We found 5812 price guide item(s) matching your search
There are 5812 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
5812 item(s)/page
Lot 269
AN EDWARDIAN CASED SET OF SILVER MILK JUG, SUGAR BOWL AND SIFTER LADLE, HARRISON BROTHERS & HOWSON OF SHEFFIELD, LONDON, 1905 the milk jug and sugar bowl with applied scroll and rocaille rims, gilt interiors and openwork cast feet, the ladle with fluted and matted gilt bowl, lobed stem and figural terminal, original twin-doored leather case with green fitted interior bowl 13.5cm diameter; 488gr (15oz)
Lot 1204
Four silver sugar sifting spoons, Sheffield, Kings pattern, Joseph Rodgers & Sons, 1904, Onslow pattern, Martin, Hall & Co (Richard Martin & Ebenezer Hall), 1884, flat Onslow pattern, Harrison Brothers & Howson (Henry Harrison), 1889, inverted rat-tail pattern, James Dixon & Sons Ltd,1908, total weight approximately 4.8oz.
Lot 579
A PAIR OF SILVER SWING HANDLED SWEETMEAT BASKETS, with pierced decoration, on pedestal bases, by Harrison Bros & Howson, Sheffield 1911, 11cm wide, 6.5 oz; a silver milk jug, with reeded border, Chester 1938, 5oz; a silver twin handled bowl, Birmingham 1942, 3 oz; a pair of Edwardian silver spill vases, repoussé decorated with flowering lilies, by William Comyns & Sons, London 1906, 13.5cm high; and another pair of silver spill vases, with shaped and flared rims, Birmingham 1962 and 1972, one inscribed, weighted bases (8)
Lot 301
William Howson Taylor for Ruskin Pottery; a high fired vase of tapering cylindrical form covered with a caramel and pale green glaze, incised signature, factory marks to base, dated 1931, height approx 14cm. CONDITION REPORT Possible restoration to small chip on top lip, otherwise no obvious signs of faults, damage or restoration
Lot 328
A rare Guernsey Constable's ceremonial baton of office, silver mounted, Harrison Brothers & Howson, Sheffield, 1888, modelled as a tipstaff in turned ebony, having two silver shield shaped Guernsey three lions crests, silver band and topped with silver cross/crown, each hallmarked, reportedly St. Peter Port, 6 4/8in. (16.4cm.) long.
Lot 585
A George V silver three piece tea service, Harrison Brothers & Howson (George Howson), London, 1910/11, comprising teapot, sugar bowl, jug, having incurved canted corners, angular scroll handles, teapot with ebonised handle and finial, each inscribed with initial ' N ', measuring 10in. (25.4cm.) long, gross weight 22.6 tr.oz. (3) * Condition: Pieces having shallow dents to bellies, rubbed hallmarks.
Lot 438
A George V circular silver salver, scalloped shell rim with scrolled acanthus feet, by Harrison Brothers & Howson, hallmarks London 1912, diameter 25.5cm, 19.7ozVery good original condition, no obvious damage or repair, central engraving for North Surrey Golf Club, light surface abrasions all over through general handling, hallmarks clear
Lot 554
A late Victorian silver shaped circular waiter by Harrison Brothers & Howson, Sheffield 1895, with a raised moulded and gadrooned border with shells leaves at intervals, engraved with scrolls and foliate swags, on three bracket feet, 20cm (8in) diameter; a George III silver pedestal basket by Charles Hougham, London 1788, lacking handle, with a beaded border, pierced decoration, engraved with a foliate band and on a conforming circular pedestal foot, 14.5cm (5 3/4in) high, with a glass liner; and an electro-plated heater stand, 14.5cm (5 3/4in) diameter, 481g (15.45 oz) gross weighable Property from the estate of the late Betty, Lady Grantchester. Condition Report: There is no condition report available for this lot and is sold as seen Condition Report Disclaimer
Lot 47
A large Edwardian silver shaped circular salver by Harrison Brothers & Howson, London 1905, with a bold raised gadrooned rim with large and small shells at intervals, on four scroll feet, engraved 1919 - 1944, 48.5cm (18 1/4in) diameter, 2028g (65.2 oz)Condition Report: Marks are well struckEngraving is crispKnock/repair to one of the shells at the borderSome rubbing to the high pointsStands wellLight scratches and wear commensurate with age and useCondition Report Disclaimer
Lot 63
A silver circular tea pot on stand by Harrison Brothers & Howson, Sheffield 1931, with a wicker wrapped loop handle, a composition finial to the flat cover, on a circular stand on three lion paw feet, 25cm (9 3/4in) high, 802g (25.8 oz) grossCondition Report: Marks are well struckGap to the coverHinge goodDent to the body and foot rimTea pot wobbles on standLight scratches and wear commensurate with age and useCondition Report Disclaimer
Lot 68
A silver straight-tapered coffee pot in George II style by Harrison Brothers & Howson, Sheffield 1936, with a domed finial to the ogee domed cover, a composition scroll handle and on a circular spreading foot, 18cm (7in) high, 427g (13.75 oz) grossCondition Report: Marks are partially rubbedSlight play to the hingeHandle is tightLight scratches and wear commensurate with age and useCondition Report Disclaimer
![George Formby (1904-1961). His banjo ukulele, and the first to be played in a George Formby film, Off the Dole [1935]. After](https://cdn.globalauctionplatform.com/758f8ea2-4cb8-4195-a81e-ab7b00a8e513/d28dbce3-1774-40f6-ab52-ab8700b10081/468x382.jpg)
Lot 168
George Formby (1904-1961). His banjo ukulele, and the first to be played in a George Formby film, Off the Dole [1935]. After singing 'If you don't want the goods, don't maul 'em', George said, "It is a good ukulele". Bearing label for Will Van Allen, New Revelation Banjos, although this instrument may well have been made by Jack Abbott Snr.'s company in the early 1930s. 17 frets with mother-of-pearl dot position markers, 14 tension hooks, flange resonator. The instrument bears an engraved plaque with George's quote from Off the Dole (above). Complete with carrying case. The original vellum is mounted to the inside of case, and is inscribed, 'Mr. Formby', and, 'Mr Wu's a W. Cleaner'. Condition: Wear in accordance with age and usage, note the two rubbed marks to the back of the body, which were caused by George's buttons rubbing against the instrumentProvenance: Originally included in the 1961 Beryldene Estate sale, but withdrawn by George's fiance Pat Howson; it was then purchased by Rex Blaker (second owner); Stan Evans (third owner); our vendor (fourth owner). The instrument comes with an entry form relating to its loan to Warrington Museum and Art Gallery; scanned stills showing the instrument being handled and discussed on several television shows (including Richard & Judy, 1991); a newspaper clipping from the Daily Post, 1998, showing Stan Evans playing the instrument; a newspaper clipping from the Manchester Evening News, 1991, showing George's sister Louisa de Hailes posing with the instrument
Lot 170
George Formby (1904-1961). Novelty table lamp modelled as George leaning on a lamp post, bearing engraved brass plaque, 'George Formby, Leaning on a Lampost (Film Feather Your Nest) recorded 5 September 1937, Regal Zonophone MR2490', given to George by Noel Gay, who wrote Leaning on a Lamp-postProvenance: Pat Howson, Alan Randall
Lot 104
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) TWO BROTHERSSigned, oil on canvas (Dimensions: 91.5cm x 106.5cm (36in x 42in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
Lot 192
§ STEVEN CAMPBELL (SCOTTISH 1953-2007) LOBSTER (FROM THE SCOTTISH BESTIARY PORTFOLIO)Woodcut, P/P, signed and editioned in pencil to margin, unframed (Dimensions: 76cm x 56.5cm (30in x 22.25in), full sheet)Biography: Steven Campbell was born in Glasgow and originally worked as a maintenance engineer in a steelworks in Cambulsang before attending Glasgow School of Art and becoming one of the leading Scottish figurative painters of his generation. Campbell worked alongside the artists Ken Currie, Peter Howson and Adrian Wiszniewski, a group which later became known as the 'New Glasgow Boys'. While their artistic output was not homogenous, they all shared an interest in figurative painting during the early 1980s which broke away from the conceptual and minimal trends in Modern art at the turn of the twentieth century. After graduating from Glasgow School of Art in 1982 Campbell won a Fulbright Scholarship to study at the Pratt Institute in the United States. Campbell worked from a studio in Brooklyn until 1986 and this period was key in establishing his status as an internationally renowned artist whilst raising awareness of Scottish contemporary art on a global scale. Campbell had solo exhibitions across the world in locations as far reaching as Galerie Pierre Huiber in Geneva (1986) and Marlborough Fine Art in Tokyo (1990). His artwork is influenced by a diverse range of literary fiction from tales by the author P.G. Wodehouse to murder mysteries, resulting in his artworks appearing to be humorous and unsettling. Campbell was also influenced by children's book illustrations accounting for his use of a rich and vibrant palette which intensified after his U.S. period. Campbell's surreal compositions cannot be read as a conventional fictional narrative and his imaginary worlds intentionally challenge the viewer with their dreamlike quality leaving his artwork open to multiple interpretations. Campbell saw himself as a 'director, writer and producer' of other-worldly scenes and he often repeated figures in multiple artworks as if they were a cast of actors.
Lot 124
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) MAN WITH TOWER BLOCKSigned, pastel (Dimensions: 27.5cm x 20cm (10.75in x 8in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
Lot 186
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) LEERINGSigned, pastel (Dimensions: 27.5cm x 20cm (10.75in x 8in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
Lot 185
§ PETER HOWSON O.B.E. (SCOTTISH B.1958) BETRAYALSigned and dated 2003, charcoal and coloured pastel on brown paper (Dimensions: 39cm x 29cm (15.5in x 11.5in))Biography: Peter Howson is arguably one of the finest and certainly one of the most controversial British painters of the late 20th and 21st centuries. Born in London in 1958, he moved with his parents to Scotland aged four and studied at Glasgow School of Art from 1975 - 1977, under Sandy Moffat. On graduating, he took on various jobs, including nightclub bouncer and supermarket manager before enlisting as a private soldier in the Royal Highland Fusiliers. In 1979, disenchanted with the army, he returned to art school and from 1981 began to show at Edinburgh's influential 369 Gallery. What might be said to be Howson's signature style first emerged in a series of murals made for Feltham Community Association in London in 1982, painted in an urban realist manner. He quickly developed this into a style highly reminiscent of Max Beckmann, with exaggerated musculature, sinister characters and voluptuous nudes. He also embraced Beckmann's subject matter of extreme physical cruelty, depravity and dysfunctional behaviour. He was further influenced by the Mexican muralists of the early 20th century including Hidalgo, Rivera and Clemente. In his early works, Howson concentrated on characterizations of working class men, at the gym, at football matches, in the pub, or merely in a crowd. The exemplar was his iconic painting The Heroic Dosser (1987, National Galleries of Scotland). Tied up with such subject matter were his own memories of the brutality of his life as a soldier, together with his having been victimized and bullied at school and the sexual abuse he had suffered as a child. All of these fed into an art that became ever more brutal. It was almost inevitable, given the honesty, and graphically human monumentality of his work, that In 1992 Howson should have been commissioned by the Imperial War Museum to record the conflict in the former Yugoslavia and a year later been appointed official British war artist for Bosnia. The effect on the artist however, was near catastrophic and he suffered a breakdown. In fact Howson had always lived in a constant state of nervous anxiety. He has Asperger's syndrome, an autistic condition that manifests itself principally in an unusual memory for detail and an obsessive need for routine. Throughout the 1980s and 1990s, Howson's work continued to display increasing levels of violence and voyeuristic sexuality. In 2000 Howson was treated for long-term alcoholism and drug addiction and that same year, possibly as result of this treatment, famously underwent a conversion to Christianity. Thereafter for a while, his work began to exhibit a strong religious content. Today, as always enigmatic, shy and unpredictable, he remains one of the most fascinating figures in 20th century British art, reflected by high profile patrons including David Bowie, Sylvester Stallone, Jack Nicholson and Madonna, who had apparently hung one of his canvases in her bedroom.
Lot 1236
An Edward VII and Later George V Scottish Silver Table-Service in a George III Mahogany Knife-Box, The Table-Service by George Jackson and David Fullerton, London,1903; Hamilton and Inches, Edinburgh, 1908 and forks Josiah Williams and Co., London, 1939, The Knife-Box Circa 1780, Hanoverian pattern with rat-tail, comprising: 12 table-forks 12 dessert-forks 6 dessert-spoons, one by George Howson, Sheffield, 1940 6 teaspoons 6 egg-spoons 2 basting-spoons 2 sauce-ladles in a later fitted George III serpentine fronted mahogany knife-box with sloping hinged cover, the knife box 37cm high, weight of silver 82oz 12dwt (46)
Loading...-
5812 item(s)/page