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Lot 36
A SILVER SHAPED CIRCULAR SALVER HARRISON BROTHERS & HOWSON, SHEFFIELD 1946 With a raised moulded border and on four scroll feet 26cm diameter 590g (19 oz) Condition Report: Marks are well struck No engraving Very slight wobble Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 38
A SILVER BARREL SHAPED HOT WATER JUG HARRISON BROTHERS & HOWSON, SHEFFIELD 1963 With an orb finial to the slightly domed cover and a wooden loop handle 17.5cm high 535g (17.2 oz) gross Condition Report: Marks are clear Stands well Slight play to the hinge Handle is tight No engraving Light scratches and wear commensurate with age and use Condition Report Disclaimer
Lot 223
A COLLECTION OF SILVER FLATWARE To include: five George III feather edge pattern dessert forks by Paul Storr, London 1811, 17cm long; a pair of George III feather edge pattern sauce ladles by Richard Crossley, London 1813, 17.5cm long; a Victorian pistol grip table knife by Harrison Brothers & Howson (Henry Harrison), Sheffield 1892, 22cm long; a pair of electro-plated fiddle pattern sugar tongs; an electro-plated Old English pattern sauce ladle; and other silver items of flatware 808g (26 oz) gross weighable Condition Report: There is no condition report available for this lot and is sold as found Condition Report Disclaimer
Lot 118
A COLLECTION OF SILVER KNIVES AND FORKS To include: three silver forks by Harrison Brothers & Howson, Sheffield 1957, 19cm long; two similar forks, the handles by Harrison Brothers & Howson, Sheffield 1956, the tines by Garrard & Co. Ltd., Sheffield 1956, 19cm long; five fish knives, the handles by Harrison Brothers & Howson, Sheffield 1955, the blades by Garrard & Co. Ltd., Sheffield 1955, 22cm long; five dessert knives by Harrison Brothers & Howson, Sheffield 1952 (3) and 1954 (2), with stainless steel blades, 24cm long; and an electro-plated table knife, 24.5cm long Condition Report: There is no condition report available for this lot and is sold as found Fish knives and forks - 581g (18.7 oz), marks generally clear Condition Report Disclaimer
Lot 183
A 19th century copper kettle and cover, c.1850; a brass trivet; copper jugs; Hughes Family scales; Dunn and Co trilby; James Buchanan Black and White Choice old Scotch whisky, 1.875 litres with built in pourer; Horse Brass - three leathers martingale straps, each with four brasses, hearts, stars; a Howson Phono-Fiddle, registration number 28799 (no horn); stoneware flagon; another, Knee Cracker cider, full; E Holmes Brook Brewery, Sheffield bottle; footwarmers; Guinness card bar advert; etc
Lot 50
oil on canvas, signed and dated '10 framed image size 60cm x 44cm, overall size 80cm x 65cm Note: ‘Woods creates work based on humankind’s experiences and interactions in the world through imaginative compositions. Nature and history are recurring themes, whilst current events in the world also have an underlying presence. Predominantly a fine art painter, his time spent working as a paint sprayer has pushed the work towards making woodcarvings that receive a metallic paint finish to give the effect of the carving being made of a precious metal. His time spent working as a gardener has created a rich tableaux of subject matter and characters to call upon when creating these elaborate works. Exhibitions of both Solo and Group shows have occurred across the UK and abroad since his graduation from The University of Gloucestershire in 2008. Exhibiting alongside Scottish artists including Peter Howson, Steven Campbell and John Bellany have been a highlight.’
Lot 18
oil on canvas, signed, titled and dated Jan '07/Dec '08 verso unframed overall size 115cm x 128cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Lot 216
charcoal on paper, signed mounted, framed and under glass image size 28cm x 19cm, overall size 42cm x 35cm Note: the major retrospective “When the Apple Ripens: Peter Howson at 65" of the work of the artist at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh (27th May - 1st October 2023) brought together over 100 major works from his early years until the present time. The staging of this exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
Lot 26
pastel on paper, signed framed and under glass image size 82cm x 58cm, overall size 115cm x 90cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Lot 45
oil on canvas, signed and dated '10 framed image size 60cm x 44cm, overall size 80cm x 65cm Note: ‘Woods creates work based on humankind’s experiences and interactions in the world through imaginative compositions. Nature and history are recurring themes, whilst current events in the world also have an underlying presence. Predominantly a fine art painter, his time spent working as a paint sprayer has pushed the work towards making woodcarvings that receive a metallic paint finish to give the effect of the carving being made of a precious metal. His time spent working as a gardener has created a rich tableaux of subject matter and characters to call upon when creating these elaborate works. Exhibitions of both Solo and Group shows have occurred across the UK and abroad since his graduation from The University of Gloucestershire in 2008. Exhibiting alongside Scottish artists including Peter Howson, Steven Campbell and John Bellany have been a highlight.’
Lot 120
A 1920s silver champagne coupe. Elkington & Co.,Birmingham, 1926. The plain, circular cup raised on a slender stem to a spreading, circular foot, 11.6cm high, together with a slightly later example, Sheffield, 1932, Harrison Brothers & Howson, 11.4cm high, total weight approx. 8.9ozt (2) Condition Report: The coupes are in good overall condition commensurate with age. Some general surface scratching and nicking to both. The foot of one is pushing in slightly. Both with some dings and bruising to rims which have left them slightly out of round. Harrison Bros. example slightly wobbly on foot. Some tarnish and dark marking to both. Further images available to download via this link: https://we.tl/t-QmkeZKV84o
Lot 56
VICTORIAN SILVER CHRISTENING MUG with floral and scroll embossed decoration, Harrison Brothers & Howson, Sheffield 1894, 6.5cms (h); George V silver purse with engine turned decoration, monogrammed 'R.W.' and dated 4th June 1919 in cartouche, leather lined interior, chain and suspension ring, Trevitt & Sons, Chester 1917; Victorian silver mustard pot with hinged cover and blue glass liner, London 1890; small plated chamber stick and sugar nipsProvenance: private collection Conwy
Lot 491
A PAIR OF GEORGE V SILVER CIRCULAR SALTSby George Howson, Sheffield 1927, of 18th century style, with gadroon rims and hoof feet, associated liners and spoons; together with an Edward VII Art Nouveau style silver mustard pot, Birmingham 1904, 6cm high, with liner and spoon; and an Edward VII silver sauce boat, London 1911, 13 tr. ozs combined (4)
Lot 104
RUSKIN POTTERY HIGH-FIRED VASE, 1924 impressed RUSKIN ENGLAND 1924, flambé ox-blood and purple glaze, stoneware 27.5cm high (10 7/8in high) Kingham & Orme 3-6 December 2020, lot 1022 What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 100
RUSKIN POTTERY HIGH-FIRED VASE, 1922 impressed RUSKIN MADE IN ENGLAND 1922, ox-blood glaze, stoneware 20.5cm high (8 1/16in high) Kingham & Orme, 3-6 December 2020, lot 1029 What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 94
RUSKIN POTTERY HIGH-FIRED VASE, 1910 impressed RUKSIN POTTERY 1910, flambé sang de boeuf glaze, stoneware 24.5cm high (9 5/8in high) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 232
RUSKIN POTTERY SIX GINGER JARS AND COVERS, 1913-1925 impressed RUSKIN ENGLAND and dates 1925, 1913, 1920, 1921, 1922 and 1922 respectively, lustre glazed stoneware (12) 21cm high (8 ¼in high) and smaller What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 111
RUSKIN POTTERY FIVE VASES, EARLY 20TH CENTURY each with impressed factory marks, to include; a LARGE LUSTRE VASE, dated 1924, 25.3cm high (10in high); a SHOULDERED VASE, with floral decoration, dated 1906, 19.6cm high (7¾in high); a BLUE LUSTRE VASE, circa 1920, 15.7cm high (6¼in) high; a PINK LUSTRE VASE, dated 1922, 16cm high (6¼in high); a BALUSTER VASE, dated 1906, 14.5cm high (5¾in high), lustre-glazed stoneware (5) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 115
RUSKIN POTTERY THREE VASES, CIRCA 1920 each stamped with manufacturer's marks, the taller green vase stamped 1922, glazed earthenware (3) 28cm high, 24cm high and 24cm high (11in high, 9 ½in high and 9 ½in high) The taller green vase Ex-W. Howson Taylor Collection. What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 114
RUSKIN POTTERY HIGH-FIRED BALUSTER VASE, 1906 impressed RUSKIN POTTERY WEST SMETHWICK 1906, lavender glaze, stoneware 18cm high (7 1/16in high) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 234
RUSKIN POTTERY THREE VASES, CIRCA 1920 each with impressed marker's marks, to include; a YELLOW TWIN HANDLED VASE, 25cm high (9 ¾in high) ; a WHITE TWIN HANDLED VASE, dated 1927, 25.5cm high (10in high); a BULBOUS CRYSTALLINE GLAZED VASE, 20.4cm high (8in high), stoneware (3) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 97
RUSKIN POTTERY HIGH-FIRED VASE, 1916 impressed RUKSIN ENGLAND 1916, ox-blood and lavender glaze, stoneware 20.3cm high (8in high) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 98
RUSKIN POTTERY VASE, 1932 impressed RUSKIN ENGLAND 1932, crystalline glaze, stoneware 14cm high (5 ½in high) William Howson Taylor Collection; Ferneyhough Collection, no. 464Victoria and Albert Museum Exhibition of Ruskin Pottery, 1975, no. 68Birmingham Museum and Art Gallery no.116Richard Dennis Collection, Kinghams, 21 June 2021, lot 21 What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 93
RUSKIN POTTERY HIGH-FIRED VASE, 1906 printed RUKSIN POTTERY WEST (..obscured) 1906, streaked flambé glaze, with speckling, stoneware 18cm high (7 1/16in high) Anthony Cross Collection, Kinghams, 2021, lot 47 What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 95
RUSKIN POTTERY HIGH-FIRED VASE, 1933 impressed RUSKIN ENGLAND 1933, flambé ox-blood glaze with green speckling, stoneware 21cm high (8 ¼in high) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 108
RUSKIN POTTERY BOWL AND ASSOCIATED STAND, 1920s bowl impressed RUSKIN ENGLAND 1924, stand impressed RUSKIN ENGLAND, flambé glaze, stoneware(2) bowl 11cm high, 21.8cm diameter (4 3/8in high, 8 5/8in diameter)stand 6cm high, 15.2cm diameter (2 3/8in high, 6in diameter) What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 107
RUSKIN POTTERY HIGH-FIRED TWIN-HANDLED VASE, 1933 impressed RUSKIN ENGLAND 1933, flambé ox-blood and lavender glaze with green speckling, stoneware 23.5cm high (9 ¼in high) Woolley & Wallis, 3 December 2014, lot 169 What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 99
RUSKIN POTTERY HIGH-FIRED VASE, 1920s impressed RUSKIN ENGLAND, flambé and grey glaze, stoneware 20cm high (7 7/8in high) Anthony Cross Collection, Kinghams, 11 June 2021, lot 49 What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 103
RUSKIN POTTERY HIGH-FIRED VASE, 1906 impressed RUSKIN POTTERY WEST SMETHWICK 1906, grey, deep purple and blue streaked glaze, stoneware 18.5cm high (7 ¼in high) Richard Dennis Collection, Kinghams, 2021, lot 28 What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 96
RUSKIN POTTERY HIGH FIRED VASE, 1933 impressed RUSKIN ENGLAND 1933, ox-blood glaze, with green speckling, stoneware 10.5cm high (4 1/8in high) Richard Dennis Collection, Kinghams, 17 April 2021, lot 23 What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 101
RUSKIN POTTERY HIGH-FIRED VASE, 1924 impressed RUSKIN ENGLAND 1924, flambé glaze, stoneware 22cm high (8 5/8in high) Kinghams, 5 December 2020, lot 1026 What distinguishes Ruskin Pottery even today is the glazes – crystalline, lustre and sang de boeuf (or high-fired flambé). The latter was created using copper and iron oxides. Founded by Edward R. Taylor in 1898, the studio pottery was then continued by his son William Howson Taylor (1876-1935). It was located in Smethwick in Staffordshire. Historically it can be viewed as part of a revival of interest in ceramics in Europe inspired by Chinese glazes and oriental forms. Potters sought to create new glaze effects. From about 1903 William Howson Taylor developed a range of glazes in particular flambé and for the next thirty years he continued to experiment. The works he conceived can be compared to those of Chapelet, Delaherche and Dalypayrat in France. As no one glaze can be repeated each piece produced in the pottery can be regarded as unique.At its peak the pottery had twenty employees, five lustre kilns and one high-firing kiln. In 1933 the pottery closed.
Lot 28
A collection of silver items a set of six silver teaspoons, by Atkin Brothers, in a fitted case, a combination lipstick and mirror, of square section, stamped .800, with a hardstone thumbpiece, 5.5cm long, a silver vinaigrette, 3.2cm wide, a silver napkin ring, a silver Yard-o-Led propelling pencil, a silver mounted penknife, by Harrison Brothers & Howson, with an integral measuring rule, 9.5cm long, another, and a case silver sewing set, weighable 2.6ozt (8)Condition ReportUsed and with wear.
Lot 703
A Victorian Doulton Lambeth stoneware jug, commemorating Queen Victoria's Golden Jubilee having a silver mounted rim, Victoria's crowned monogram flanked by the flowers of the realm, comprising the English rose, Scottish thistle and Irish shamrock, marks for Sheffield 1887, maker Harrison Brothers & Howson, 18.5cm
Lot 224
* PETER HOWSON OBE (SCOTTISH b. 1958), MUSLIM WOMEN ink on paper, signed and titled mounted, framed and under image size 20cm x 15cm, overall size 45cm x 38cm Label verso: Flowers East, London.Note: the major retrospective “When the Apple Ripens: Peter Howson at 65" of the work of the artist at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh (27th May - 1st October 2023) brought together over 100 major works from his early years until the present time. The staging of this exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
Lot 192
* PETER HOWSON OBE (SCOTTISH b. 1958), FALLEN FROM GRACE pastel on paper, signedmounted, framed and under glassimage size 29cm x 21cm, overall size 61cm x 50cm Note: the major retrospective “When the Apple Ripens: Peter Howson at 65" of the work of the artist at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh (27th May - 1st October 2023) brought together over 100 major works from his early years until the present time. The staging of this exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
Lot 100
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), THE GARDENER II oil on canvas, initialled, dated MM XIV, titled label versounframedoverall size 108cm x 77cm Label verso: Open Eye Gallery, Edinburgh.Note: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo..
Lot 214
* PETER HOWSON OBE (SCOTTISH b. 1958), NUDE STUDY pencil on paper, signedmounted, framed and under glassimage size 19cm x 14cm, overall size 32cm x 28cm Note: the major retrospective “When the Apple Ripens: Peter Howson at 65" of the work of the artist at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh (27th May - 1st October 2023) brought together over 100 major works from his early years until the present time. The staging of this exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
Lot 198
* PETER HOWSON OBE (SCOTTISH b. 1958), BRITISH V. N. pencil on paper, signed, titled and dated 1994 label versomounted, framed and under glass image size 30cm x 21cm, overall size 55cm x 44cm Label verso: Flowers East, London.Note: the major retrospective “When the Apple Ripens: Peter Howson at 65" of the work of the artist at the City Arts Centre, Edinburgh and organised by Museums & Galleries Edinburgh (27th May - 1st October 2023) brought together over 100 major works from his early years until the present time. The staging of this exhibition during (and beyond) the Edinburgh International Festival reflects the well documented and longstanding international interest in Peter Howson's work.
Lot 33
* ALLY THOMPSON (SCOTTISH 1955 - 2016), VISCERAL FORM pastel and conte on paper, signed, titled and dated 2011 versoframed and under glassimage size 85cm x 60cm, overall size 114cm x 89cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Lot 43
* ALLY THOMPSON (SCOTTISH 1955 - 2016), THE IMMOVABLE SAILOR mixed media collage on board, signed, titled and dated 2010 versoframed and under glassimage size 17cm x 15cm, overall size 51cm x 49cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Lot 23
* ALLY THOMPSON (SCOTTISH 1955 - 2016) THE ANGER OF THE GREEN-WINGED ANGEL pastel and conte on paper, signed, titled and dated 2011 versoframed and under glassimage size 88cm x 64cm, overall size 114cm x 89cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Lot 18
* ALLY THOMPSON (SCOTTISH 1955 - 2016), SAINT ANTHONY BORNE ALOFT BY THE HARPY QUEEN oil on canvas, signed, titled and dated Jan '07/Dec '08 versounframedoverall size 115cm x 128cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
Lot 28
* ALLY THOMPSON (SCOTTISH 1955 - 2016), IN THE SPOTLIGHT pastel on paper, signedframed and under glassimage size82cm x 58cm, overall size 115cm x 91cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
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