We found 5811 price guide item(s) matching your search

A Matched Pair of Silver Cafe au Lait Pots of 18th Century style, George Howson, Sheffield 1929/34, plain tapering form on circular foot, with foliate embellished spout, 19cm high, 28.8ozt (2)

HARRISON BROS & HOWSON LTD; an Elizabeth II hallmarked silver collared clear glass perfume bottle, Birmingham 1988, height 18cm, also a sauce boat with shaped rim, S Blankensee & Sons Ltd, Birmingham 1933, and a small oval dish, Viner's Ltd, Sheffield 1938, weighable silver 6.3ozt.

A group of Cheshire historical and topographical books including J.H. Cooke 'Ida or the Mystery of the Nun's Grave at Vale Royal Abbey, Cheshire' with illustrations (x2, larger and smaller), Warrington 1912 (the larger signed by the author and numbered 60/300), J.S. Howson 'The River Dee its Aspect and History', London 1875, 'Cheshire Leaders, Social and Political', Exeter 1896, E. Barber and P.H. Ditchfield (editors) 'Memorials of Old Cheshire', London 1910, 'An Act for Making the River Weaver Navigable, from Frodsham-Bridge to Winsford-Bridge in the County of Chester', London 1761, T.S. Willan 'The Navigation of the River Weaver in the 18th Century', Manchester 1951, etc. CONDITION REPORT: Varied states and conditions, please submit further requests in relation to specific items within the lot. We cannot guarantee that all illustrations/engravings/plates are present. The last mentioned book, The River Weaver, printed as part of Vol III third series of 'Remains Historical and Literary Connected with the Palatine Counties of Lancaster and Chester' with this frontispiece present. Provenance: The collection of Colin Lynch.

A group of Cheshire historical and topographical books and ephemera including D. & S. Lysons 'Topographical and Historical Account of Cheshire Illustrated with Thirty-Five Plates', London, W. Beamont 'An Account of the Town of Frodsham, in Cheshire', Warrington 1881, 'River Weaver Navigation Views of Docks, Bridges & Sea', Dundee 1884 (af), 'The River Dee its Aspect and History' with illustrations by J.S. Howson, 'History of Runcorn; With an Account of the Ancient Village of Weston' by C. Nixon, 'The Reports of the Commissioners [...] Concerning Charities in England and Wales, Relating to County of Chester', numerous volumes of 'The Cheshire Historian', land deed and plan relating to a school near the River Weaver etc. CONDITION REPORT: Varied states and conditions, please submit further requests in relation to specific items within the lot. We cannot guarantee that all illustrations/engravings/plates are present. Provenance: The collection of Colin Lynch.

AN OAK BOXED CARVING SET WITH KNIFE, FORK (MISSING GUARD), STEEL WITH SILVER MOUNTED "HORN" HANDLES BY ALPHA ?SHEFFIELD 1938 (HH) (HARRISON BROS AND HOWSON)

A late Victorian lobed and fluted silver tea caddy, Harry Wright Atkin, Sheffield 1895, with pull-off cap, the sides foliate embossed, 7.5cm wide, crested, a three piece Georgian style silver cruet set, R W Burbridge for Harrods, Birmingham 1937, with shell and gadroon borders and a silver egg cup, Harrison Brothers & Howson, Sheffield 1924, inscribed 'Royal Isle of Wight Golf Club', 8ozs weight combined (5).

A GEORGE V SILVER TEA SERVICE Davidge and Smyth crests, teapot 14cm h, by Harrison Brothers & Howson, Sheffield 1927, 26ozs (3)++Cream jug and sugar bowl very good, teapot also good but with slight wear

Pair Edwardian Adam style silver three branch candelabra, neo-classical decoration by Harrison Brothers & Howson, Sheffield 1904, H49cm (2) Condition Report Overall very good condition. One candlestick has been repaired at the base of the stem (slightly out of true), the other stick has a very small split in the same position. Minor knocks round the base of each stick. No dents, very good decoration, clear marks. weighable silver 94oz Click here for further images, condition, auction times & delivery costs

Old Phono-fiddle bearing the circular trademark plaque signed Howson, with brass horn, bow and music stand

A boxed set of Victorian sterling silver desert knives and forks with mother of pearl handles by Harrison Brothers & Howson, Sheffield, 1899, together with a set of five silver collared fish knives and forks.

A pair of classical revival silver candlesticks, Harrison Brothers and Howson, Sheffield 1905, 16 cm and a silver cup Adie Bros, Birmingham 1923, 8 cm diameter, (1 sconce missing). CONDITION REPORT: Both candlesticks are in general good order throughout. Each have minor knocks to the base but nothing too significant. One candlestick is missing its sconce and has small knocks to the sconce housing and is slightly uneven. The paterae decoration to each stem has a hole to the centre. Both appear to be free from any breaks or splits. The marks are clear to read on both.

A box set of 12 London silver handled butter knifes, The handle is in the shape of a pistol grip. Comes with a fitted box. Makers Harrison Brothers & Howson.

Harrison Brothers & Howson English Sheffield Sterling Silver Two Piece Fish Carving Set. Hallmarks to handle and bowl. Knife measures 12-7/8" L, fork measures 10" L. Approx. weight: 9.93 troy ounces. Domestic Shipping: $42.00

* PETER HOWSON OBE (SCOTTISH), REDEMPTION mixed media, signed and dated 2012 30cm x 22cm Mounted, framed and under glass

A SET OF SIX EDWARDIAN SILVER NAPKIN RINGS, with gadrooned borders, by Harrison Brothers & Howson, Sheffield 1906, in fitted case, and an eastern white metal cylindrical spice box, with sliding opening and engraved decoration (7)

A SILVER TEAPOT of rounded rectangular form, with ebonised handle and knop by George Howson, Sheffield 1929, 14cm high, 23 oz all in

A GEORGE V SILVER COFFEE POT, George Howson, Sheffield 1929, of baluster form. 25cm high, gross 25.8 oz

* PETER HOWSON OBE, HENRIK LARSSON, IN CELTIC FC STRIP pastel on paper, signed and dated 2004 46cm x 60cm Mounted, framed and under glass Note: This pastel was the preparatory drawing for Peter Howson's "Larsson" painting which sold at a Glasgow Charity Dinner in 2004 for £40,000. The artist donated this pastel to the Sunday Mail who used it in a competition to raise further funds for charity. The current vendor won the competition and this unique picture. Copies of the competition details and the Sunday Mail winners notification letter are available to the purchaser.

* PETER HOWSON OBE, MEXICAN PAINTING mixed media on paper, signed, dated '81 and inscribed "Mexican Painting, ovosco - sculpture, No Unwanted Detail" 41cm x 28cm Mounted, framed and under glass

[§] STEVEN CAMPBELL (SCOTTISH 1953-2007) YOUNG CAMPER DISCOVERING GROTTO IN THE GROUND Oil on canvas 284.5cm x 284.5cm (112in x 112in) Provenance: Asher Faure Gallery, Los Angeles; Purchased by Boake and Marian Sells Exhibited: Solo Exhibition, Barbara Toll Fine Arts, New York, 1983; Artificial Paradise, Asher Faure Gallery, Los Angeles, 1986; British Art: The Literate Link, Asher Faure Gallery, Los Angeles, 1988Steven 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.Young Camper Discovering Grotto in The Ground is a major work representative of this period. It appeared in a solo show held at the Barbara Toll Gallery in 1983. Within days of the show, the doyen of the New York art critics, John Russell, fully endorsed the painterly qualities of a young, unknown Scottish artist in his New York Times review. From here it was purchased by significant US contemporary art collectors, Boake and Marian Sells.Campbell had further 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’s brightly coloured acrylic painting, Rising and Friend, painted in 1994 depicts two figures in blue and red shirts, who seem to float weightlessly within an abstract yellow, purple and green matrix. A figure floats inanimately in the background, his arm limply extended, pupils dilated and a shadow cast across his tilted head while the figure in the foreground confronts the viewer face on with a glassy green eyed stare, the hypnotic effect of which is intensified by the closely cropped composition. The tilted perspective is a common feature of Campbell’s compositions and reinforces the perplexity of the narrative as the figures seem to float across the space in a fantasy world which is exempt from the earthly limitations of gravity.This large-scale ink painting, Untitled (Explorers in a Boat), is a piece from the installation On Form and Fiction which was originally exhibited in 1990 at the Third Eye Gallery, Glasgow (now the Centre for Contemporary Art). The other collective remnants of which were part of the major exhibition GENERATION which celebrated 25 years of Contemporary Art in Scotland reflecting the seminal role Campbell played in the success of the movement.Campbell saw himself as a ‘director, writer and producer’ of these other-worldly scenes and he often repeated the figures in multiple artworks as if they were a cast of actors. The ink painting depicts two figures in a white sailboat struggling to navigate a stormy sea and is typical of the theatrical narratives which Campbell is renowned for. Campbell’s expressive mark making accentuates the drama of the scene as the tempest engulfs the stark white sail giving the painting a captivating kinetic energy and emphasising the peril of the sailors.

[§] STEVEN CAMPBELL (SCOTTISH 1953-2007) RISING AND FRIEND Signed and dated 'Dec' 1994' gallery label verso, acrylic on paper 29cm x 20cm (11.5in x 8in) Exhibited: William Hardie Gallery, GlasgowSteven 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.Young Camper Discovering Grotto in The Ground is a major work representative of this period. It appeared in a solo show held at the Barbara Toll Gallery in 1983. Within days of the show, the doyen of the New York art critics, John Russell, fully endorsed the painterly qualities of a young, unknown Scottish artist in his New York Times review. From here it was purchased by significant US contemporary art collectors, Boake and Marian Sells.Campbell had further 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’s brightly coloured acrylic painting, Rising and Friend, painted in 1994 depicts two figures in blue and red shirts, who seem to float weightlessly within an abstract yellow, purple and green matrix. A figure floats inanimately in the background, his arm limply extended, pupils dilated and a shadow cast across his tilted head while the figure in the foreground confronts the viewer face on with a glassy green eyed stare, the hypnotic effect of which is intensified by the closely cropped composition. The tilted perspective is a common feature of Campbell’s compositions and reinforces the perplexity of the narrative as the figures seem to float across the space in a fantasy world which is exempt from the earthly limitations of gravity.This large-scale ink painting, Untitled (Explorers in a Boat), is a piece from the installation On Form and Fiction which was originally exhibited in 1990 at the Third Eye Gallery, Glasgow (now the Centre for Contemporary Art). The other collective remnants of which were part of the major exhibition GENERATION which celebrated 25 years of Contemporary Art in Scotland reflecting the seminal role Campbell played in the success of the movement.Campbell saw himself as a ‘director, writer and producer’ of these other-worldly scenes and he often repeated the figures in multiple artworks as if they were a cast of actors. The ink painting depicts two figures in a white sailboat struggling to navigate a stormy sea and is typical of the theatrical narratives which Campbell is renowned for. Campbell’s expressive mark making accentuates the drama of the scene as the tempest engulfs the stark white sail giving the painting a captivating kinetic energy and emphasising the peril of the sailors.

[§] PETER HOWSON (SCOTTISH B.1958) ELIA Signed, pastel 30cm x 23cm (11.75in x 9in) Exhibited: Roger Bilcliffe Gallery, Glasgow, September 1995

[§] PETER HOWSON (SCOTTISH B.1958) THE BLACK SQUAD Signed and dated '86, pastel 44cm x 30cm (17.25in x 11.75in) Exhibited: William Hardie Gallery, Glasgow

[§] PETER HOWSON (SCOTTISH B.1958) THE STAG From 'A Scottish Bestiary' by George Mackay Brown, signed and dated '86, from an edition of 50, lithograph 55cm x 36cm (21.5in x 14in) Exhibited: William Hardie Gallery, Glasgow

[§] ALISON WATT O.B.E. (SCOTTISH B.1965) PLANTERS Signed, Glasgow School of Art label verso, oil on canvas 107cm x 138.5cm (42in x 54.5in) Provenance: Alison Watt's degree show at the Glasgow School of Art, 1988, where purchased by the current ownerALISON WATTWe are delighted to present a degree show work by renowned contemporary Scottish artist, Alison Watt, in this auction. Planters dates from 1986, the year before Watt graduated from the Glasgow School of Art, and, in a striking demonstration of her precocious talent, also the same year she won the prestigious John Player Portrait Prize (now the BP Portrait Prize). As a result, she was commissioned to paint the portrait of the Queen Mother, and the charming resulting work entered the collection of the National Gallery in London in 1989. Since her graduation Watt has had a high-profile and illustrious career, with solo exhibitions at the Fruitmarket Gallery, Edinburgh, and the Scottish National Gallery of Modern Art. She was the youngest ever Associate Artist of the National Gallery in London from 2006-2008 and received an O.B.E. in the 2008 New Year Honours. In the period immediately after her graduation, in the late 1980s and early 1990s, Watt was particularly known for her figurative work, particularly female nudes. At this point, the art world’s attention had been captured by a return to a preoccupation with the figurative through the bold, brash work of the New Glasgow Boys; a loose association of artists trained in the Glasgow School of Art throughout the 1980s, including Peter Howson, Adrian Wiszniewski, Steven Campbell, Ken Currie and Stephen Conroy. Watt was a contemporary of theirs, and was enmeshed in this community and moment, though she was working in a softer palette and with a stronger commitment to classical references.Planters dates from this period and in one striking, early work, sums up many of Watt’s artistic pre-occupations. The title itself is laden with meaning, referring as it does to both the figures and the central pot, and suggesting themes of new beginnings, growth, fertility, ritual and nourishment. The deep palette of browns, with beautifully toned blues and greens adding depth, shows her commitment to exploring subtle tonalities – as her career has progressed this has remained an on-going concern as she has moved through periods of working in greys and ultimately a lengthy exploration of white. There is a substance and directness to Planters; both figures, which bear a resemblance to the artist but aren’t quite a self-portrait, look out at us, while the paintings beyond, particularly the one showing an extending road, draw us deeper in.  The portrait featured is in fact a self-portrait by Stephen Conroy, fellow art student, New Glasgow Boy and Watt’s boyfriend at the time.From the outset, Watt’s work has had a quiet power and lashings of symbolism but as her career has progressed she has moved away from figuration and portraiture. In her solo exhibition in 1997, she began introducing fabric as a subject in her work, and by her exhibition in 2000, she had given over to fabric entirely, showing twelve large canvas of swathes of fabric, the figure now only present in its lingering absence, and the suggestive imprints and textures it has left behind. Watt has continued in this vein for the last 18 years, finding endless inspiration and challenge in this captivating and elusive subject.The auction of Planters is a wonderful opportunity to see and potentially own a work by this artist from an important moment in her career, where she was just getting started, but her vision and talent was already beautifully established and whole.

[§] ALISON WATT O.B.E., F.R.S.E., R.S.A. (SCOTTISH B.1965) STILL Signed verso, oil on card, with accompanying copies of two Alison Watt publications by the Ingleby Gallery, produced in a limited edition of 20 and presented in the set's original cloth bound box 16cm x 16cm (6.25in x 6.25in)ALISON WATTWe are delighted to present a degree show work by renowned contemporary Scottish artist, Alison Watt, in this auction. Planters dates from 1986, the year before Watt graduated from the Glasgow School of Art, and, in a striking demonstration of her precocious talent, also the same year she won the prestigious John Player Portrait Prize (now the BP Portrait Prize). As a result, she was commissioned to paint the portrait of the Queen Mother, and the charming resulting work entered the collection of the National Gallery in London in 1989. Since her graduation Watt has had a high-profile and illustrious career, with solo exhibitions at the Fruitmarket Gallery, Edinburgh, and the Scottish National Gallery of Modern Art. She was the youngest ever Associate Artist of the National Gallery in London from 2006-2008 and received an O.B.E. in the 2008 New Year Honours. In the period immediately after her graduation, in the late 1980s and early 1990s, Watt was particularly known for her figurative work, particularly female nudes. At this point, the art world’s attention had been captured by a return to a preoccupation with the figurative through the bold, brash work of the New Glasgow Boys; a loose association of artists trained in the Glasgow School of Art throughout the 1980s, including Peter Howson, Adrian Wiszniewski, Steven Campbell, Ken Currie and Stephen Conroy. Watt was a contemporary of theirs, and was enmeshed in this community and moment, though she was working in a softer palette and with a stronger commitment to classical references.Planters dates from this period and in one striking, early work, sums up many of Watt’s artistic pre-occupations. The title itself is laden with meaning, referring as it does to both the figures and the central pot, and suggesting themes of new beginnings, growth, fertility, ritual and nourishment. The deep palette of browns, with beautifully toned blues and greens adding depth, shows her commitment to exploring subtle tonalities – as her career has progressed this has remained an on-going concern as she has moved through periods of working in greys and ultimately a lengthy exploration of white. There is a substance and directness to Planters; both figures, which bear a resemblance to the artist but aren’t quite a self-portrait, look out at us, while the paintings beyond, particularly the one showing an extending road, draw us deeper in.  The portrait featured is in fact a self-portrait by Stephen Conroy, fellow art student, New Glasgow Boy and Watt’s boyfriend at the time.From the outset, Watt’s work has had a quiet power and lashings of symbolism but as her career has progressed she has moved away from figuration and portraiture. In her solo exhibition in 1997, she began introducing fabric as a subject in her work, and by her exhibition in 2000, she had given over to fabric entirely, showing twelve large canvas of swathes of fabric, the figure now only present in its lingering absence, and the suggestive imprints and textures it has left behind. Watt has continued in this vein for the last 18 years, finding endless inspiration and challenge in this captivating and elusive subject.The auction of Planters is a wonderful opportunity to see and potentially own a work by this artist from an important moment in her career, where she was just getting started, but her vision and talent was already beautifully established and whole.

George VI silver cream jug, Sheffield 1938 makers Harrison Brothers and Howson, 265g also an electroplated teapot.

George VI silver sugar bowl and cream jug with feathered rim, Sheffield 1946, makers Harrison Brothers and Howson, 417g.

A late 19th century Ruskin vase of squat form with green mottled glaze, impressed Taylor for W Howson Taylor CONDITION REPORTWear, damage and posssible repair to foot rim as images showFiring crack to neck interior as image showsPaint wear to neck rimTwo small firing blips to glaze as images showColour pattern consistantSee images of base 

A oak cased canteen of silver plated cutlery, twelve place settings, including knives, forks, teaspoons, dessert spoons, soup spoons, gravy spoon, ladle, two smaller sauce ladles, sugar tongs and carvers, knife blades marked Harrison Bros and Howson, Cutlers to His Majesty, several pieces missing, 99 pieces, canteen 32 by 44.5 by 22.5cm. (100)

A set of eleven silver dessert spoons, George Howson, Sheffield 1906, engraved with twin crests and the motto scroll ''Labore et Honore'', possibly for Pemberton, 11.4ozt

A Victorian Aesthetic Movement silver square scent bottle, engraved in the Japanesque taste with a bird amongst blossoming branches, to verso with a butterfly, hinged cover enclosing a stopper, 5.5cm long, Harrison Brothers & Howson, London 1885

An Oil Painting of a muscular man, in the style of Peter Howson

A small Ruskin Pottery vase of compressed ovoid form with a blue to yellow crystalline glaze, incised Howson Taylor, impressed marks and dated 1931, height 10cm.

A Ruskin Pottery twin handled brown and sage crystalline vase,1933. Impressed marks and W. Howson-Taylor. Height 17cm.

AFTER PETER HOWSON OBE A MAN WITH HIS DOG photographic print 60cm x 40cm Mounted, framed and under glass

AFTER PETER HOWSON OBE THREE MINERS photographic print 60cm x 44cm Mounted, framed and under glass

AFTER PETER HOWSON OBE MINER'S STRIKE photographic print 60cm x 44cm Mounted, framed and under glass

AFTER PETER HOWSON OBE, MINERS photographic print 60cm x 44cm Mounted, framed and under glass

AFTER PETER HOWSON OBE PORTRAIT OF MADONNA photographic print 70cm x 50cm Framed and under glass

AFTER PETER HOWSON OBE TIGER photographic print 52cm x 70cm Framed and under glass

A RUSKIN POTTERY HIGH-FIRED STONEWARE VASE BY WILLIAM HOWSON TAYLOR, having turned flared rim neck, on waisted squat body, sang de boeuf glaze with splashes of lavender and turquoise, impressed marks to base include "Ruskin" and "England", 26cm high

Leeds United Signed Prints includes players such as Vinnie Jones, Tony Yeboah, Matt Gradel, Johnny Howson and Davide Somma, all measure approx. 30x42cm approx. (5)

A Victorian silver plated dessert set by Harrison Brothers & Howson, comprising three serving spoons, two pairs of nut crackers and a pair of grape scissors, cased, (fitted case af).

EDWARD VII SILVER CAFE AU LAIT SETmaker Harrison Brothers & Howson, London 1908, comprising coffee pot and hot milk jug, both of footed elongated form, with beaded borders and ebonised scroll handles, the milk jug 18cm high; along with a George VI silver creamer, 655g gross (3)

A good silver plated pint tankard by Harrison Brothers and Howson of Sheffield commemorating Queen Elizabeth coronation

A Tiffany & Co money clip stamped '925', to/w a silver example, Harrison Brothers & Howson, Birmingham 1985 (2) 

A heavy quality silver set of six Hanoverian rat-tail soup spoons, to/w six matching sundae spoons and a sauce ladle, Harrison Brothers & Howson, Sheffield 1924/26 (13), 26.9 oz

A set of six each fish knives and forks and the servers, with silver blades and loaded silver handles, Harrison Bros. & Howson, Sheffield 1924, 27 oz gross weight

A large silver rose bowl with twin scroll handles on stemmed foot, Harrison Brothers & Howson, Sheffield 1926, 37.3 oz, 26.5 oz diameter; to/w a turned teak plinth with unmarked band

A cased Edwardian silver & mother of pearl cake knife Harrison Bros & Howson, Sheffield, 1908, together with a pair of berry spoons. (3)

AFTER PETER HOWSON, DEATH OF MADONNA canvas print, certificate of authenticity included verso 60cm x 42cm, unframed

RUSKIN - STYLE VASE, a flambe glazed garlic neck 9" vase, stamped "31" and signed "Howson, 1911"

Two sets of golf clubs including Donnay, Howson, Fazer, Malibu etc in two bags

Cased set of six piece setting fish set, solid silver, Sheffield 1934, by Harrison Brothers Howson, retailed by Elkington & Co, with cased silver plated fish servers

* PETER HOWSON OBE,ESSEX ROADetching, titled, numbered 5/25, signed and dated 98 in pencil31cm x 25cm Mounted, framed and under glass.

* PETER HOWSON OBE,"GEORGE, A PORTRAIT STUDY OF MY GRANDFATHER"pen on paper, signed and dated '0920cm x 14cmMounted, framed and under glass.Provenance: Acquired by the vendor 20.10.2009 at McTear's for a hammer price of £600.

An Oil Painting of a muscular man, in the style of Peter Howson

12 piece set of silver dessert knives and forks , filled silver handles chased with foliate and scrollwork, knives 21cm long, forks 17cm long, marks for Harrison Brothers & Howson, Sheffield, 1873.

Hallmarked silver fruit knife - Sheffield 1900 poss by Harrison Brothers & Howson (George Howson). With mother of pearl handle with inset shield.