* 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.
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* 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.
* 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), KES sanguine on paper, signed and datedmounted, framed and under glassimage size 24cm x 16cm, overall size 42cm x 34cm 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.
* RICHARD WOODS (BRITISH b. 1986), THE PLUG oil on canvas, signed and dated '10framedimage 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.’
* PETER HOWSON OBE (SCOTTISH b. 1958), JOHN LENNON charcoal on paper, signedmounted, framed and under glassimage 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.
* RICHARD WOODS (BRITISH b. 1986), THE HUNTSMAN oil on canvas, signed and dated '10framedimage 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.’
* ALLY THOMPSON (SCOTTISH 1955 - 2016), MINOTAUR BY THE SEA charcoal and conte on paper, signed, titled and dated 2011 versomounted, framed and under glassimage size 74cm x 54cm, overall size 118cm x 98cm 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), OLD WOMAN pencil on paper, signed, titled and dated 1994 label versomounted, framed and under glassimage size 30cm x 21cm, overall size 54cm 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), THUGS pastel on paper, signedmounted, framed and under glassimage size 29cm x 22cm, overall size 59cm x 48cm 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), MADONNA pastel on paper, signedmounted, framed and under glassimage size 45cm x 58cm, overall size 85cm x 97cmNote: 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.
* RICHARD WOODS (BRITISH b. 1986), ONE MAN'S TRASH oil on canvas, signedframedimage size 51cm x 41cm, overall size 70cm x 60cm 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.’
* PETER HOWSON OBE (SCOTTISH b. 1958), THE FIGHTER oil on canvas, signedframedimage size 26cm x 31cm, overall size 41cm x 45cmNote: 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), BON BON ALLEY - CHILDREN charcoal on paper, signed, titled and dated 1994 versomounted, framed and under glass image size 42cm x 30cm, overall size 69cm x 56cm 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.
JOHN JOHNSTONE SSA (SCOTTISH b. 1941), PETER HOWSON FACES ONE OF HIS PEOPLE mixed media on board, signed, titled label versoframed image size 91cm x 81cm, overall size 98cm x 88cm Handwritten artist's label versoNote 1: a copy of the 72 page hardback book "John Johnstone" published in 2005 with a foreword by Edward Lucie-Smith is included in this lotNote 2: John Johnstone is one of Scotland’s leading artists working in a figurative style. He was born in Forfar in 1941. He studied at Duncan of Jordanstone College of Art from 1959 to 1964 under David McClure and Alberto Morrocco. He later returned to teach life drawing classes to a new generation of artists who have gone on to forge their own successful careers. He is a regular exhibitor at the Royal Scottish Academy and the Scottish Society of Artists and is a professional member of the Scottish Society of Artists and Scottish Visual Arts. “My paintings seem to be expressing something, either serious or amusing about life. They depict people acting out minor dramas. Gesture, composition, characterisation and setting are important. There is an element of gravity in them, but the humorous side probably eclipses that aspect.” Art historian Edward Lucie-Smith wrote: “John Johnstone is a unique artist – in the special sense that he has no problem in being original. His only problem is keeping that originality within bounds.” John has works in public and private collections at home and aboard including HRH the Duke of Edinburgh, The Carnegie Trust Art Collection, Angus Council Collection, Dundee City Collection, The McManus Galleries Collection and Fife Council Museums West Collection. In The Scottish Contemporary Art Auction of 21st August 2022, lot 205, "Jiving at the Palais" by John Johnstone sold for £1200 (hammer).
* PETER HOWSON OBE (SCOTTISH b. 1958), EMBRACE pastel on paper, signedmounted, framed and under glassimage size 61cm x 46cm, overall size 86cm x 72cm 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.
* 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.
* ALLY THOMPSON (SCOTTISH 1955 - 2016), CHILD OF THE EROTIC CENTURY oil on canvas, signed, titled versoframed and under glassimage size 112cm x 128cm, overall size 136cm x 150cm 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), THE OLD ANDREW pastel on paper, signed and dated '06, titled versomounted, framed and under glassimage size 20cm x 19cm, overall size 60cm x 46cm 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.
* ALLY THOMPSON (SCOTTISH 1955 - 2016), MEDUSA SERPENTICUS 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.
* RICHARD WOODS (BRITISH b. 1986), BIG CATCH oil on canvas, signed, titled and dated 2011 versoframedimage size 51cm x 41cm, overall size 61cm x 51cm 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.’
* ALLY THOMPSON (SCOTTISH 1955 - 2016), SMALL HORSE MINOTAUR oil on board, signedframed and under glassimage size 73cm x 67cm, overall size 85cm x 79cm 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.
* ALLY THOMPSON (SCOTTISH 1955 - 2016), DEFENCE OF ALBION mixed media collage on board, signed, titled and dated 2010 versoframed and under glassimage size 18cm x 22cm, overall size 52cm x 57cm 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), BLUE TEMPTRESS oil on canvas, signedframedimage size 46cm x 61cm, overall size 65cm x 81cm 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.
* ALLY THOMPSON (SCOTTISH 1955 - 2016), SMALL METAPHYSICAL LANDSCAPE oil on paper, signed, titled and dated 2011 versoframed and under glassimage size 41cm x 31cm, overall size 67cm x 57cm 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), PATRIOT pastel on paper, signedmounted, framed and under glassimage size 60cm x 45cm, overall size 85cm x 73cm 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), YOUNG PATRIOTS pastel on paper, signedmounted, framed and under glassimage size 45cm x 59cm, overall size 74cm x 85cm 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.
* ALLY THOMPSON (SCOTTISH 1955 - 2016), UNTITLED mixed media on paper, signedmounted, framed and under glassimage size 33cm x 22cm, overall size 56cm x 43cm 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.
* ALLY THOMPSON (SCOTTISH 1955 - 2016), SEATED WOMAN pastel on paper, signedframed and under glassimage 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), CHRIST DRAWING VI pencil on paper, signed, titled and dated 2003 versomounted, framed and under glassimage size 30cm x 30cm, overall size 37cm x 37cm 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.
* HUGH GERARD BYARS (SCOTTISH b. 1957), PORTRAIT OF A MAN oil on canvas, signedframedimage size 20cm x 14cm, overall size 32cm x 25cmQty: 3Note: Byars trained at The Glasgow School of Art and then at The Royal College of Art in London. In 2001 he received a major award from the Pollock-Krasner Foundation (USA). Nineteen examples of his work are recorded within notable public collections including City of London Corporation, The Peoples Palace (Glasgow), MOMA (Wales), The Fleming Collection (London), Guildhall Art Gallery, Cheltenham Art Gallery and Glasgow Museums and Art Galleries. Hugh lives and works in Glasgow. He is a contemporary of Howson and of the same school as Campbell and Currie, and like them concentrates on the human form, and scenes from his local city. He often takes his inspiration from the derelicts and dossers in his native Glasgow. These are his Partick people who he paints with sympathy, graphic simplicity and powerful humanity. Hugh is one of the ''New Glasgow Boys'' school of painters.
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), WHISPERING HAG limited edition woodblock print on paper, signed, titled and numbered 2/25mounted, framed and under glassimage size 42cm x 30cm, sheet size 62cm x 50cm, overall size 76cm x 64cm 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.
* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), THE GREEN JACKET II oil on canvas, initialled, titled label versomounted, framed and under glassimage size 49cm x 39cm, overall size 64cm x 54cm Label verso: Cyril Gerber Fine Art, Glasgow.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.Condition is good overall, with no visible or known issues.
* PETER HOWSON OBE (SCOTTISH b. 1958), OUTCAST pastel on paper, signedmounted, framed and under glassimage size 61cm x 44cm, overall size 85cm x 72cm 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.
* ALLY THOMPSON (SCOTTISH 1955 - 2016), SHORELINE WITH EROTIC STRUCTURES mixed media collage on board, signed, titled and dated 2010 versoframed and under glassimage size 18cm x 22cm, overall size 53cm x 57cm 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), PORTRAIT STUDY OF DICK ADVOCAAT charcoal on paper, signedmounted, framed and under glassimage size 32cm x 23cm, overall size 48cm x 39cm 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), UNTITLED pastel on paper, signedmounted, framed and under glassimage size 28cm x 20cm, overall size 68cm x 57cm 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), STUDY OF A FIGURE IN DRESSING GOWN charcoal on paper, signedmounted, framed and under glassimage size 28cm x 21cm, overall size 43cm x 36cm 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.
* PETER HOWSON OBE (SCOTTISH b. 1958), FORLORN pastel on paper, signedmounted, framed and under glassimage size 29cm x 22cm, overall size 60cm 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.
* FRANK MCFADDEN (SCOTTISH b. 1972), PARTY pastel on paper, signedmounted, framed and under glassimage size 60cm x 45cm, overall size 92cm x 78cm Note: Frank McFadden is one of Scotland’s best known artists. A former sign-writer and graphic designer, his work regularly appears in galleries around Scotland and beyond. Frank’s affiliation with fellow Glasgow artist Peter Howson has been instrumental in his success. They continue to share a studio, having exhibited together in Glasgow, Edinburgh and New York.
* Mixed Silver. A Silver sugar caster by W I Broadway & Co, Birmingham, 1998, of octagonal pedestal form, 17cm high, 151g, together with a Silver cream jug by Cornelius Desormeaux Saunders & James Francis Hollings (Frank) Shepherd, Birmingham, 1905, 123g a silver salt cellar with blue glass liner by Harrison Brothers & Howson (George Howson), Sheffield, 1934, rounded body with gadrooned rim, hinged lid and scroll handle on 3 shell feet, 103g, a silver salt cellar with blue glass liner by Mappin & Webb Ltd, Birmingham, 1933, rounded body with gadrooned rim, hinged lid and scroll handle on 3 shell feet, (1 foot bent) 152g, plus other items including fork and spoon, napkin rings silver topped jars, silver shell pin trays, total approximate weight 780gQTY: (small carton )
λ PETER HOWSON (BRITISH B. 1958) PHEONIX Oil on canvas Signed (lower left) 122.5 x 106.5cm (48 x 41¾ in.)Painted in 2001. Provenance: Flowers East, London Condition Report: Unframed. Some rubbing to the extreme edges with some associated losses. A couple of horizontal scuffs running across the upper edge, only noticeable in certain light. They do not appear to be connected to the stretcher as there is no obvious indentation. Some further minor scuffs to the lower left corner. Inspection under UV reveals no obvious restoration or repair. Condition Report Disclaimer
A silver lidded mustard pot with glass insert and spoon. The body decorated with cut patterns of shamrocks, thistles, ivy and flowers, and upon a gradually widening circular base. The spoon with three shamrocks at the handle. Made by Harrison Brothers & Howson in London 1900. 8.5cm tall and 3.52 Troy oz
The emotive Dunkirk ‘little ships’ D.S.M. awarded to Engineer Fred Barter, H.M. Yacht Ankh, who, under heavy fire, assisted in ferrying 400 troops from the beaches; it is said that he also delivered a no-nonsense broadside of his own, when Lord Gort, V.C., apparently tried to jump the queue to his boat, a broadside of the four-letter variety Distinguished Service Medal, G.VI.R. (F. Barter, Yacht Engn. H.M.Y. Ankh.) impressed naming, contact marks, otherwise nearly very fine £1,000-£1,400 --- Importation Duty This lot is subject to importation duty of 5% on the hammer price unless exported outside the UK --- --- Provenance: Jeffrey Hoare Auction, April 2000. D.S.M. London Gazette 16 August 1940: ‘For good services in the withdrawal of Allied Armies from the beaches at Dunkirk.’ Requisitioned by the Admiralty, H.M. yacht Ankh was taken over by Captain J. M. Howson, R.N., as a temporary H.Q., when she arrived off Dunkirk on the morning of 31 May. She was manned by a handful of naval personnel and civilians. Howson had charge of nine yachts, which he divided between the beaches at Bray and La Panne, but owing to their deep draft they were unable to get close inshore, thereby necessitating the use of small launches and rowing boats to collect the awaiting troops from the beaches. One such boat was manned by Fred Barter and Able Seaman W. F. ‘Frank’ Lunn, R.N., a boat with a capacity for eight people but in which they proceeded to embark 20 at a time. During one return trip to the yachts, the boat was capsized by a near miss bomb, leaving the embarked soldiers floundering in water in full kit. Barter and Lunn swam over a mile to the yachts to collect another boat, and, under fire, returned to the beaches. In fact, they continued their gallant work throughout the day, eventually ferrying a total 400 troops to safety. In an article published in The War Graves Photographic Project Newsletter in the Spring of 2017, Barter’s grandson recalled how Fred never really spoke of his experiences off Dunkirk. He also recalled how he came across an amusing anecdote concerning Field Marshal Lord Gort, V.C. Apparently Gort appeared on the beach and tried to jump the queue to Fred’s boat, an endeavour that was smartly curtailed when the latter told him to “**** off!” Barter may have been a modest man, but he did manage to say a few words to The Hampshire Telegraph and Post, when interviewed in March 1941: ‘Barter shared charge of a rowing boat which was sent ashore to pick up soldiers. Normally the boat held only six, but Barter and his companion got in 20, and towed rafts carrying several other soldiers. “We were sunk by enemy action and had to swim for it,” said Barter. “Many of the B.E.F. men returned to the shore, but Lunn and I swam over a mile back to the yacht, took another boat, and carried on with the good work. Eventually we got nearly 400 soldiers safely on to our yacht.” ’ He received his D.S.M. from King George VI at Buckingham Place on 16 July 1940.
A collection of hallmarked silver teaspoons and a toast rack. The lot to include a George V hallmarked silver toast rack. Hallmarked year 1919 Sheffield. Sponsor marks for Harrison Brothers & Howson (George Howson). Together with a collection of sixteen teaspoons, a stirring spoon, three caddy spoons and three mustard spoons.. Total weight 349g.Largest 22cm L
Showpiece / table centrepiece, Harrison Brothers & George Howson, London 1905, silver. Very beautiful stylized model of showpiece / table piece with two folded back handles. Provided with a palmette rim and a medallion with a flower arrangement. Standing on four legs. United Kingdom, London, Harrison Brothers & George Howson, 1905, hallmarks: lion, panther head, maker's mark, year letter k - light traces of use and dents. 586 grams, 925/1000. Dimensions L 22.5 cm, W 16.5 cm, H 16 cm.
Gillick, Ernest (British, 1874-1951); b. Bradford ENGLAND, National Emergency Medal, 1926, a bronze award medal by E. Gillick [Royal Mint] for the London, Midland & Scottish Railway, Britannia seated left holding laurel branch, rev. three female figures stood with their backs to each other, supporting two locomotives, 51mm, 63.55g (Pickup, The Medal 59, pp. 23-7; Attwood, Gillick, p.136; Eimer, BNJ 1985, 12; BHM 4210; BM Acq. 1978-82, p.83, 78; E 2003). Extremely fine; in brown gilt-blocked case of issue [this a trifle scuffed] and with original letter to the recipient, Arthur Howson, Esq, from J.C. Stamp, President of the Executive, as from Euston Station, January 1927 £50-£70 --- Arthur Howson (1900-77), Aberford, West Yorkshire. The General Strike, which ran from 4 to 12 May 1926, was called by the General Council of the Trades Union Congress (TUC) in an unsuccessful attempt to force the British government to act to prevent wage reductions and worsening conditions for 1.2 million locked-out coal miners. Some 1.7 million workers struck, especially in transport and heavy industry, including over 15,000 engine drivers and 14,000 firemen employed by the LM & SR. The government called for volunteers to run essential services, such as trains, and it is understood that the medal was principally issued to these volunteers and to staff members who ignored the strike call; the full text of the letter from J.C. Stamp to its recipients is reproduced by Pickup (The Medal 59, p.24)
A George VI silver three piece tea set, by George Howson, of oval form, with gadrooned and shell borders, Sheffield, 1938, together with a pair of Victorian silver sugar tongs, gross weight 36.8oz. A few small dents to the teapot and sugar bowl. Minor surface scratches to all three pieces of the tea set.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
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