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Lot 419
A 19th century bronze and brass sextant with hardwood handle, inscribed 'R.J.Paul Keane R.P.' in original case with accessories, 9.5in.CONDITION: Original case worn commensurate with age, with a split at the corner and the brass cartouche plaque lifting away, internally original baize now heavily worn, sextant and accessories are all tarnished, sextant being a green bronze tone with brass and silver scale, looks like one small accessory is missing from the left hand side.
Lot 538
* SYLVIA ALLEN (SCOTTISH b 1951), OPEN STREET acrylic on canvas, signed, further signed, titled and dated 1999 in pencil verso 116cm x 112cm (approximately 46 x 44 inches) Framed and under glass. Provenance: acquired Ainscough Contemporary Art, Drayton Gardens, London.and gallery labels verso. Note 1. Sylvia Allen's large scale works rarely appear at auction and the last large example we offered was lot 1731 4th March 2014: "Autumn Ambience" an 81 x 86cm acrylic, also dated 1999, which although significantly smaller than "Open Street" achieved £2000 (hammer). Note 2: Sylvia Allen graduated from Glasgow School of Art 1974. She exhibited regularly in group and solo shows whilst in various teaching and graphics employment. A Glasgow School of Art tutor in Life Drawing and Drawing and Painting in the years 1986-1994. Elected artist member of Glasgow Art Club in 1989.Has also exhibited in USA, France and Germany and as a result her work is in many collections at home and abroad including: Price Waterhouse Coopers, Arthur Andersen and Kempen Capital Management. Exhibited in RGI, RSA, SSWA and PAI. Scottish finalist in 1997 Laing exhibition, London. Painting selected for 1998 calendar. Now works solely for exhibitions. The work is characterised by strong involvement with colour and expressive movement. Themes include weather moods in landscape, atmospheric cityscapes and vibrant colours of flowers caught in sunshine. Solo Exhibitions/Group Exhibitions MacLaurin Gallery, Ayr; McLellan Galleries, Glasgow; Willamette Uni. Salem, Oregon; Main Fine Art, Glasgow; Harbour Arts Centre, Irvine; The Kunsthaus, Nurnberg; Scottish Amicable, Glasgow; The Metro Gallery, Glasgow; Zabo Gallery, Nurnberg; Turberville Smith Gallery, London; Galerie Reiter, Bad Tolz; Seen Gallery, London; Galerie in der Linden, Weidenberg; Cormund Gallery, Glasgow; Usiskin Gallery, London; Mall Galleries, London; Home Studio, Glasgow; Glasgow Art Gallery; Woodside Library, Glasgow; Green Gallery, Aberfoyle; Devonshire Hotel, Glasgow; Adam Gallery, Bath; Kelly Gallery, Glasgow; Hanover Fine Art, Edinburgh; Torrance Gallery, Edinburgh; Dept. Philosophy, Edinburgh Festival; Kingfisher Gallery, Edinburgh; Westgate Gallery, North Berwick; Ainscough Contemporary Art, London; MacMillan Fund, Strathclyde Arts Centre; Gatehouse Gallery, Glasgow; Kelly Gallery,Glasgow; Cornerstone Gallery, Stirling; Leith Gallery, Edinburgh; Chatton Gallery, Chatton; Riverside Gallery, Stonehaven; Thompson's Gallery, London; McEwan Gallery, Ballater and Roger Billcliffe Gallery, Glasgow.
Lot 651
MR BRAINWASH (THEIRRY GUETTA) (FRENCH b 1966), RESCUE silkscreen print, signed and numbered 43/70 77cm x 57cm Unframed Note: A provocative figure in the world of street art, Mr. Brainwash practices an irreverent brand of appropriation characterized by the use of copyrighted images from history, popular culture, and art history. The artist subtly alters the picture or its context, mischievously undermining the tone of the source material. Brainwash, a pseudonym for Thierry Guetta, is known for producing massive spectacles to display his art. He came to prominence through mounting large-scale public projects in his current home of Los Angeles and as the main figure in the Banksy-directed film Exit Through the Gift Shop. His work hinges on the idea that anything is possible in his practice. “Art has no walls. Anybody can be an artist,” he says. “Art has no rules. There’s no manual.” Approximate retail value £1800 Generously donated by Mr Brainwash. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.
Lot 653
ROGUE ONER (SCOTTISH CONTEMPORARY), UNTITLED spray paint on circular canvas, signed and dated 2014 verso 100cm diameter Unframed Note: Rogueoner is a graffiti / street artist from Glasgow. He has been mastering the art of spraypainting for over 15 years. His work ranges from stencils, pieces, characters, 3D, canvases and to large scale productions. also working in oils and acrylics and graphic design. His street work can be seen across Glasgow and the UK. Approximate retail value £400 Generously donated by rogueoner. The Proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.
Lot 673
SNIK (BRITISH CONTEMPORARY), COLD TENDERNESS screenprint, artists proof, signed and numbered 1/10 60cm x 80cm Unframed Note: SNIK are an art duo based in the United Kingdom and with over a decade’s experience painting walls inside and out. They have successfully established themselves as one of the most interesting and progressive stencil artists of the moment. Their bold aesthetic is characterized by frozen scenes of dynamic action often at impressive scale, however it is the delicate details of the everyday which make their works particularly unusual. Rather than an elaborate narrative, SNIK seek to elevate the subtle and often unremarkable details of a single moment; tangled strands of hair, folds and textures of fabrics. It is this focus which has come to define their unmistakable style. Approximate retail value £300 Generously donated by SNIK. The proceeds of sale from this lot will benefit The Glasgow Children's Hospital Appeal.
Lot 695
* PETER HOWSON OBE (SCOTTISH b 1958), SELF PORTRAIT oil on canvas, signed 61cm x 53cm Framed. Note: a powerful and intimate self-portrait, dated from 2001, relates closely to the central figures in two of Howson's epic large-scale pieces - The First Step and The Third Step – from around the same period: a series which chronicles the artist's struggles with addiction through a hedonistic lifestyle, prior to converting to Christianity and his subsequent recovery. The artist depicts himself cautiously glancing at the observer, vulnerable and exposed.
Lot 312
Robert Wallace Martin for Martin Brothers, a stoneware jug, 1882, footed spherical form with cylindrical neck, sgraffito decorated with characterful humming birds in flight over forget me nots, below gothic and foliate scroll arcading, the neck with scalloped fish scale lappets, incised marks 25-3-82, RW Martin, London & Southall, 22.5cm high
Lot 63
American Civil War.- Burning of Columbia.- Afron (Mrs Charles M., of Columbia, South Carolina) 8 Autograph letters most signed "CMA" or "C" to her aunt, (?3 incomplete), together 54pp., folio & smaller, 18th January 1863 - 3rd June 1868, relating to the burning of Columbia, South Carolina as it surrendered at the end of the American Civil War, "The shouts & yells of the negroes now assembled in thousands soon told us the Yankees were in the city, the mayor went out to meet them, & surrendered one of the most beautiful citys in the U.S.... our enemys entered, the hated flags waving, the loud & long cheers ringing through the air, the negroes shouts of welcom all pierced us to the heart...the whole city was now set on fire, 84 squares, 2/3 of the city was burned to the ground- the soldiers went from house to house setting them on fire, in every room, scarcely giving one time to get out, if you attempted to save anything they would snatch it from you & throw [it] into the flames... I never far a moment doubted that victory would not be ours, our poor soldiers endured every privation that man could live through but god is my judge I would rather be a Southern Pauper than a Yankee millionaire...; a few short splits or holes along folds, slightly browned; and a small quantity of others related, including: 2 hand-coloured cabinet photographic cards (62 x 105 mm.) ?of the sender, verso printed "Cook Charleston S.C."; an oil portrait of a 19th century soldier on ?slate, shattered into several pieces; Confederate $50 note; printed cards etc., v.s., v.d. (sm. qty).⁂ A vivid account of the burning of Columbia from the viewpoint of a prominent member of the city. There is controversy over how the fires started. Afron's view was that it was started by General Sherman's soldiers in revenge for Columbia's and South Carolina's leading role in the secession movement, but Sherman blamed high winds and the bales of cotton stacked in the street for the city's defence. Either way the destruction was on an enormous scale and much of the city was destroyed.
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