In the work offered here for sale, two beautiful young men (who all have similar features and usually represent some form of alter-ego for the artist) take centre stage in a pastoral landscape. One sharpens a stake while the other holds a pair of flags, one small and orange, one large and red and emblazoned with a star. The work feels heavy in symbolism but the references are obscure. The overall effect, so typical of his work, is that we’ve somehow stumbled into the artist’s dream.
Lot 121
§ PETER HOWSON O.B.E. (SCOTTISH 1958-) NIJINSKY Signed lower left, oil on canvas(181cm x 121cm (71in x 41.5in))Footnote: Note: The 1980s and 90s saw an extraordinary, internationally recognised breakthrough of artistic talent in Scotland, and critics and collectors alike remain intrigued by its sudden and spectacular eruption. In many respects, these artists were both the product and visual representation of a Scotland which, having reached the bottom of its post-industrial slump, picked itself up and reinvented itself with extraordinary vigour; transforming into a vital force once again. Glasgow’s successful rehabilitation was the epicentre, and it is not surprising, therefore, to find that its famous Art School became the nexus of the new wave of artistic talent. Though it was derided at the time, Scottish art schools never gave up on life drawing throughout the 1970s and 80s, so when the focus of art re-centred on the figurative tradition, Scottish artists were well placed to convincingly and skilfully innovate upon the past. This was combined with influential teachers, namely in the form of Sandy Moffat who did much to encourage the move away from the painterly, colourist orthodoxy of the still life and landscape tradition that typified Scottish art for so long; instead advocating an expressive and figuratively focused art, with a bent towards examining social issues. Crucially, a receptive and supportive gallery network evolved, ready to support this wave of young talent. Howson, chose to work on a monumental scale to ape the scale of traditional history painting. He consciously subverts it by elevating the insalubrious subject matter of his brawlers and dossers, magnifying his grotesqueries to heroic proportions. Howson tapped into his lived experience in the military and as a bouncer in the dive bars of Glasgow’s city centre to find his subjects. Lifting figures from memory, he pumped them up into exaggerated and overgrown character archetypes, through whom he examined the most toxic aspects of masculinity in order to reveal its ugly, destructive truth. Though the acerbic, grotesque social commentary of Weimar Republic artists like George Grosz and Otto Dix are clear reference points, Howson’s work is in fact brimming with pathos. He allows his characters a tragic heroism, and his message is clear that they are just as much the victims of the violent systems they embody. Here, in this relatively early work from 1991, he takes ‘Nijinsky’, the much-lauded early 20th century ballerina, as his subject. Howson created a series of four monumental works on this theme, of which this is likely one. On this series, the critic Peter Jenkins commented: “Nijinksy I see as a heroic figure: clumsy yet nimble, his macho prance is a dance of defiance; his leaden, booted feet may hold him down, but his head is in the clouds, jaw jutting; like a dancing bear, he is a noble beast made an object of derision…” Howson, as was the case for several of his peers, found swift and remarkable success with his work entering significant collections soon after graduation. In 1993 he was commissioned by the Imperial War Museum as their official war artist to cover the Bosnian conflict.
Lot 214
§ PETER HOWSON O.B.E. (SCOTTISH 1958-) BANDIT CHECKPOINT - 1994 Screenprint, A/P, aside from the edition of 100, signed, dated and editioned in pencil to margin, published by Advanced Graphics, London, with their blindstamp(the sheet 88.5cm x 96cm (34.75in x 37.75in))Provenance: Flowers East, London
Lot 107
COURSING:- An Edwardian trophy goblet inscribed "Bleadon Coursing Club won by A. Amesbury" by Messrs. Barnard, London 1902, another with a part-fluted bowl "Bleadon Coursing Club 1907 Presented by H. Tunnicliffe Esq.", by Harrison Bros & Howson, Sheffield 1907 and a small trophy cup "Messrs. Tiarks Weston Harriers Puppy Show....", by Walker & Hall, Sheffield 1907 (on an ebonised plinth); the latter cup 6" (15.5 cms) high; 27.65 oz weighable silver (3)
Lot 234
A cased 12-place setting of silver bladed dessert knives and forks, each blade with double engraved armorials, maker Harrison Brothers & Howson, Sheffield, each with silver sheath handles which have been inscribed, the whole housed in a burr walnut and walnut canteen, w.27cmCondition report: Wear and pitting to handles.Tarnishing to knives.Each knife weighs 53.9g.Each fork weighs 37.2g.Total weight 1.093kg.
Lot 228
SEVEN ITEMS OF SMALL SILVER Comprising: a pair of late Victorian four division toast racks by Harrison Brothers & Howson, Sheffield 1899; a plain pap boat by E. Hill, Birmingham 1935; a late Victorian shaped oval footed sweet basket by Holland, Aldwinckle & Slater, London 1894; an oblong baluster mustard pot, no liner; a shell butter dish; and an unmarked embossed small cream jug 439g (14.1 oz) Condition Report: The last is made up out of a mid Georgian toddy ladle bowl (legal to sell as it is not hallmarked) Condition Report Disclaimer
Lot 222
An Edwardian silver pedestal teapot and milk jug, Harrison Brothers & Howson, Sheffield 1907, teapot measures approx 18.5cm high, cream jug measures approx 12cm high, together with a Victorian miniature silver salt, total weight approx 25.9oz (3)Condition report: Hallmarks on the teapot slightly rubbed, the pedestal base on the cream jug slightly bent, crease/dent to the spout of the cream jug, a few small dents to the teapot, general wear to both, refer to images
Lot 168
TWO SILVER FRUIT KNIVES, the first fitted with a silver blade hallmarked 'Thomas Marples' Sheffield 1868, fitted with a floral engraved mother of pearl handle and a vacant oval cartouche, full length 10.5cm, the second also fitted with a silver blade hallmarked 'Harrison Brothers & Howson' Sheffield 1934, fitted with a mother of pearl handle, full length 13.5cm
Lot 227
AN ALMOST COMPLETE SIX PIECE SET OF SILVER AND MOTHER OF PEARL HANDLED CUTLERY AND ONE OTHER, to include six knives and five forks, decorative floral and foliate silver blades, hallmarked 'Harrison Brothers & Howson' Sheffield 1855, fitted with carved mother of pearl handles, also including a EP bread knife fitted with an ivorine handle (condition report: one of the mother of pearl handles has a chip to the end, general light wear all round, overall condition good)
Lot 102
George V - Fine Pair of Sterling Silver Chocolate Pots of Solid Construction and Pleasing Proportions. Hallmark Sheffield 1918, Makers Mark G.H ( Harrison Brothers, George Howson ) 735.6 grams - 23 ozs 23 grams. Height of Each Chocolate Pot 6 Inches - 15 cms. Wonderful Condition In All Aspects.
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