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PETER HOWSON OBE (b.1958), framed original pen and ink drawing "Hopeful man" titled and dated 2012 to reverse and signed and dated bottom right hand corner (Prov Adam Partridge sale Dec 2017). 30cm x 22cm

PETER HOWSON Origen, signed, print, 2005, 33 x 26cm Condition Report: signed print under glass.

William Howson Taylor for Ruskin, a high fired flagon, 1933, white over red with green spotting, impressed marks and incised signature, 22cm high

A Ruskin high fired bowl, circa 1920, white and red with black spots, impressed marks, 6.5cm high, 8.5cm diameter, on wooden base Provenance: W Howson Taylor Collection

A silver teapot with matching water pot, hallmarked Sheffield 1934, maker George Howson, approx 35oz,

A collection of silver hallmarked flatware to include George Howson for Harrods knives, , silver handled knife, silver handled shoe horn, Birmingham hallmarked silver handled button hook, 3 early 19th century Georgian silver teapoon with rubbed marks, Shefffield hallmarked butter knife, Birmingham hallmarked spoon, Sheffield hallmarked teaspoon. Also, a collection of horn carved spoons, one with silver mountings.

A cased set of silver hallmarked Harrods of London fruit / butter knives complete in the presentation case. Hallmarked for 1926, makers  Harrison Brothers & Howson. Harrison Brothers & Howson 

† Peter Howson, OBE: pastel on paper, "Night Watchman", 12" x 8 1/2", in black frame Condition:The pictures appears to be in good condition.

A pair of George VI silver asparagus tongs, makers Harrison Brothers & Howson, Sheffield 1937, 3.5oz

* PETER HOWSON OBE (SCOTTISH b 1958), HEAD STUDY pastel on paper, signed 37cm x 28cm Framed and under glass

* PETER HOWSON OBE (SCOTTISH b 1958), OFFENDER pastel on paper, signed and dated '07 60cm x 45cm Mounted, framed and under glass.

* PETER HOWSON OBE (SCOTTISH b 1958), PETERHEAD INMATE pastel on paper, signed and dated '07 60cm x 45cm Mounted, framed and under glass.

* PETER HOWSON OBE (SCOTTISH b 1958), GENTLE JOHNNY RAMENSKY pastel on paper, signed and dated '07 28cm x 20 cm Mounted, framed and under glass.

* PETER HOWSON OBE (SCOTTISH b 1958), HANK THE YANK AND SH**** BREEKS pastel on paper, signed and dated '07 28cm x 20cm Mounted, framed and under glass

* PETER HOWSON OBE (SCOTTISH b 1958), ESCAPE TO THE DARDANELLES pastel on paper, signed and dated '07 28cm x 20cm Mounted, framed and under glass

* PETER HOWSON OBE (SCOTTISH b 1958), HADGEY'S HAMMER HORROR pastel on paper, signed and dated '07 28cm x 20cm Mounted, framed and under glass

* PETER HOWSON OBE (SCOTTISH b 1958), A CONGLOMERATION OF CONVICTS pastel on paper, signed 28cm x 20cm Mounted, framed and under glass

* PETER HOWSON OBE (SCOTTISH b 1958), BRAIN OF BRITAIN, TWO POOFS, AND A SCOTTISH RUFFIAN pastel on paper, signed and dated '07 28cm x 20cm Mounted, framed and under glass

* PETER HOWSON OBE (SCOTTISH b 1958), A-HALL MADNESS WITH SOYA AND SEAGULLS pastel on paper, signed and dated '07 28cm x 20cm Mounted, framed and under glass

* PETER HOWSON OBE (SCOTTISH b 1958), INMATE pastel on paper, signed and dated '07 28cm x 20cm Mounted, framed and under glass

* PETER HOWSON OBE (SCOTTISH b 1958), INMATE II pastel on paper, signed and dated '07 28cm x 20cm Mounted, framed and under glass

PETER HOWSON OBE (SCOTTISH b 1958), TIME SERVED pastel on paper, signed and dated '06 20cm x 18cm Mounted, framed and under glass

* PETER HOWSON OBE (SCOTTISH b 1958), ME AGAIN oil on canvas, signed 31cm x 31cm Framed. Label verso: Flowers East Gallery, London. Inscribed with title and date 1992/3

* PETER HOWSON OBE (SCOTTISH b 1958), ROAD TO RECOVERY mixed media, signed and dated 2012 30cm x 20cm Mounted, framed and under glass

* PETER HOWSON OBE (SCOTTISH b 1958), DAVID AND BATHSHEBA mixed media, signed and dated 2013 40cm x 30cm Mounted, framed and under glass.

* PETER HOWSON OBE (SCOTTISH b 1958), THE PA - ELAINE JOHNSTONE, THE ARTIST pastel on paper, signed 60cm x 35cm Mounted, framed and under glass

* PETER HOWSON OBE (SCOTTISH b 1958), THE CRUCIFIXION oil on canvas, signed 182.9cm x 121.9cm (72 x 48 inches) Framed. Provenance: Lot 165 Christie's London 16th April 2008 where sold for £19,700 (premium) and acquired by a lady, the current vendor. Literature: Robert Heller, Peter Howson , Edinburgh, 2003, p. 151, illustrated. Note: The painting depicts the model Elaine Johnson. In discussing the present work Howson stated,'I was actually captivated by her as a model. She's probably the perfect model for me. I did many drawings and quite a few paintings'. 'One of them - yet again - landed Howson in the soup of controversy. He painted Elaine nude, crucified on the cross. He recognizes this was 'a pornographic, almost a blasphemous painting' - though he considers it a good one. The late Cardinal Winning, no stranger to controversy himself, was unimpressed and shocked, calling the work 'evil'. At the time, Howson was unmoved by the criticism. (R.Heller, Peter Howson , Edinburgh, 2003, p. 150). The Crucifixion was painted in 1999, only a few years after Howson returned from Bosnia having experienced the horrors of war. His subsequent hugely successful exhibition at The Imperial War Museum re-defined war art as Howson depicted graphic scenes with honest and disturbingly brutal reality. Perhaps his most controversial work from Bosnia was " Croatian and Muslim " in which two Croatian men were violently raping a Muslim woman. The setting was a domestic home, not a battlefield and there are no guns or obvious paraphernalia of war. The two vulgar figures committing the rape are not obviously soldiers and they certainly aren't obviously of any specific nationality or religion and nor is the female victim. If this painting had been untitled and never shown as part of the Bosnia exhibition at the IWM, there's no real evidence that it has anything to do with war. However Howson deliberately titles the piece, "Croatian and Muslim" not "Soldiers and Victim" or anything similarly vague but specifically with the two words which he knows will define the work. Had he wished to be even more confrontational, he might have titled it "Christian and Muslim", for there can be little doubt that in his mind, religion, war and the suffering of the innocent are the key themes of this work. Although hung for the IWM exhibition, the institution declined to acquire the painting for their permanent collection. This exclusion caused uproar and a considerable polarisation of opinion. Many argued that validity of the painting was compromised as the work had been produced based on oral accounts rather than an actual witnessed event. Others challenged the museum’s decision arguing that Croatian and Muslim had been rejected because of its graphic imagery and politically provocative nature. This uncomfortable and public situation was resolved when David Bowie chose to purchase the painting. Speaking in the New York Times at the time Bowie described it as ‘the most evocative and devastating painting’. It was reported that Bowie paid a mere £18,000 for the painting which was resold as lot 209 11th November 2016 Sotheby's London for £173,000 (premium). Not for the first time, Howson returned to the themes of religion and the suffering of the innocent with The Crucifixion in 1999. Despite the artist's reported remarks, it's very difficult to fathom how this work even partially fulfils the literal definition of "pornographic". The stark nakedness may be uncomfortable for some, but this painting is surely about suffering and especially the suffering of women. It was no great surprise to learn that the purchaser of this painting in 2008 (and the current vendor) is a woman. In every respect, The Crucifixion is Howson-max. It is powerful, thought provoking and controversial.

William Howson Taylor for Ruskin, a pair of crystalline ovoid vases, 1932, blue draining o orange, incised signature and impressed marks, 19cm high (2)

An A S Howson phono-fiddle, registration number 287991 and bow. CONDITION REPORT It is a one-string phono-fiddle.

AN EDWARDIAN SET OF FIVE KING'S PATTERN TABLE KNIVES & THIRTEEN SIDE KNIVES TO MATCH, by Harrison Brothers & Howson, Sheffield 1907 (steel blades) and a matched set of six Thread & Shell pattern table knives by two makers (Mary Chawner & George Adams, and George Adams), London 1840/43 (steel blades) (24)

AN EDWARDIAN ROSE BOWL with a wavy scroll rim and repousse Art Nouveau floral decoration around the sides and two vacant cartouches, by Harrison Bros. & Howson, Sheffield 1902; 11.75" (30 cms) diameter; 41 oz

AN EDWARDIAN CASED SET OF SIX PAIRS OF FISH KNIVES & FORKS with Old English Thread pattern handles, by Harrison Brothers & Howson, Sheffield 1906, together with a Victorian cased pair of grape shears, Fiddle & Thread pattern, initialled and dated "EW to JES1861", by C. Rawlings & W. Summers, London 1860; the grape shears 7.2" (18 cms) long; 3.75 oz weighable silver (2)

A GEORGE V SILVER SUGAR BASKET, BARKER BROTHERS SILVER LIMITED, BIRMINGHAM, 1931 With circular beaded rim, pierced swing handle and sides, blue glass liner, on a pierced and beaded circular foot,7cm high excluding handle, 73g; and a Silver Chocolate Pot, George Howson for Harrison Brothers and Howson, Sheffield, 1930, hinged cover above an ovoid body, scolling handle on a reeded circular foot14,5cm high, 335g

A silver teapot by Harrison Bros and Howson (George Howson), Sheffield 1936, with matching hot water pot and sugar bowl, of tapering rectangular form with canted corners (3), 1518gms Condition Report: Available upon request

A silver salver by Harrison Brothers & Howson (George Howson), Sheffield 1935, of square shape with canted corners on three inverted triangular pad feet, bearing an inscription verso, 25cm sq, 731gms Condition Report: Available upon request

HARRISON BROTHERS AND HOWSON A THREE-PIECE SILVER TEA SET comprising; teapot, milk jug and two-handled sugar bowl, of octagonal form with gadrooned rim, Sheffield 1933, combined weight, including non-silver handle and lid knop to teapot, 937g

**Mixed Lot: comprising three various folding knives, each with antler grips including two bladed examples by Harrison Bros & Howson and two further single bladed examples, various dates and makers (3)

A Pair of Cased Silver Grape Scissors Bright Cut Engraving to the Leaf Shaped Handles, in Their Original Silk Lined, Teardrop-Shaped, Leather Fitted Case - Hallmarked for Sheffield 1911 by Harrison Brothers & Howson. The scissors are approx. 6"/15cm long

Edward VII silver hot water jug, Sheffield 1906, maker Harrison Brothers & Howson (George Howson), with stepped cover, scrolled wooden handle with kick, on a stepped foot, 14oz

George V silver sugar caster, by Harrison Brothers & Howson, Sheffield 1934, 18 cm high, a silver pepperette and four pairs of sterling salts and peppers, 10 oz. (311 gr.) (10).

A Ruskin Pottery stoneware pot-pourri jar and cover by William Howson Taylor, dated 1915, with pierced foliate shoulder, shape no.362, covered in a green/black souffle glaze impressed marks, 17.5cm. high, (2) Literature Paul Atterbury & John Henson, Ruskin Pottery, Baxendale Press, page 40 for a comparable example. Provenance Private collection of Ruskin Pottery.

A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1920, shouldered form, covered in a fissured purple and blue glaze over white, with flambe patches, impressed marks, professional restoration to neck, 20.5cm. high Provenance Private collection of Ruskin Pottery.

A Ruskin Pottery miniature Kingfisher lustre stoneware vase by William Howson Taylor, dated 1916, ovoid with flaring cylindrical neck, covered in a petrol lustre glaze impressed marks, 7.5cm. high Provenance Private collection of Ruskin Pottery.

A Ruskin Pottery stoneware miniature vase by William Howson Taylor, dated 1909, ovoid with flaring cylindrical neck, covered in a mottled sang de boeuf glaze under mottled turquoise and lavender to the neck, impressed marks, 7cm. high Provenance The Albert E Wade Collection, Sotheby's London, 2002, lot 326. Private collection of Ruskin Pottery.

A Ruskin Pottery miniature vase by William Howson Taylor, dated 1922, ovoid body with cylindrical neck and everted top rim, covered in a running pink souffle glaze impressed marks, small glaze nick to base, 10cm. high Literature The Adam Ferneyhough Collection of Ruskin Pottery, Sotheby's London, 20th April 1993 page 10 lot 16 for an identical vase illustrated. Provenance Albert Wade Private collection.

A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1905, shouldered, cylindrical form, covered in a mottled sang de beouf and purple glaze speckled with turquoise, impressed WHT mark, shape no.100, 10.5cm. high Provenance Fielding Auctioneer's Private collection.

A Ruskin Pottery stoneware vase by William Howson Taylor, dated 1905, baluster form, covered in a lavender over pink souffle glaze impressed marks, 11cm. high

A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1905, slender baluster form, covered in a purple glaze streaked with lavender, turquoise speckles, impressed factory mark and date and shape no.96, 10cm. high Provenance Fieldings Auctioneer's Private collection.

A tall Ruskin Pottery high-fired stoneware vase by William Howson Taylor, shouldered form with tall cylindrical neck and everted top rim, covered in a running sang de boeuf glaze highlighted in sky blue on a mottled ground impressed marks, collection paper labels, 29cm. high Exhibited Taylor Made Exhibition, Birmingham Art Gallery, 1976, catalogue number 20. Literature Paul Atterbury & John Henson Ruskin Pottery, Baxendale Press, page 58 for a comparable example of this shape, dated 1909, illustrated. Provenance A & B Forrester Collection. Ferneyhough Collection. The Albert E Wade Collection, Sotheby's London, 2002, lot 397. Private collection of Ruskin Pottery.

A Ruskin Pottery stoneware solifleur vase by William Howson Taylor, covered in an apple green lustre glaze impressed marks, 19cm. high Provenance Private collection of Ruskin Pottery.

A Ruskin Pottery Kingfisher Lustre stoneware vase by William Howson Taylor, dated 1906, tapering cylindrical form on small flaring foot, with flaring neck, covered in a petrol lustre glaze impressed marks, 25cm. high Provenance Private collection of Ruskin Pottery.

A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1925, ovoid with tapering cylindrical neck, covered in a sang de boeuf and flambe glaze with fine turquoise speckles, impressed marks, 20.5cm. high Provenance Private collection of Ruskin Pottery.

A Ruskin Pottery high-fired stoneware vase by William Howson Taylor, dated 1933, tapering cylindrical form with everted rim, covered in a mottled sang de boeuf and silver-grey glaze impressed marks, 13.5cm. high Provenance Private collection of Ruskin Pottery.

A Ruskin Pottery high-fired stoneware carafe vase by William Howson Taylor, dated 1922, covered in a fissured sang de boeuf glaze over white impressed marks, professional restoration to neck, 23.5cm. high Provenance Private collection of Ruskin Pottery.

A LATE VICTORIAN SILVER TWIN HANDLED PORRIDGE BOWL AND STAND, of circular form, 'S' scroll handles, makers Edward Barnard & Sons Ltd, London 1897, approximate weight 8ozt, 250 grams, together with a George VI silver Old English pattern sauce ladle, Sheffield 1939, approximate weight 1.3ozt, 42 grams and an Edwardian silver twin handled pedestal dish, makers Harrison Brothers & Howson, Sheffield 1907, height 7.5cm, approximate weight 3ozt, 94 grams (4) (condition: pedestal dish has a crease along edge, porridge bowl has a dent towards the base, the stand has a crease in the centre as well as slight knocks to the rim)

Edwardian silver three piece tea set by Harrison Brothers and Howson, Sheffield 1901 approx 31oz Condition Report Click here for further images, condition, auction times & delivery costs

•PETER HOWSON OBE (SCOTTISH B. 1958) BOAT PEOPLE Conte on paper, signed and dated (19)85, 30 x 44cm (11 3/4 x 17 1/4") Glasgow Print Studio receipted invoice verso Condition Report: On inspection the paper appears light to moderately wavy with there being tiny, appearing loose, fragments located in the bottom left hand corner.

•PETER HOWSON OBE (SCOTTISH B. 1958) DANTE'S DREAM Oil on canvas, signed, 15 x 15cm (5 3/4 x 5 3/4") Inscribed with title, signed and dated '07 verso Condition Report: The pigment and canvas are in good condition with no issues apparent.

A PAIR OF VICTORIAN SILVER CANDLESTICKS by Harrison Brothers and Howson (Henry Harrison), Sheffield 1892, with removable drip pans, the columns with twin banding on concave square pedestal base with urns on stands and foliate embossing and gadrooned edge (weighted), 18cm high (2) Condition Report: Available upon request

Stroviols practice violin with aluminium horn, bearing the Stroviols trademark stamp; also an A.J. Howson Phono-Fiddle with brass horn, bearing the maker's trademark registered logo (2)