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Case of mixed golf clubs to include Howson, Taylor and Dunlop

Peter Howson OBE (British 1958-), Untitled Studio Work - oil on cloth, signed, in a glazed frame. (37cmx41cm)

Fine prize bindings, 19th century by Wells of Winchester - five volumes, comprising: 1. Ball (Sir Robert Stawell), The Story of the Heavens, New and Revised ed., pub. Cassell & Company, 1893, 18 colour plates and 90 engravings, binding in full red calf with gilt lined borders and gilt crest of Winchester College, spine in six compartments with gilt decoration, black morocco labels, aem, marbled end papers, pastedown prize certificate dated 1894 to Charles Pelham Rowley (1877-1916) to ffep, 8vo (wear to extremities, spine a little faded, page 215-218 loose); 2. Guillemin (Amédée), The Heavens. An Illustrated Handbook of Popular Astronomy, 9th ed., pub. London: Richard Bentley & Son, 1883, similar binding with pastedown prize certificate to ffep to Charles Pelham Rowley dated 1891, 8vo. (slight wear to extremities, spine a little faded, occasional spotting); 3. Jamin (M.), Cours de Physique de L'Ecole Polytechnique, 4th ed., pub. Paris 1887, binding in full red morocco gilt, with lined borders and gilt crest for Selbourne College, spine in six compartments, aeg, marbled end papers, pastedown prize certificate to ffep to Charles Pelham Rowley dated 1894, 8vo; 4. Atkinson (E.), Elementary Treatise on Physics Experimental and Applied...., 13th ed., pub. London: Longmans, Green, and Co., 1890, binding in full green morocco gilt, with lined borders and gilt crest for Selbourne College, spine in six compartments (faded), aeg, marbled end papers, pastedown prize certificate to ffep to Charles Pelham Rowley dated 1893, 8vo; 5. Conybeare (The Rev. W. J.) and Howson (The Very Rev. J. S.), The Life and Epistles of St Paul, New Ed., pub. London: Longmans, Green, and Co., 1889, binding in full maroon morocco gilt, with lined borders and gilt crest for Winchester College, spine in six compartments, aeg, marbled end papers, pastedown prize certificate to ffep to Charles Pelham Rowley dated 1890, 12mo. * Charles Pelham Rowley was the elder son of Admiral Charles John Rowley of Botley, Hampshire and Alice, daughter of George Carey Elwes of All Souls, Oxford. He entered the Royal Garrison Artillery in 1900 and served in India for 12 years, later moving to Tynemouth, where he trained detachments of the New Army. He was sent to France in early 1915 and served at the Second Battle of Ypres, acting for 11 months as Adjutant to the 13th Brigade, R.G.A. He returned to assist with training of heavy artillery in Winchester, but was tragically killed during his preparation for a return to the front in October 1916, whilst on home leave at Holmesland, Botley. He was tending to the broken branches on an elm tree which had been damaged in a gale and one of the branches fell, killing him instantly.

A COLLECTION OF SILVER ITEMS To include: a cup by G. M. & S., Birmingham 1934, with a loop handle and on a circular moulded spreading foot, 11cm (4 1/4in) long; a tea strainer by Harrison Brothers & Howson (George Howson), Sheffield 1914, with twin pierced foliate swag handles, 10cm (4in) long; a pair of Victorian cylindrical pepperettes by Barnett Henry Abrahams, Birmingham 1899, with wrythen cone finials to the pierced domed covers, pierced bodies and on three shell feet, 8cm (3 1/4in) high, with two blue glass liners; a pair of Victorian fiddle pattern table spoons by Josiah Williams & Co (James & Josiah Williams), Exeter 1862, engraved L,13cm (9in) long; a pair of electro-plated table knives; and other silver items 674g (21.7 oz) gross weighable Condition Report: There is no condition report available for this lot and is sold as found Condition Report Disclaimer

A COLLECTION OF SILVER ITEMS To include: a silver mounted rectangular cigarette box, no maker's mark, Birmingham 1913, the cover applied with S. R, 13cm (5in) long, with a cedar liner; a cigarette case by S. Blanckensee & Son Ltd., Birmingham 1918, the cover engraved with foliage, 8cm (3 1/4in) long; a pair of collar stiffeners by Carr's of Sheffield, Sheffield 2008, 6.5cm (2 1/2in) long; a money clip by Harrison Brothers & Howson Ltd., Birmingham 2005,, engraved AR, 5cm (2in) long; and a gilt metal lighter by S. T. Dupont, with engine turned decoration, 5cm (2in) high 76g (2.45 oz) gross weighable   Provenance: The Estate of a deceased Gentleman Condition Report: There is no condition report available for this lot and is sold as found Condition Report Disclaimer

Y A COLLECTION OF SILVER FLATWARE VARIOUS MAKER'S, DATES AND PATTERNS To include: a mother of pearl handled butter knife by James Deakin & Sons, Sheffield 1907, 17cm (6 3/4in) long; five tea knives by Harrison Brothers & Howson, Sheffield 1907, with steel blades; 16.5cm (6 1/2in) long; two white metal mythical creature menu holders, 8cm (3 1/4in) high; and a large quantity of assorted silver flatware 1938g (62.3 oz) gross weighable Condition Report: There is no condition report available for this lot and is sold as found Condition Report Disclaimer

A COLLECTION OF SMALL SILVER ITEMS To include: nine Hanoverian pattern tea spoons by Harrison Brothers & Howson, Sheffield 1919 (5) and 1920 (4), 11cm (4 1/4in) long; a salt and pepperette by John Grinsell & Sons, Birmingham 1952, with a cone finial to the pierced domed cover, a shaped border, engraved with a crest and on three pad feet, 7.5cm (3in) high, with a blue glass liner; a Georgian candlesnuffer, with a scroll handle, engraved with a crest and a beaded border, 9cm (3 1/2in) high; and other items 247g (7.95 oz) gross Condition Report: There is no condition report available for this lot and is sold as found Condition Report Disclaimer

A silver tea set by Harrison Brothers & Howson (George Howson), Sheffield consisting of a teapot (1926) with a hinge top lid and cast phenolic handle, 20cm 526gms, a sugar bowl (1922,) 10cm 241gms, and a milk jug (1922), 11cm 171gms , and a George VI sauce boat on three turned feet by Mappin & Webb, Sheffield 1937, 6cm 106gms, and a cut glass silver topped sugar sifter Walker & Hall, Sheffield, 1902, 15cm 263gms (all in). (5)

PETER HOWSON OBE (SCOTTISH b.1958)  LAST PRAYER  Etching, signed lower right, numbered 12/100, dated (19)87, 34 x 26cm Condition Report:Available upon request

AN A.S. HOWSON PHONO-FIDDLEclassic early 20th century novelty instrument, reg. no. 287991, with bow (A/F)

A canteen of George VI silver flatware, twelve place settings, Harrison Brothers & Howson (George Howson) Sheffield, dates range from 1948 to 1951, total weighable silver approximately 4425g / 142.2toz, servers, knives and carving set total approximately 3184g / 102.4toz, in a fitted walnut canteen, with lift lid and two drawers.

A silver keyring, circular form, inscribed 'Umpires Dinner' diameter approx. 35mm, feature hallmarks Birmingham Harrison Brothers & Howson Ltd Further details: tarnish wear commensurate with age

George Howson. A set of Late 19th Century silver mounted fish forks and knives, in case. Retailed by Werr & Sons, Dublin, Belfast. Sheffield. 1896

A golf bag containing a full set of Howson Enforcer irons and 3 woods

Two cased sets of silver butter knives. Consisting of six with mother-of-pearl handles, hallmarks to the silver blades for Harrison Brothers & Howson, Sheffield 1910, and five from a set of six with steel blades, the silver handles with Sheffield hallmarks. Gross weight 255.3g

A Victorian oak cased mother of pearl handled plated fish knife & fork set for twelve with Sheffield silver collars by Harrison Bros. & Howson, dating to 1900, case measures 320mm wide x 258mm deep x 60mm high

Peter Howson "Father John", pen and charcoal on paper, signed and dated 2010, 28cm x 17cm, framedGood condition

OIL ON CANVAS PAINTING IN THE PETER HOWSON STYLE

mixed media on paper, signed and titled mounted, framed and under glass image size 20cm x 13cm, overall size 47cm x 38cm 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.

pastel on paper, signed, titled and dated 1988 label verso mounted, framed and under glass image size 55cm x 38cm, overall size 75cm x 54cm 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.

mixed media on paper, signed mounted, framed and under glass image size 29cm x 20cm, overall size 46cm x 36cm 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 media on board, signed, titled and dated 1996 verso framed and under glass image size 134cm x 56cm, overall size 150cm x 73cm 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.

Harrison Bros & Howson Antler handled 4 Piece Carving set, Eaton & Co Carving Set and assorted Flatware and Bygones

CELTIC F.C. INTEREST - PETER HOWSON (SCOTTISH, 1958-), BROTHER WALFRID, LIMITED EDITION BOXED SET comprising one signed and numbered 472/1,888 print, a certificate dated 6th November 2014, and DVD, in gilt tooled simulated snake skin card boxPrint 41.5x29cm overallCondition generally good. Light wear to outer box. Print well preserved. Additional images now available.

PETER HOWSON, BROTHER WALFRID LIMITED EDITION PRINT, 77/1888 with certificate of authenticity, boxedCondition generally good. One small spot to print. Minor wear to outer box. Additional images now available.

WWI Victory Medal, awarded to DM2-075556 Pte W Howson ASC.

Ruskin Pottery, a Crystalline vase, 1930, hexagonal section plinth form, streaks of green over orange over blue, impressed marks and incised Howson Taylor signature, 16.5cm high

Ruskin Pottery, a large Crystalline glazed vase, 1930, ovoid baluster form, mottled blue neck, green brown shoulder with blue drip trails over pale fruit skin, impressed marks and Howson Taylor facsimile, 32.5cm high

Pair of Ruskin vases, of crystalline design. 25cm high approx. Impressed marks to the underside. signed William Howson Taylor. Together with a Carlton Ware ginger jar in chinoiserie design with pagodas, figures, lake and trees. 27cm high approx. (3) (B.P. 21% + VAT) One of the vases appears undamaged, the other in very poor condition with large cracks all through the body, chips and losses.

A Victorian silver dish, of oval form, Harrison Brothers and Howson, Sheffield 1896, 31cm x 22.5cm, 20.08oz.

A Victorian silver tea pot by Harrison Brothers & Howson, Sheffield 1894, of serpentine form, the domed hinged lid with ebonised finial, part reeded decoration and S shaped handle, 14cm, (5.5ins.) high, 455gms., (14.6ozs)

An Edward VII King's pattern cased carving set by Harrison Brothers & Howson, Sheffield 1906, comprising of a meat knife, poultry knife, fork and a steel, silver loaded handles, steel blades by Harrison Bros., the knife 37.5cm long

A pair of turned wooden silver mounted pepper grinders, by Harrison Brothers & Howson, London 1990, in fitted case.

An oak canteen fitted with twelve each dessert knives and forks with silver blades and loaded pistol-grip silver handles, Harrison Brothers & Howson, Sheffield 1910

A collection of silver flatware, by Harrison Brothers & Howson, 1935, comprising, two table forks, two dessert forks, two dessert spoons, two silver coffee spoons, four silver handles knives, and a silver napkin ring, a salt and a mustard, a pierced spoon and two tongs, and a pair of silver mounted decanters, 22cm high, 20ozt, of weighable silver (20)Condition ReportAll good overall.

An Edwardian silver stick handle with rococo decoration, hallmarked for Army & Navy Cooperative Society Ltd., London, 1900, cartouche initialled, with dent and six Edwardian silver apostle coffee spoons by Harrison Brothers & Howson, Sheffield, 1906, 125g (2)

ASSORTED ITEMS OF SILVER AND WHITE METAL WARE, to include two old English pattern small ladles, each hallmarked 'Harrison Brothers & Howson' Sheffield 1923, length 18cm, approximate gross weight 157.2 grams, together with a two silver embossed scent bottle caps, a silver salt spoon, approximate gross weight 35.2 grams, a continental pill box stamped 800, a cased set of continental spoons each stamped 'Sterling Japan', approximate gross weight 42.1 grams

Pair of George V silver candlesticks of oval form, sponsor's marks of Harrison Brothers & Howson, Sheffield 1916, 16cm high, weighted

Two silver sauce boats, both Sheffield including Viner Ltd 1937 and Harrison Brothers & Howson 1963 (2), 221g

Harrison Bros. & Howson for South African Railways EPNS sugar basin, hinged lid and twin scroll handles; matched basin by Roberts & Belk Ltd and other EPNS tableware for South African Railways

Ruskin Pottery, a Crystalline four handled vase, 1931, shouldered cylindrical form, various shades of marbled and streaky blue, impressed marks and Howson Taylor signature, 25.5cm high

* PETER HOWSON OBE (SCOTTISH b. 1958), RAVEN mixed media on paper, signed and dated 2022, titled versomounted, framed and under glassimage size 14cm x 17cm, overall size 41cm x 44cmNote: 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), DONNA (ON FRONT - RED) pastel on paper, signed, titled and dated 1988 versomounted, framed and under glassimage size 38cm x 56cm, overall size 57cm x 72cm Label verso: Flowers East, LondonNote: 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 pastel on paper, signedframed and under glassimage size 36cm x 33cm, overall size 47cm x 45cm Note: 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.

* PETER HOWSON OBE (SCOTTISH b. 1958), NUDE STUDY ink on paper, signed and dated 2012 mounted, framed and under glass image size 8cm x 6.5cm, overall size 28cm x 25cm 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), DONNA (UPPER BODY) pastel on paper, signed, titled and dated 1988 label versomounted, framed and under glass image size 55cm x 38cm, overall size 75cm x 54cm Label verso: Flowers East, LondonNote: 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) THE SERENE SUMMER pastel on paper, signed, titled and dated 2003 versomounted, framed and under glassimage size 54cm x 74cm, overall size 85cm x 103cm 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 IN THE TEMPLE charcoal and wash on paper, signed and dated 2008, titled versomounted, framed and under glassimage size 30cm x 22cm, overall size 56cm x 47cm 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), TOTENKOPF (DEATHS HEAD) oil on canvas, signed, titled and dated 2020 label versoframed image size 51cm x 46cm, overall size 66cm x 61cm Artist's label versoNote: 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.Condition of the picture is good overall, with no visible or known issues.

* ALLY THOMPSON (SCOTTISH 1955 - 2016), FROM BEYOND THE TORRENTS OF THE NIGHT, A CHIMERA mixed media on board, signed, titled and dated 1996 versoframed and under glassimage size 134cm x 56cm, overall size 150cm x 73cm 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), WHAM BAM limited edition lithograph on paper, signed, titled, dated '94 and numbered 23/50mounted, framed and under glassimage size 51cm x 38cm, overall size 78cm x 65cmNote: 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), TROPHY FACE I pastel on paper, signed mounted, framed and under glassimage size 20cm x 15cm, overall size 43cm x 37cm 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.

* PETER HOWSON OBE (SCOTTISH b. 1958), UNTITLED mixed media on paper, signedmounted, framed and under glassimage size 21cm x 15cm, overall size 51cm x 42cm 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), IN ICTU OCULI (IN THE BLINK OF AN EYE) oil on canvas, signed, titled and dated 2020 label versoframed image size 51cm x 46cm, overall size 66cm x 61cm Artist's label versoNote: 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.Condition of the picture is good overall, with no visible or known issues.

* FRANK MCFADDEN (SCOTTISH b. 1972), TWILIGHT SADNESS pastel on paper, signedmounted, framed and under glassimage size 30cm x 24cm, overall size 53cm x 47cm 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.

* PETER HOWSON OBE (SCOTTISH b. 1958), GORGON pastel on paper, signedframed and under glassimage size 60cm x 44cm, overall size 80cm x 64cm 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), GREASER oil on board, signed and dated '08mounted, framed and under glassimage size 19cm x 19cm, overall size 39cm x 37cm 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.

* FRANK MCFADDEN (SCOTTISH b. 1972), PORTRAIT OF A MAN pastel on paper, signedmounted, framed and under glassimage size 40cm x 29cm, overall size 61cm x 49cm 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.

* PETER HOWSON OBE (SCOTTISH b. 1958), 1984 mixed media on paper, signed, titled and dated '09 mounted, framed and under glass image size 31cm x 22cm, overall size 50cm x 40cm Label verso: Flowers, 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), THE JOURNEY pastel on paper, signed, titled and dated 2021 verso mounted, framed and under glass image size 18cm x 19cm, overall size 37cm x 37cm 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.