Friday, 7th September, 2012 33 Broughton Place Edinburgh
Friday, 7th September, 2012 at 2pm Sale Number LT370
August 21st to September 6th Monday to Friday 10am to 5pm Saturday & Sunday 12 noon to 4pm Specialist John Mackie firstname.lastname@example.org Nick Curnow email@example.com Charlotte Riordan firstname.lastname@example.org
Catalogue: £10 BUYERS’ PREMIUM 25% up to £25,000 20% thereafter. VAT will be charged on the premium at the rate imposed by law. †20% VAT chargeable on the lot itself *5% import VAT on the lot §Droit de Suite (artist’s resale rights) applies (see our Terms and Conditions of Sale and Information for Buyers). PLEASE NOTE: All lots in this sale are subject to import VAT at 5%.
ENQUIRIES AND COMMISSION BIDS Lyon and Turnbull Ltd. 33 Broughton Place Edinburgh EH1 3RR Tel. 0131 557 8844 Fax. 0131 557 8668 email. email@example.com www.lyonandturnbull.com
The Taffner Collection
here have been a couple of collections of work by the Mackintosh and The Four on the market in recent years, the last being the 2002 sale of a major collection of Mackintosh’s furniture and watercolours, and the largest being the sale of Thomas Howarth’s collection in 1994. At that sale, Donald and Eleanor Taffner bought wisely – and generously, purchasing at the sale the washstand for Mr Blackie’s dressing room at The Hill House that they later donated to the National Trust for Scotland. They had been collecting work by Mackintosh and his Glasgow contemporaries since the mid-1980s when they were introduced to the then Director of Glasgow School of Art, Tony Jones. He nurtured in them an interest in Glasgow and its art school, which they acknowledged with the creation of the Taffner Mackintosh Curatorship at GSA, their support of the 1996 Mackintosh exhibition, particularly its tour of the USA, and by providing funding to allow Mackintosh’s White Room from the Ingram Street Tea Rooms (restored for the 1996 exhibition) to be shown at the National Gallery of Art in Washington DC. Don Taffner was born in Brooklyn in 1930 and developed his business acumen, he later recalled, working as a teenager in his father’s news and candy store. After university he was employed by the William Morris Agency, in the mailroom, but by the time he left in 1959 to found his own company he had risen to the post of agent. A year later, on a visit to an advertising agency in New York, he met Eleanor Bolta. They married in 1961 and, in 1963, together formed their new venture, D L Taffner Ltd. Their success took many forms, but given their later interest in Scottish art, it perhaps seems appropriate that they specialised in taking UK television shows and transforming them for the American market, introducing Benny Hill, among others, to a whole new audience. Don and Eleanor were a successful and outgoing couple whose generosity was not just limited to Scotland, as they were major benefactors to Don’s alma mater, St John’s University, New York, and to St John’s Bread and Life. The latter was a charity for the poor and hungry in Brooklyn and Queens – Don never forgot where he came from, saying ‘There is a world of difference between what we are doing now and where I came from’. As collectors, the Taffners were blessed with a good eye and a decisive attitude. They took advice and made sure that
The Greenwich Village home of Donald and Eleanor Taffner.
each addition to their collection complemented the whole and brought something new to it. They rarely prevaricated over acquisitions and had great confidence in each other’s taste. Once they set their mind on something it was a rare occasion when they let it go elsewhere. Mackintosh was the core of their collection and they bought well and selectively. At the Howarth sale they could have indulged themselves easily, but their eye and self-restraint ensured that they only chose pieces that would fit with their growing collection. Originally, the collection included some substantial pieces of furniture, including two fine examples from Mackintosh’s Derngate period, and the two large gesso panels by Margaret Macdonald, The White Rose and the Red Rose and The Heart of the Rose. These were sold when, or after, the Taffners left their spacious Upper East Side house in New York for an 1822 wooden town house in Greenwich Village. This left a concentration of works on paper, including many of the masterpieces of The Four and their
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Glasgow contemporaries, such as Annie French and Jessie King. Mackintosh is represented at almost every stage of his career, from the School of Art Club Diploma of Honour (1894/5) to the late watercolour from his period in France, Bouleternère. Their choice of flower drawings was typical, eschewing the more finished studies for less well-known examples that concentrate on line and composition, with Tacsonia being a particularly fine example. Other ‘botanical’ works illustrate their eye for the unusual – At the Edge of the Wood and Winter Rose are untypical watercolours that extend our knowledge and appreciation of the artist, and both are unique in his oeuvre. These flower studies prepared
the way for Mackintosh’s move towards more naturalistic paintings of cut flowers, made between 1915 and 1922 and sent to various exhibitions, at home and abroad, in an attempt to create a new career and new source of income – as an artist. White Tulips and Yellow Tulips are at opposite ends of the spectrum of these flower paintings, the former perhaps being early in the sequence and most straightforward, while the latter is unique in its depiction of the interior of Mackintosh’s Chelsea studio. Bouleternère represents the final phase of his career, with one of the finest of his studies of the villages of the PyrenéesOrientales, painted about 1925-27. Frances Macdonald is particularly well represented in the
The Drawing Room with “Girl with Blue Butterflies” hanging above the fire.
collection with three major watercolours from 1898 and one of her later melancholic studies. Girl with Blue Butterflies is perhaps the largest of all of the symbolist watercolours of the 1890s by Frances and Margaret, and is certainly larger than any similar watercolour by Mackintosh. The Frog Prince is one of her most accomplished and complex watercolours from any period of her life, choosing a rather dark episode from the well-known fairy tale. The Rose Child explores themes which appear regularly in Frances’s work, and that of her future husband, Herbert MacNair. In fact, compositions with briar roses and entangled children haunt the work of both Frances and Margaret, a symbolism which lends itself to suggestions of maternal feelings, a theory which post-feminist art historians would rightly find too simplistic. Frances exhibited The Frog Prince at the 8th Exhibition of the Vienna Secession, in the room created by Mackintosh, and her European contacts led to the commission for the cover of Anna Muthesius’s book, ‘Das Eigenkleid der Frau’. The original pencil drawing for the cover and a late watercolour, Sleep, complete this fine group of works by arguably the most talented of the Spook School artists. The Taffners did not neglect MacNair, or the other Glasgow Style artists. MacNair is represented by his earliest known watercolour, The Lovers of 1893 and Annie French and Jessie M King, in particular, are represented by fine examples of their work. And beyond the Glasgow Style Don and Eleanor had an eye for the Colourists and the Glasgow Boys, rounding off their purchases with a painting that united Scottish art with their own world of the American entertainment business. In 1936, John Lavery, one of the Glasgow Boys who had become a pillar of the artistic, and social, establishment, set off for Hollywood to revitalise his career (at the age of eighty) by painting movie sets and portraits of the stars. It did not prove to be a successful venture but out of it came one iconic painting of the artist meeting the child star, Shirley Temple. Quality and individuality are at the heart of the works that the Taffners sought out. This is a collection that also reflects the character and values of its makers, as well as the artists it contains. Don and Eleanor Taffner enjoyed putting this collection together; they enjoyed their continuing
“Yellow Tulips” and “White Tulips”, the centrepiece of a group of Mackintosh watercolours.
association with Scotland, with Glasgow and with the Glasgow School of Art. Their work for the city, for the arts in Scotland and their continuing support of the Art School led to several unsought, but much appreciated, awards. In 1996 Eleanor was awarded the prestigious ‘Lord Provost’s Medal’ for her contribution to the arts in Scotland, and in 2005 the couple were presented with a ‘Wallace Award’ at the Icons of Scotland Dinner hosted by Scotland Magazine. They were the first recipients with no hereditary connection to Scotland to receive the award. As a result of her work promoting the arts in Scotland, Eleanor received an MBE in 2005 and Don received an OBE for his contribution to British Television. But final words should rest with the couple’s son, Donald Taffner Jr: “It’s an extraordinary collection put together over many years by my parents. My sister Karen and I hope that the future owners of these works will get as much pleasure from them as our parents certainly did.” Roger Billcliffe Lyon & Turnbull are grateful to Roger Billcliffe for his help in the compilation of this catalogue.
A Personal Recollection
or an American couple with no hereditary links to Scotland, Don and Eleanor Taffner developed a remarkable passion for Glasgow – and Glasgow School of Art in particular – after a chance meeting in the mid 1980s with Tony Jones, then Director of the School. Not only were they philanthropic towards the School in their support of the post of Mackintosh curator for over two decades, but they were also incredibly generous and welcoming to those of us from GSA who found ourselves in New York. A stay in their apartment on West 57th Street gave my wife and I the perfect base to explore New York for the first time when we finally took up Eleanor’s offer to “come and stay” back in 1992. Subsequent visits were equally rewarding and we always signed the visitors’ book – joining an illustrious list of guests from the world of TV, theatre and the arts who found the apartment, just a block from Central Park, the perfect setting. Later, when the Taffners moved to Greenwich Village, their hospitality extended to letting us stay in the self-contained flat at Grove Street (illustrated opposite). It was an absolute delight and privilege to be their house guests and to join them for afternoon tea in their kitchen. First time visitors to New York were encouraged by Eleanor to undertake some retail therapy, not Macy’s or Bloomingdales, but a trip with her to Chinatown where she knew exactly where to go amongst the myriad of street traders to find the best ‘quality’ fake designer watches and handbags. And if the seller wanted too much, Eleanor’s response was “we’ll find something better and cheaper elsewhere” and off we would go! Some years later I reciprocated as shopping guide when, on one of the Taffners’ weekend visits to Glasgow, we found ourselves visiting Glasgow’s rather unique Barras market. The friendly concierge at their hotel had suggested that ‘the Barras’ offered an insight into the real Glasgow and, having safely parked the Daimler in a side street, we spent the next hour or so wandering the market. We returned laden with bags of toys destined for the grandchildren. The fact that similar toys (and probably of a better quality) could have been purchased in Manhattan at F.A.O. Schwartz was to have missed the point. It was about the experience. Not only were the Taffners generous in their offer of
accommodation but they were also keen that those visiting New York got to enjoy a wide range of local dining. In the early years, lunch or dinner at Elaine’s on the Upper East Side was a must. Although it was a hangout for writers, editors and actors it was simply the Taffners’ local. Meanwhile, anyone who experienced a night out at La Mela in the heart of Little Italy is probably only just recovering! In the early 1990s it was a slightly crazy, chaotic place with no menu as such but with a constant stream of good food arriving at your table and wine (house red and white only) being charged based on what you hadn’t drunk; it was a truly memorable experience and highly recommended! In Glasgow we tried to match this experience with dinner at The Cabin restaurant in the city’s west end. The food was excellent but what made it quirky and slightly oddball was, after coffee had been served and the kitchen closed down, the waitress switched to being a cabaret/karaoke singer with diner – participation an absolute must. Memories of the whole room (including Don and Eleanor) singing and bouncing along to the theme tune of Skippy the Bush Kangaroo is firmly etched into my mind. And of course no one else would have known that this popular Australian children’s TV series just so happened to be a successful Taffner business venture! I made my last visit to Grove Street in the spring of 2008. I had planned a Saturday night stopover there on my way back to the UK from visiting Virginia. Unfortunately, snowstorms had shut most of the airports on the Eastern seaboard and I found myself arriving into Newark Airport very early on Sunday morning instead. Yet by 9am I was having coffee with Don and Eleanor around their kitchen table; it was as if I did this every Sunday morning. Although the sidewalks were very icy Don was keen that we go for lunch so later we ended up tottering over to their local brasserie for a delightful meal. It was the perfect end to a hectic few days and by late afternoon I was in a car and on my way to the airport and home. Happy memories. Peter Trowles Mackintosh Curator The Glasgow School of Art
1* 592/1 JESSIE KEPPIE (SCOTTISH 1868-1951) ‘CHATEAU GILLIARD’ signed lower right JESSIE KEPPIE, inscribed on label verso, watercolour 39cm x 28cm (15¼in x 11in)
Provenance: Cyril Gerber Fine Art, Glasgow Exhibited: The Royal Glasgow Institute, 1912, no. 480.
Note: Jessie Keppie, the youngest sister of John Keppie, was a close friend of Charles Rennie Mackintosh, and may at one time have been engaged to him, before he met and married Margaret Macdonald. She studied at the Glasgow School of Art between 1888-1899 under Fra Newbery and James Dunlop and worked in watercolours, painting landscapes and flowers, possibly influenced in technique by the work of Arthur Melville. Mackintosh worked at the architects firm of Honeyman & Keppie in Glasgow where John Keppie was a partner. £700-1,000 US$1,120-1,600
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Annie French Born and raised in Glasgow, Annie French was encouraged by her father to pursue her artistic ambitions, enrolling in the Glasgow School of Art in her early twenties. There, following the example of Jessie M. King, French developed her talent for line drawing, similarly preferring ‘romantic’ and ‘fanciful’ subjects. She was one of many artists of this period who borrowed some of the conventions of the Pre-Raphaelites and seldom departed from the theme of delicately pretty ladies among flowers or woods, which is reflected in the six works offered for sale. As can be seen in Autumn and The Rose, flowers play an important part in her designs, and are often the basis for her paintings’ highly patterned and decorative style. While small scale watercolours formed the mainstay of her work French also produced book illustrations, such as Girl Smelling Roses, as well as designs for postcards and greeting cards. It has been suggested that The Plumed Hat was such a design. French’s work first appeared publicly in the Brussels Salon of 1903, while she was still a student, and was accepted thereafter in exhibitions at the Royal Glasgow Institute of the
Fine Arts and the Royal Scottish Academy. Comparisons of her work with that of Aubrey Beardsley are based on her use of dots and the dotted line but an article in ‘The Studio’ in 1906 noted a distinction between the two stating that, “from what might be termed the Beardsley convention [French forms] fanciful schemes of her own”. Praising her “individual charm” and “highly decorative quality and elegance of design” the publication helped to enhance her reputation. From 1906 French shared a studio in Glasgow with Bessie Innes Young and Jane Younger and, three years later, became Tutor in Ceramic Decoration at Glasgow School of Art as successor to King. Following her marriage to the artist George Woolliscroft Rhead in 1914 she settled in London and became a frequent exhibitor at the Royal Academy until the mid-1920s. Her style and production remained constant throughout her life until her death in Jersey aged 93.  Louise Annand, ‘Annie French (1872-1965) in Glasgow Girls, p. 141  Ibid, p. 142  Ibid, p. 145.  ‘Studio Talk’, The Studio, Vol. XXXVIII, 14th July, 1906, p. 164.
2* 592/5 ANNIE FRENCH (SCOTTISH 1872-1965) ‘O BESSIE BELL AND MARY GRAY’ signed lower right ANNIE FRENCH, ink, watercolour, gold ink and traces of pencil on paper 30cm x 23cm (12in x 9in)
Provenance: The Fine Art Society, London Sotheby’s, Perthshire, ‘Scottish and Sporting Paintings’, 29th August 1988, Lot 836
Exhibited: The Royal Glasgow Institute, 1910, no. 395 Note: The subject, taken from The Child Ballads, tells the tale of two friends who take refuge from the plague in a bower, but who later die after being infected during a visit from a suitor. £3,000-5,000 US$4,800-8,000
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3* 592/7 ANNIE FRENCH (SCOTTISH 1872-1965) THE ROSE signed lower left ANNIE FRENCH, ink, watercolour, gold ink and traces of pencil on paper 24.5cm x 26.5cm (9¾in x 10¼in)
4* 592/11 ANNIE FRENCH (SCOTTISH 1872-1965) ‘AUTUMN’ signed lower right ANNIE FRENCH, inscribed top left AUTUMN, dated 1903, watercolour, ink and gouache 19.5cm x 11.5cm (7¾in x 4½in)
Provenance: Cyril Gerber Fine Art, Glasgow £1,000-1,500 US$1,600-2,400
5* 592/8 MARY NEWBERY STURROCK (BRITISH 1892-1985) ‘CARNATIONS’ signed with initials in pencil lower right MNS, black ink and watercolour 27cm x 20cm (10¾in x 8in)
Provenance: The Fine Art Society, London Exhibited: Edinburgh, the Fine Art Society ‘Mary Newbery Sturrock: Flower Studies’, 19th August-9th September, 1978 Literature: Moffat, Alistair & Baxter, Colin, ‘Remembering Charles Rennie Mackintosh’, Lanark 1989, p.79 £300-500 US$480-800
Note: Mary Newbery Sturrock was the daughter of Francis 'Fra' Newbery (1855-1946), the Headmaster of the Glasgow School of Art at the time Mackintosh designed the new premises in Renfrew Street. Newbery and Mackintosh, and their families, became good friends and Mary Newbery was a frequent visitor to the Mackintoshes' house in Glasgow before they left the city in 1913. Mary was convalescing in Walberswick while the Mackintoshes were in the village in 1914 . She watched Mackintosh making some of his flower drawings and was inspired by them to produce her own studies in later life. In a conversation with Roger Billcliffe she stated that the appearance of Margaret's initials on Mackintosh's flower
drawings merely indicated that Margaret was present when the drawing was made, not that she made any contribution to the drawings. There is no stylistic evidence of Margaret adding watercolour to these drawings (the most frequent reason given for the appearance of her initials) which are consistent with Mackintosh's own watercolour technique. Sturrock's theory is supported by the absence of Margaret Mackintosh's initials on some watercolours (see lot 28) and the presence of several sets of initials on some drawings, made when Mackintosh was accompanied by friends such as Herbert and Frances MacNair, John Keppie or Charles Macdonald, brother of the Macdonald sisters.
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Jessie Marion King One of the most individual and successful ‘Glasgow Style’ designers in her lifetime, Jessie Marion King had a long and productive career. Despite the disapproval of her parents King pursued her early artistic promise and enrolled at the Glasgow School of Art in 1892. There she was encouraged by the inspirational, liberal Headmaster, Fra Newbery, to maintain her ‘child-like vision’ while developing her natural gift for linear expression. Predominantly working in pen and ink King produced intricately designed and delicately coloured book covers and illustrations, such as the series entitled The Golden Dawn. Her talent was recognised in 1902 when she won a gold medal at the International Exhibition of Decorative Art in Turin for a book cover design, and further acclaim in ‘The Studio’ publication helped to spread her reputation. King joined the staff of the Glasgow School of Art as an instructor in book illustration before her marriage to E.A. Taylor in 1908 precipitated a relocation to Salford and, later, to Paris. While in France King was to be greatly influenced by the innovative colour and design work of Leon Bakst, whose bold costumes for the Ballets Russes were creating an international sensation. This influence can be seen in her later work where we see her style change from the ‘linear fantasy’ of
Golden Days in the Coming Years to use of a broader line with brightly coloured washes. Although her earliest success was with book illustrations King also wrote over seventy children’s books and designed wallpaper, posters, fabrics and costumes, as well as creating silver and jewellery for Liberty and Co.’s Cymric line. She experimented with the use of batik, after being introduced to the new technique while in Paris, and produced a series of vividly coloured landscapes in oil and watercolour after she moved to Kirkcudbright in 1914. Throughout her varied professional career King retained a distinctly individual style. This individuality can be seen by her refusal to copy designs at art school, instead insisting she be allowed to draw “out of my head”. Cutting an eccentric figure in her trademark black brimmed hat, cape and buckled shoes King became well-known and liked in Kirkcudbright where she lived with Taylor until her death aged 74.  Jude Burkhauser, ‘Jessie M. King (1875-1949)’ in Glasgow Girls, p. 133.  Cordelia Oliver, ‘’Jessie M. King’, in Jessie M. King and E.A.Taylor, (1977) p. iv.  Jude Burkhauser, ‘Jessie M. King (1875-1949)’ in Glasgow Girls, p. 135.  Jessie M. King, ‘Lecture on design’, King Collection.
6* 592/160 JESSIE MARION KING (SCOTTISH 1875-1949) ‘GOLDEN DAYS IN THE COMING YEARS’ signed lower right JESSIE M KING with title lower centre, ink, watercolour and gold ink on vellum 22.5cm x 35.5cm (9in x 14in)
Provenance: Barclay Lennie Fine Art Ltd., Glasgow Exhibited: Glasgow, Barclay Lennie Fine Art Ltd, and London, Bourne Fine Art ‘Jessie M King’, 2nd November-16th December 1989, no. 6 £4,000-6,000 US$6,400-9,600
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7* 592/101 JESSIE MARION KING (SCOTTISH 1875-1949) ‘THE GOLDEN DAWN’ Inscribed THE GOLDEN DAWN, ink, watercolour and traces of pencil, 23.5cm x 11.5cm (9½in x 4½in); and three companions by the same hand, a set of four (4) Provenance: Cyril Gerber Fine Art, Glasgow £3,000-5,000 US$4,800-8,000
8* 592/46 MARGARET DE COURCY LEWTHWAITE DEWAR (SCOTTISH 1878-1959) COPPER AND ENAMEL MANTEL CLOCK, CIRCA 1900 with domed lantern pediment having applied red enamel bands over Celtic cross design enamelwork with central circular dial, painted Arabic numerals, the base of the cross decorated with two figures, one playing a pipe, the sides with panels of fairies and enamel inscription NOW THE BRIGHT MORNING STAR COMES DANCING FROM THE EAST, AND RAPT THRO’ MANY A ROSY CHANGE THE TWILIGHT DIED INTO THE BANK, raised on spreading rectangular plinth (alterations) 31cm (12in) high x 19.5cm (7½in) wide
Provenance: Barclay Lennie Fine Art, Glasgow Literature: Burkhauser, Jude (edit.) ‘Glasgow Girls: Women in Art and Design 1880-1920’, Edinburgh 1990, pp. 158-163 Note: The inscription on this clock is taken from John Milton's 'Song on May Morning'. De Courcy Lewthwaite Dewar was born in Kandy, Ceylon, the daughter of a tea planter. From 1891 to around 1909 [if she was employed in 1902 by GSA she was no longer studying there in 1909] she studied at the Glasgow School of Art and her main contribution to the Glasgow Style was her enamel and metal work, frequently illustrated and promoted in ‘The Studio’ magazine. Traditionally a male preserve in the early 19th century, metalworking by women had, by the late 19th century, become socially acceptable. Numerous talented women artists in jewellery, metalwork and enamelling were working in Glasgow at this time. By 1902 Dewar had been employed by Fra Newbery, Director of the School of Art, as a teacher in enamels. She had been influenced by her teacher in metalwork Peter Wylie Davidson, and she also benefitted from a visit to the School of Art of the celebrated enamellist Alexander Fisher. In addition to her teaching role, she had her own studio in Glasgow, recieving frequent commissions for her work and collaborating with other contemporaries such as Dorothy Carleton Smyth (see lot 28) and Jessie M. King. Along with the Mackintoshes and the MacNairs, she exhibited at the Turin International Exhibition of Decorative Art in 1902. Her concern for women’s issues also led to her support of the suffrage movement and she designed many bookplates, calendars and programmes for suffrage organisations. She remained an active and ouspoken participant in the arts and for womens rights throughout her life. In 1933 she purchased White Tulips (lot 61) by Charles Rennie Mackintosh at the Memorial Exhibition in Glasgow in 1933 (no. 78). £4,000-6,000 US$6,400-9,600
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9* 592/76 MARGARET GILMOUR (SCOTTISH 1860-1942) BRASS DESK STAND, CIRCA 1900 with two hinged sloping doors decorated with Glasgow rose panels over similarly decorated front and spreading rectangular plinth, signed with stamped monogram 28cm (11in) across
Note: Margaret Gilmour and her sister, Mary, maintained a studio teaching and producing metalwork at 179 West George Street, Glasgow from 1893 until the early 1940s. £700-900 US$1,120-1,440
10* 592/77 MARGARET GILMOUR (SCOTTISH 1860-1942) BRASS MOUNTED RECTANGULAR BLOTTER, CIRCA 1900 the sides with Celtic entrelac decoration, signed with stamped monogram 48cm (19in) across
Provenance: The Fine Art Society, London £200-300 US$320-480
11* 592/80 GLASGOW SCHOOL LARGE BRASS TRAY, CIRCA 1910 with eared corners and linked Glasgow rose spandrel decoration, unsigned, 29cm (11½in) across; an ARTS & CRAFTS SMALL BRASS DISH, with Celtic entrelac decoration, 11cm (4¼in) across; and ANOTHER SMALLER, with rose decoration, 8.5cm (3¼in) across (3) £200-300 US$320-480
12* 592/78 MARGARET GILMOUR (SCOTTISH 1860-1942) NARROW RECTANGULAR BRASS PEN TRAY, CIRCA 1900 with repoussé Glasgow rose panels, signed with stamped monogram, 22cm (9in) across; and ANOTHER IDENTICAL IN SIZE, with Celtic entrelac decoration, signed with stamped monogram, 22cm (9in) across (2) Provenance: The Fine Art Society, London £200-300 US$320-480
13* 592/79 MARGARET GILMOUR (SCOTTISH 1860-1942) BRASS INKWELL, CIRCA 1900 the hinged lid with Glasgow rose decoration and front with monogram, on spreading plinth, signed with stamped monogram 10cm (4in) across
14* 592/82 GLASGOW STYLE OVAL BRASS TEA TRAY, CIRCA 1910 repoussé decorated with continuous frieze of roundels amidst entrelac Celtic frieze, inset carrying handles to the gallery, 57.5cm (22½in) wide; together with a GLASGOW STYLE BRASS CANDLE SCONCE, repoussé decorated with a Glasgow rose, 31cm (12in) high (2) £300-400 US$480-640
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15* 592/40 AFTER MARGARET GILMOUR ARTS & CRAFTS BRASS CASED KIDNEY SHAPED WALL MIRROR, CIRCA 1910 the broad border repoussé decorated with butterflies linked by scrolls 77cm (30in) wide
16* 592/74 SCOTTISH ARTS & CRAFTS COPPER AND PEWTER WALL MIRROR, CIRCA 1910 of tapering rectangular outline, the beaten metal frame set to the angles with red cabochons 49cm x 80cm (19in x 31½in)
17* 592/104 SCOTTISH SCHOOL BRASS FRAMED WALL MIRROR, CIRCA 1930 of oval form, the frame embossed and chased with Celtic knot work, enclosing a later mirrored plate, 85cm x 41cm (33½in x 16in); another SCOTTISH CELTIC REVIVAL BRASS FRAMED WALL MIRROR, of rectangular form, with embossed and chased Celtic decoration, 57cm x 36.5cm (22½in x 14in); and a pair of OVAL COPPER WALL MIRRORS, each with strapwork decoration, 38cm (15in) x 22cm (8½in) high (6) £300-500 US$480-800
18* 592/155 GLASGOW SCHOOL BRASS AND ENAMEL WALL SCONCE, CIRCA 1910 repoussé decorated with stylised roses and inset with turquoise enamel roundel 56cm (22in) high
19* 592/157 GLASGOW SCHOOL BRASS WALL SCONCE, CIRCA 1910 repoussé decorated with stylised moths 38cm (15in) high
20* 592/161 GLASGOW SCHOOL BRASS WALL CHARGER, CIRCA 1910 repoussé decorated with a band of entwined Celtic decoration 48cm (19in) diameter
21* 592/38 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) SUITE OF SILVER CUTLERY, 1902 comprising: A SINGLE SOUP SPOON, with deep almost circular bowl and with incised heel, pierced terminal, 26.5cm (10½in) long; A SINGLE DESSERT SPOON, with deeper bowl and with incised heel, pierced terminal, 26.5cm (10½in) long; A SINGLE DINNER FORK, with four prongs, pierced terminal, 26cm (10¼in) long; and A SINGLE DESSERT FORK, with four prongs, pierced terminal, 23cm (9in) long, each with maker’s mark DWH (David W. Hislop), hallmarked Glasgow 1902 (4) Provenance: Fra H. Newbery Elsie Newbery and by family descent Barclay Lennie Fine Art, Glasgow
Note: In 1902 Jessie and Fra Newbery commissioned from Mackintosh a design for a twelve place setting of dining cutlery, each set containg a soup spoon, dessert spoon, dinner fork and dessert fork (knives were supplied separately from a stock pattern). The commission was handled by a jeweller’s in Glasgow, Edwards & Company, and the cutlery was made by D W Hislop, a Glasgow silversmith who worked with Mackintosh on other projects. All of the cutlery was later divided equally between the Newberys’ daughters, Mary and Elsie; Mary’s pieces were sold separately during the 1970s and 1980s. £5,000-8,000 US$8,000-12,800
Literature: Howarth, Thomas, ‘Charles Rennie Mackintosh and the Modern Movement’, New York, 1953, pl. 50
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22* 592/38A CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) SUITE OF SILVER CUTLERY, 1902 comprising: A SINGLE SOUP SPOON, with deep almost circular bowl and with incised heel, pierced terminal, 26.5cm (10½in) long; A SINGLE DESSERT SPOON, with deeper bowl and with incised heel, pierced terminal, 26.5cm (10½in) long; A SINGLE DINNER FORK, with four prongs, pierced terminal, 26cm (10¼in) long; and A SINGLE DESSERT FORK, with four prongs, pierced terminal, 23cm (9in) long, each with maker’s mark DWH (David W. Hislop), hallmarked Glasgow 1902 (4) Provenance: Fra H. Newbery Elsie Newbery and by family descent Barclay Lennie Fine Art, Glasgow Literature: Howarth, Thomas, ‘Charles Rennie Mackintosh and the Modern Movement’, London, 1952, pl. 50C £5,000-8,000 US$8,000-12,800
Photographed at the Memorial Exhibition, 1933. The label reads “Lent by Mr. F.H. Newbery”. Photo: T. & R. Annan.
23* CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) SUITE OF SILVER CUTLERY, 1902 comprising: A SINGLE SOUP SPOON, with deep almost circular bowl and with incised heel, pierced terminal, 26.5cm (10½in) long; A SINGLE DESSERT SPOON, with deeper bowl and with incised heel, pierced terminal, 26.5cm (10½in) long; A SINGLE DINNER FORK, with four prongs, pierced terminal, 26cm (10¼in) long; and A SINGLE DESSERT FORK, with four prongs, pierced terminal, 23cm (9in) long, each with maker’s mark DWH (David W. Hislop), hallmarked Glasgow 1902 (4) Provenance: Fra H. Newbery Elsie Newbery (Lang) and by family descent Barclay Lennie Fine Art, Glasgow Literature: Howarth, Thomas, ‘Charles Rennie Mackintosh and the Modern Movement’, London, 1952, pl. 50C £5,000-8,000 US$8,000-12,800
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24* CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) GLASGOW SCHOOL OF ART CLUB DIPLOMA OF HONOUR offset lithograph, with facsimile signature 23cm x 29cm (9in x 11½in)
Provenance: Christies, London ‘The Dr. Thomas Howarth Collection’ Thursday, 17th February 1994, lot 88 Literature: Ver Sacrum, no. 23, 1901, ill. p. 397 Howarth, Thomas. ‘Charles Rennie Mackintosh and the Modern Movement’, London, 2nd ed. 1977, pl. 7C Neat, Timothy ‘Part Seen, Part Imagined: Meaning and Symbolism in the Work of Charles Rennie Mackintosh and Margaret Macdonald’ Edinburgh 1994, ill. p. 30 Note: The School of Art Club was a student organisation, a social club for current and past pupils at the School and an exhibition
venue for shows of recent work. At the end of 1894 its exhibition included work by the Macdonald sisters which led to outcries in the press about ‘ghoul-like’ works with ‘impossible forms, lurid colour, and symbolism that requires many footnotes of explanation’. The name ‘Spook School’, given to the work of The Four, was born. Mackintosh was never as extreme in his ‘Spook School’ graphic work as his friends Margaret and Frances Macdonald and Herbert MacNair. The figures in this design are much more classical in feeling (there is an affinity with Michelangelo in other similar work of the period) and the elaborate patterns of hair and vegetation in the background have a more ordered and substantial feel than that in contemporary works by his friends. The central figure may be the earliest appearance of a favourite Mackintosh motif, the Tree of Knowledge. Two other examples are known (The Hunterian, University of Glasgow) £1,800-2,200 US$2,880-3,520
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25* 592/19 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) ‘YELLOW TULIPS’ Signed bottom right C R MACKINTOSH, watercolour 47.5cm x 47cm (18¾in x 18½in)
Provenance: Ronald W.B. Morris Esq., Kilmacolm, an executor of the Estate of Margaret Macdonald Mackintosh, acquired after the Memorial Exhibition in 1933 Christie’s, Edinburgh ‘Fine Paintings and Drawings’, November 17, 1994, Lot 814 Exhibited: Chicago, 4th International Exhibition of Watercolours, 1924 Glasgow, McLellan Galleries ‘Charles Rennie Mackintosh and Margaret Macdonald Mackintosh: Memorial Exhibition’, May 1933, no. 51 Glasgow, Hunterian Museum and Art Gallery ‘Flower Drawings by Charles Rennie Mackintosh’, November 1977, no. 41 Edinburgh, Glasgow and London, The Fine Art Society ‘Glasgow 1900’,1979 London, The Fine Art Society ‘Charles Rennie Mackintosh Memorial Exhibition’, 1983 Edinburgh, The Royal Scottish Academy ‘Mackintosh Watercolours’, August 1986, no. 35 New York, The Metropolitan Museum of Art, November 19thFebruary 16th 1996; Chicago, The Art Institute of Chicago, March 29th-June 22nd 1997, Los Angeles, Los Angeles County Museum, August 3rd-October 12th 1997, ‘Charles Rennie Mackintosh’, Glasgow Museums Exhibition, May 25th 1996October 12th October 1997, no. 285 Literature: Billcliffe, Roger ‘Mackintosh Watercolours’, London, 1978, pp. 16-17, 41, ill.102, catalogue 173 £100,000-150,000 US$160,000-240,000
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â€˜Yellow Tulipsâ€™ photographed at the Memorial Exhibition, 1933. Photo: T. & R. Annan.
In 1913 Mackintosh dissolved his partnership with John Keppie in Glasgow and set up on his own. There are no records of him gaining any new commissions, however, and in 1914 he and his wife, Margaret Macdonald, set off for Walberswick for what seems to have been a recuperative holiday near to their friends the Newberys (see lots 28 and 29). Mackintosh spent much of his time there painting wild flowers, possibly intended for publication. The outbreak of war, however, probably dissuaded him from returning to Glasgow, where the chances of establishing a new architectural practice were somewhat diminished by the hostilities and legislation curtailing new building.
The Mackintoshes stayed on in Walberswick into 1915 and Mackintosh began to make more elaborate watercolours of the village and some of its houses. He must have known that he would have to find new sources of income and this move towards more finished watercolours, suitable for exhibition, was probably part of his strategy. Before he was able to develop the idea beyond three or four finished pieces, he was arrested on suspicion of working for the enemy. His accent, his persistent visits to the coast (to draw flowers) and his recording of the village in his watercolours were all seen as suspicious at a time when the east coast seemed vulnerable to enemy attack. The discovery in his lodgings of letters from Austria and
Germany added to the general hysteria and it was only after the intervention of several influential friends, including Newbery and Patrick Geddes, that he was released, with a recommendation that he move to London. There, the couple took lodgings in Willow Road, Hampstead, and rented two adjacent studios in Glebe Place, Chelsea. Mackintosh made immediate efforts to extend his income, producing designs for printed textiles for sale to a couple of manufacturers who were interested in modern design, and beginning work on a series of finished watercolours which could be sent to various exhibiting societies in the hope of making sales. The inspiration that the townscape of Walberswick had given him was obviously missing in the heart of London, despite the adjacent charms of Glebe Place, Cheyne Walk and the Thames, so he turned towards finished paintings of cut flowers, arranged in the studio. Some of the earliest of these, such as Begonias and Anemones contain stylised backgrounds formed from pieces of fabric made from the concurrent designs Mackintosh was making for textiles. Begonias is reminiscent of the strong patterns that Mackintosh was making for a house at 78 Derngate, Northampton, while Anemones moves towards a more naturalistic composition, with a white wall for a background on which hangs a piece of Mackintosh-designed cloth, like a picture. White Tulips makes a further move towards this new naturalism. The flowers are arranged on the frontal plane of the painting, with the base of their vase cut off and its supporting table excluded completely from the composition. The curving stems of the flowers fan out across the paper and their blooms are arranged along its top edge, all seen against the white of a wall behind. In the lower half of the painting Mackintosh introduced a simple table, covered in a checked cloth, on which is placed a plain white vase containg four peonies. The checked cloth and the lush blooms of the peonies contrast vividly with the classic elegance of the tulips. The tulip became a favourite motif for Mackintosh while designing textiles at this time, although its shape probably lay behind some of the more naturalistic curves and blooms of the earlier Spook School designs of the 1890s. And the tulip is the only flower that Mackintosh used more than once in this sequence of paintings of cut flowers. Yellow Tulips is probably one of the later paintings made just before the Mackintoshes left London for France in 1923. Mackintosh chose to send it to Chicago for the 4th International Exhibition of Watercolour Paintings; it seems very likely that he would choose a recent work, especially as most of his other paintings remained
Charles Rennie Mackintosh. Photo: T. & R. Annan.
unsold and so he would have had a number to choose from. Its setting is unique, showing in the background a wall of his Glebe Place studio. He seems to have made a wall of bookshelves, not unlike the treatment of the fireplace wall of his sitting room in Glasgow, although here the woodwork is stained dark, as opposed to the Glasgow white paint. As in White Tulips, Mackintosh has arranged the flowers across the sheet of paper, emphasising the sinuous curves of the stems and contrasting the bright yellow of the blooms against the cool grey-browns of the room. The flattening of the composition, the emphasis on pattern and shapes, looks forward to Mackintoshâ€™s later work in France, where he concentrated on landscape rather than cut flowers such as these. Mackintosh went to France, seemingly, with the promise of an exhibition if he could amass enough work. These London flower paintings would have given him the confidence to work towards this new goal and they would have shown to gallery owners that Mackintosh had the necessary skills and imagination to achieve a solo show. But these are not transitional works - a halfway-house between the flower studies of Walberswick and the powerful landscapes of Port Vendres - they are the first fruits of a new career for Mackintosh, one that he was born to, for the bedrock of everything he ever did.
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26* 592/23 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) ‘AT THE EDGE OF THE WOOD’ indistinctly signed, watercolour 49.5cm x 36.5cm (19½in x 14in)
Provenance: Given to Elsie Newbery by the Mackintoshes as a wedding present in 1915 and by family descent William Hardie Ltd., Glasgow Literature: Howarth, Thomas ‘Charles Rennie Mackintosh and the Modern Movement’, London, 2nd ed. 1977, p. 27, note 2 Billcliffe, Roger ‘Mackintosh Watercolours’, London 1978, p. 81, catalogue 85 Robertson, Pamela ‘Charles Rennie Mackintosh: Art is the Flower’, London 1995, p. 104, pl. 68 Exhibited: Edinburgh, Royal Scottish Academy ‘Mackintosh Watercolours’, 8th August-5th October 1986, no. 11 Note: One of the most unusual of Mackintosh’s watercolours, an amalgam of the symbolist watercolours of the 1890s and later, more naturalist paintings. Traditionally dated to circa 1905-6 it could, given the date of the gift to Elsie Newbery, date from 1914-15 and may even relate to the contemporary Voices of the Woods, a collaborative exhibit by Charles and Margaret. Its form has always been a puzzle, with trees melding into the background to create an uncertain landscape. Elsie Newbery admitted to hanging it upside down until her discovery of a group of silver birches growing in a similar fashion in Arran. £10,000-15,000 US$16,000-24,000
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27* 592/16 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) ‘TACSONIA’ signed with initials CRM and MMM, inscribed and dated lower centre left CINTRA JUNE 1908, pencil and watercolour 24.5cm x 19cm (9¾in x 7½in)
Provenance: R.W.B Morris, executor of Margaret Macdonald Mackintosh’s estate, 1933 Sotheby’s Belgravia, 7th November 1978, lot 162 Piccadilly Gallery, London Galleria Galatea, Milan Sotheby’s, Glasgow ‘Scottish Paintings’, 11th December 1996, lot 281 Exhibited: Edinburth, Royal Scottish Museum and London, Victoria and Albert Museum, Scottish Arts Council Exhibition, ‘Charles Rennie Mackintosh - Architecture, Design and Painting’, 17th August-8th September and 30th October-29th December 1968, no. 293 Literature: Billcliffe, Roger ‘Mackintosh Watercolours’, London 1978, p. 78, Catalogue 86 Note: The Mackintoshes visited Cintra in Portugal in 1908, presumably on holiday. This is one of the most elegant compositions of Mackintosh’s flower studies combining pencil drawings of the plant’s leaves and a dissection of its seed pod, overlaid with a watercolour depiction of the flower in various stages of its life. This layering of different views and elements within a composition had been used regularly in his pencil architectural sketches from about 1900 onwards and can be seen in other drawings £10,000-15,000 US$16,000-24,000
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28* CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) ‘CHICKORY’ signed with initials CRM, inscribed and dated in pencil lower centre right CHICKORY/ WALBERSWICK 1914, pencil and watercolour 24.5cm x 19cm (9¾in x 7¾in)
Provenance: R.W.B Morris, executor of Margaret Macdonald Mackintosh’s estate, 1933 Sotheby’s Belgravia, 7 November 1978, lot 162 The Fine Art Society, London Piccadilly Gallery, London Galleria Galatea, Milan Sotheby’s, Glasgow ‘Scottish Paintings’, 11th December 1996, Lot 281 Literature: Billcliffe, Roger ‘Mackintosh Watercolours’, London 1978, p. 85, catalogue 107 Note: The Mackintoshes moved to Walberswick in 1914, first of all for a recuperative holiday, but the outbreak of war persuaded them to remain in the village for fifteen months. They first of all stayed next door to the Newberys, who had bought a semi-detached villa in the village about 1900. Mackintosh spent much of his time sketching wild flowers on the coast (an activity which was to contribute to his arrest as a suspected enemy spy in 1915). The belief that the colouring on these drawings was applied by Margaret Mackintosh is countered here by the appearance of only Mackintosh’s initials while the quality and manner of the watercolour is entirely consistent with the many drawings where both his own initials and those of Margaret are included (see lot 5). £8,000-12,000 US$12,800-19,200
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29* 592/18 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) ‘GRASS HYACINTHE’ signed with initials CRM and MMM, inscribed and dated lower centre GRASS HYACINTHE/ WALBERSWICK/ 1915, pencil and watercolour 27cm x 20cm (10in x 8in)
Provenance: Cyril Gerber Fine Art, Glasgow Note: Mackintosh’s mis-spelling of ‘hyacinth’ is typical; similar errors occur throughout his work and it has been suggested that he was perhaps mildly dyslexic. £6,000-8,000 US$9,600-12,800
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30* 592/22 FRANCES MACDONALD MACNAIR (SCOTTISH 1874-1921) ‘THE FROG PRINCE’ signed and dated FRANCES E MACDONALD 1898, watercolour and gold ink 49cm x 37cm (19¼in x 14½in)
Provenance: Private Collection, France Christies, Edinburgh ‘Fine Paintings and Drawings’, 13th May 1993, Lot 827 Exhibited: Edinburgh, Royal Scottish Academy, Royal Scottish Society of Painters in Watercolours, 1898, no. 170 Vienna, Eighth Exhibition of the Vienna Secession, 1900, no. 545 Turin, International Exhibition of Modern Decorative Art, 1902, no. 75 Glasgow, Hunterian Art Gallery and Liverpool, Walker Art Gallery ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, 12th August 2006-22nd April 2007, exhib. ref. W13 Literature: Ver Sacrum, no. 24, 1900, ill. p. 304 Ver Sacrum, no. 23, 1901, ill. p. 399 Dekorative Kunst, Vol. VII, 1901, “Die VIII Austellung der Wiener Secession”, p.170, reproduced. Helland, Janice ‘The Studios Of Frances And Margaret Macdonald’, Manchester, 1996, p. 113, fig. 36 and p. 119, fig. 40, illustration of the interior. Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, Hampshire 2006, p. 151-2, exhib. ref. W13, cat. ill. 70 £30,000-50,000 US$48,000-80,000
â€˜The Frog Princeâ€™ (on the right) hanging in the Writing Room which the MacNairs designed for the International Exhibition of Modern Decorative Art, Turin, 1902.
Frances and her sister Margaret Macdonald each exhibited a watercolour depicting a scene from the tale of the frog prince at the RSW in 1898. Each was unsold and both paintings were shown in the 8th Exhibition of the Vienna Secession in late 1900 in the room designed by Mackintosh as a showcase for the work of The Four. Helland and Robertson have both commented on the themes and possible feminist undertones in Francesâ€™s choice of the cruel moment in the story when the princess, after the frog has retrieved the golden ball for her, runs off with it, reneging on her promise to share her life with him, leaving the distraught frog prince behind. The prince is seen here as half frog, half human and the princess, despite her billowing dress, veils and cascading hair all seen as symbols of her wealth and beauty - is shown with scaly claws for hands. The overall design and execution shows Frances at the height of her powers at this date and remains perhaps her highest achievement among her pre-1900 watercolours.
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31* 592/60 FRANCES MACDONALD MACNAIR (SCOTTISH 1874-1921) ‘THE ROSE CHILD’ signed and dated 1898, watercolour 46cm x 20.5cm (18in x 8in)
Provenance: Charles Macdonald Esq., the artist’s brother By descent to his daughter, Mrs. L. A. Dunderdale The Fine Art Society, London Gordon House Christies, 14th June 2005, Lot 218. Exhibited: Glasgow, Hunterian Art Gallery and Liverpool, Walker Art Gallery ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, 12th August 2006-22nd April 2007, exhib. ref. W12 Literature: Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, Hampshire 2006, p. 151, exhib. ref. W12, cat. ill. 69 Note: Another fine work from 1898, this time on a theme which was to become familiar in the work of the sisters. Children and roses or rose bushes featured regularly in the work of Frances Macdonald, and her future husband Herbert MacNair, from the mid-1890s. This symbolism is multi-layered and open to much speculation over its meaning. By no means all of it celebrates human fecundity and romantic love and, particularly in Frances’s paintings, the debate over the effect of children on a woman’s creative output seems never far beneath the surface. £8,000-12,000 US$12,800-19,200
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32* FRANCES MACDONALD MACNAIR (SCOTTISH 1874-1921) DESIGN FOR CLASP AND ORNAMENT, CIRCA 1900-10 bears inscriptions, pencil and watercolour 14cm x 11.5cm (5½in x 4½in)
Provenance: The Fine Art Society, Glasgow Ed and Jess Simpson Roger Billcliffe Fine Art, Glasgow Exhibited: Glasgow, Edinburgh and London, The Fine Art Society ‘Glasgow 1900’, 1979, no. 60 Liverpool, The Walker Art Gallery, ‘The Art Sheds 1894-1905’, 1981, no. 117
Note: Frances gave classes in design at the Art Sheds at the University of Liverpool, where Herbert MacNair was one of the instructors. After her return to Glasgow about 1908 she was also employed in the jewellery and textiles department at Glasgow School of Art. Some examples of her early jewellery were exhibited at St George’s Hall, Liverpool in 1900 and again in Turin in 1902. £1,000-1,500 US$1,600-2,400
33* 592/3 SIR DAVID MUIRHEAD BONE, H.R.W.S. (SCOTTISH 1876-1953) ‘GLASGOW EXHIBITION AT NIGHT’ signed in pencil lower right MUIRHEAD BONE, black ink and pencil, 18cm x 12cm (7in x 4¾in); and another similar by the same hand, GLASGOW EXHIBITION LAST NIGHT, 12cm x 18cm (4¾in x 7in), mounted within one frame (2) Provenance: Cyril Gerbil Fine Art, Glasgow £600-800 US$960-1,280
34* 592/4 SIR DAVID MUIRHEAD BONE, H.R.W.S. (SCOTTISH 1876-1953) ‘THE TERRACE’ signed lower left MUIRHEAD BONE, pencil on paper, 13cm x 17cm (5in x 6½in); and another similar by the same hand, THE PIAZZA, 13cm x 22cm (5in x 8¾in), mounted within one frame (2) Provenance: Cyril Gerbil Fine Art, Glasgow £400-600 US$640-960
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Ernest Archibald Taylor E.A. Taylor was born in Greenock in 1874, the fifteenth of seventeen children of an army major. After training as a draughtsman in the yards of the shipbuilders Scott and Co. Ltd, Taylor became a student of the Glasgow School of Art in the late 1890s. There he absorbed the influence of Fra Newbery and the already well-established ‘Glasgow Four’ before joing a firm of cabinet makers in 1900 and becoming a leading designer of furniture and stained glass in the Glasgow Style. In 1907 he became the head of furniture design with Wragge and Co. in Salford and married the illustrator and fellow Glasgow School protégé, Jessie M King, the following year. A move to Paris three years later saw Taylor become the Paris correspondent of The Studio’ and second in command of Tudor Hart’s ‘Paris School of Drawing and Painting’. Before long, however, the couple established their own school, ‘The Shealing Atelier’, and also set up a popular summer sketching school on the Isle of Arran, which they continued to run until 1940. Cottages By the Sea was most likely produced during one of these extended stays on Arran. Returning to Scotland shortly after the outbreak of World War I they settled in Kirkcudbright, whose particular quality of light is said to have drawn many artists to reside in its picturesque streets. Cottages were converted to studios and many young artists of the day, including Dorothy Johnstone and Cecile Walton, painted there - joining older figures such as S.J. Peploe, who spoke fondly of the Taylors’ warm hospitality. Although Taylor was no longer at the forefront of Scottish design he worked at a prodigious rate, particularly focusing on water colours of local scenes, some of which he reproduced as etchings. While in Paris, Taylor was influenced by contemporary French painting resulting in his work at home becoming more like that of the Colourists, with simplified forms and bold outlines. Kirkcudbright is a typical example of this period and also features a recurrent motif in his work prominent trees cut off by the upper edge of the canvas. Latterly, he helped to found the Dumfries and Galloway Fine Art Association and was in demand as a speaker on art and also on the work of Robert Burns. With his death in 1951 an important chapter in the life of Kirkcudbright’s artists colony came to a close.
35* 592/97 ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951) TREES BY A FENCE pencil and watercolour 28.5cm x 23cm (11¼in x 9in)
36* 592/96 ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951) COTTAGES BY THE SEA pencil and watercolour 18cm x 16cm (7in x 6¼in)
37* 592/95 ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951) KIRKCUDBRIGHT black conté crayon and watercolour 16cm x 18cm (6¼in x 7in)
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38* 592/90 TIFFANY STUDIOS, NEW YORK ‘ZODIAC’ PATTERN TABLE LAMP, CIRCA 1910 bronze, with ‘turtle back’ glass shade, the bronze cast with Zodiac decoration, stamped maker’s marks TIFFANY STUDIOS NEW YORK 541. 37cm (14½in) high
Literature: Duncan, Alistair ‘Tiffany Lamps and Metalware’, Woodbridge £2,000-3,000 US$3,200-4,800
39* 592/72 TIFFANY STUDIOS, NEW YORK BRONZE PAPERWEIGHT, CIRCA 1910 with ‘turtle back’ glass panel 20.5cm (8in) across
40* 592/70 TIFFANY STUDIOS, NEW YORK ‘ZODIAC’ PATTERN COMPOSITE DESK SET, CIRCA 1910 bronze, comprising of: an INKWELL, 16cm (6in) across; a PAIR OF BOOKENDS, 15cm (6in) high; a BLOTTER, 31cm (12in) across; a THERMOMETER, 20.5cm (8in) high; a LIDDED BOX, 13.5cm (5in) wide; a LETTER CLIP, 10cm (5in) long; a SILVERED STAMP BOX, 9.5cm (4in) across; and a PEN TRAY, 25cm (10in) across (9) £2,000-3,000 US$3,200-4,800
41* 592/73 ART NOUVEAU METALWARE QUANTITY OF BRASS AND COPPER WARES, EARLY 20TH CENTURY to include: an EMBOSSED COPPER TRAY, 40cm (16in) across; a BRASS TWIN HANDLED TRAY, 59.5cm (23½in) across; a BRASS MATCH BOX HOLDER, 15.5cm (6in) high, a BRASS PEN TRAY, 26cm (10in) long; a BRASS JAPANOISE PAPER KNIFE, 27cm long (10½in) long; a COPPER BOX & COVER, 9cm (3½in) high; an AUSTRIAN BRASS AND CERAMIC TRAY, 26cm (10in) diameter; an EMBOSSED COPPER JARDINIERE, stamped mark JS&S, 19cm (7½in) high; a CONTINENTAL BRASS AND COPPER JARDINIERE, 41cm (16in) across (qty) £300-500 US$480-800
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42* 592/121 PIERRE LE FAGUAYS (FRENCH 1892-1962) GIRL WITH A HOOP patinated spelter figure, raised on marble plinth, inscribed on the circular base FAYRAL 30cm (12in) high
43* 592/122 PIERRE LE FAGUAYS (FRENCH 1892-1962) GIRL WITH A HOOP patinated bronze figure, raised on marble plinth, inscribed on the circular base FAYRAL 25cm (10in) high
44* 592/75 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) GROUP OF METALWARES, CIRCA 1910 to include; A RECTANGULAR ELECTROPLATED CASKET, the hinged lid with Secessionist shield and motifs over similar sides with spreading plinth, impressed marks, 21cm (8in) wide; together with TWO WMF ELECTROPLATED BOXES, one hammered with tambour panel and bun feet, impressed mark ANT 123, 15cm (6in) across, the other smaller with embossing, 14.5cm (6in) across; an ARGENTOR SECESSIONIST STYLE CIRCULAR BASKET, with pierced loop handle and similar narrow frieze on elongated bullet feet, impressed mark 4123, 20cm (8in) across; and a WMF STYLE TWIN HANDLED FOOTED FRUIT BOWL, with embossed Glasgow rose decoration, apparently unmarked, 30.5cm (12in) across (5) £300-500 US$480-800
45* 592/120 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) ELECTROPLATED TWIN SPILL VASE, CIRCA 1900 with tall square section glass liners and pierced Secessionist decoration on rectangular plinth, stamped mark BM 1/0 19cm (7½in) high
46* 592/99 WMF (WURTTEMBERGISCHE METALLWARENFABRIK) ART NOUVEAU PEWTER CASKET, CIRCA 1900 with heart and double whiplash pediment to domed hinged lid over shaped sides with opposed female mask, on bracket feet, impressed marks 14cm (5½in) wide
47* 592/32 EMILE GALLÉ (FRENCH 1864-1904) CAMEO GLASS BOTTLE VASE, CIRCA 1910 the frosted glass body overlaid in green and acid etched with a fern design, cameo signature to body GALLÉ 14cm (5½in) high
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48* 592/25 KOLOMAN MOSER (AUSTRIAN 1868-1918) MAHOGANY TABLE VITRINE, CIRCA 1900 the square top with bevelled glass panel above four glazed sides and two opposing revolving doors enclosing glass shelves for display, the whole raised on a cylindrical column on stepped brass base 43.5cm (17in) widein x 72cm (28in) high
49* 592/69A JOSEF HOFFMANN (AUSTRIAN 1870-1956) FOR JACOB & JOSEF KOHN NEST OF THREE EBONISED WOOD TABLES, CIRCA 1906 each with rectangular top raised on turn supports with U-form stretchers, the largest with conjoined sphere handles, bears J.&J. Kohn paper label and retailer’s metal label largest table 60cm (23¾in) wide, 75cm (29½in) high, 45cm (17¾in) deep
Provenance: Sotheby’s, New York ‘Vienna Secessionist Works of Art’, October 11th 1986, Lot 130 £400-600 US$640-960
50* ROMAIN DE TIRTOFF (ERTÉ) (RUSSIAN 1892-1990) ‘THE BALCONY’ print, serial no. CXXXIII/CC 66cm x 53cm (26in x 21in)
51* LOUIS ICART (FRENCH 1880-1950) ‘FAUST’, 1928 signed lower right in pencil LOUIS ICART, with artist’s blindstamp, bears printed inscription COPYRIGHT 1928 BY L. ICART, PARIS/ EDITE PAR LES GRAVEURS MODERNES, 194 RUE DE RIVOLI, PARIS, etching and drypoint, touches of hand colouring, 54cm x 33cm (21¼in x 13in); and TWO REPRODUCTION LOUIS ICART PRINTS, ‘MISS AMERICA’, 48cm x 39cm (19in x 15¼in) and ‘WOMAN IN WINGS (PAPILLON III)’, 39cm x 51cm (15¼in x 20in) (3) Literature: Schnessel, S. Michael and Karmel, Mel ‘The Etchings of Louis Icart’, Pennsylvania 1982, p. 103, fig. 145 £400-600 US$640-960
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52* 592/45 DOROTHY CARLETON SMYTH (SCOTTISH 1880-1933); WILLIAM ARMSTONG DAVIDSON (SCOTTISH 1883-1912); MARGARET DE COURCY LEWTHWAITE DEWAR (SCOTTISH 1878-1959) LARGE TWIN-HANDLED HAMMERED SILVER QUAICH, 1904 of circular outline with repousse flower head entrelac border and with Gaelic inscription, NAH.UILE/ LATHA/ CHI’S NACH/ FHAIC the centre with turquoise enamel boss bearing the inscription, the body with applied script BEA/ NNACH/ DAN, the underside with inscription GLASGOW SCHOOL OF ART/ D. CARLETON SMYTHE/ DESIGNER/ W. ARMSTONG DAVIDSON/ CRAFTSMAN/ DE C LEWTHWAITE DEWAR/ ENAMELLER, hallmarked Glasgow, 1904, maker’s mark JR (possibly James Reid & Co.), 38 oz. 49cm (19in) diameter
Provenance: Sotheby’s, Perthshire ‘Silver and Jewels, Wemyss Ware, Scottish And Sporting Paintings, Drawings and Watercolours’, 26th August 1991, Lot 92 £6,000-8,000 US$9,600-12,800 53 No lot
Glasgow School of Art served as both a place of instruction and collaboration for many young artists at the turn of the century. Dorothy Carleton Smyth attended the School from 1895 to 1905 and, while principally excelling in theatre and costume design, was skilled in the design of stained glass, sculpture, painting and metalwork. She became Principal of Commercial Art at the school in 1914. One of her closest friends was fellow student, and later colleague, De Courcy Lewthwaite Dewar, whose main contribution to the Glasgow Style was her enamel and metalwork. Characterised by its strong colour and vigorous outline, her enamelling was frequently featured in ‘The Studio’ and led to her later being appointed instructor in enamels at the Art School. Dewar was influenced in the early days of her career by her tutor of metalwork, Peter Wylie Davidson, who later joined his brother and fellow silversmith, William Armstrong Davidson, working at his studio at 93 Hope Street, Glasgow. William Davidson studied design as an Evening School student at Glasgow School of Art between 1902-04. The building in Hope Street also housed Dewar’s studio, where she worked from 1900 until 1926, collaborating on a variety of commissioned objects in repoussé and silver during that period. The quaich offered here bears inscriptions in Gaelic which translate as ‘Bless the song’ and ‘Everyday you see and everyday you don’t’. It is not known why this beautiful collabarative object was made or the reason for the choice of incription. It may be that the inscriptions in some way allude to the idea that in art there is always more to be seen than meets the eye, a theme explored by C.R. Mackintosh in his 1896 drawing ‘Part Seen, Imagined Part’ (Glasgow Museums and Art Galleries).
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54* 592/35 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) FOR MISS CRANSTON’S, GLASGOW SET OF EIGHT ELECTROPLATED TABLE SPOONS, LATE 19TH CENTURY each with stylized trefoil handle terminals, impressed marks MISS CRANSTON’S (rubbed) (8) 18.5cm (7¼in) long
Provenance: Sotheby’s, London ‘Applied Arts from 1880, 19th December 1986, Lot 262 Literature: Howarth, Thomas, ‘Charles Rennie Mackintosh and the Modern Movement’, London, 1952, pl. 51 £600-800 US$960-1,280
55* 592/43 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) FOR MISS CRANSTON’S, GLASGOW SET OF SIX ELECTROPLATED AND STAINED BONE HANDLED FORKS, CIRCA 1905 each with four prongs and faceted handles, impressed marks MISS CRANSTON’S (6) 20.5cm (8in) long
Literature: Howarth, Thomas, ‘Charles Rennie Mackintosh and the Modern Movement’, London, 1952, pl. 51 £500-700 US$800-1,120
56* 592/80A GLASGOW STYLE TWO EMBROIDERED PICTURE FRAMES, CIRCA 1910 each of rectangular outline, worked in coloured threads on a linen ground, one depicting a mother and child, 29cm (11½in)in x 27cm (10½in); the other stylised plant forms, 29cm (11½in)in x 24cm (9½in) (2) Provenance: Christies, Glasgow ‘Twentieth Century Decorative Arts’, 29th August 1990, Lot 166 £200-300 US$320-480
57* 592/158 MANNER OF ANN MCBETH EMBROIDERED TABLE CLOTH, CIRCA 1900 worked in coloured silks with stylised plant forms on a linen ground with lace border, framed 89cm x 70cm (35in x 27½in)
Literature: Burkhauser, Jude ‘Glasgow Girls: Women in Art and Design 1880-1920’, Edinburgh 1990, p. 104, fig. 129 for similar embroidered panel. £400-600 US$640-960
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58* ANNIE FRENCH (SCOTTISH 1872-1965) AUTUMN signed upper centre right ANNIE FRENCH, ink, watercolour and gold ink on paper, within an Art Nouveau style silvered gesso frame 24cm x 16cm (9½in x 6in)
Provenance: Simon Tracey, London Exhibited: Possibly, Royal Scottish Academy, 1905, no. 450 £2,500-3,500 US$4,000-5,600
59* ANNIE FRENCH (SCOTTISH 1872-1965) ILLUSTRATION FOR A BOOK – GIRL SMELLING ROSES ink and gouache; and another border design verso 7cm x 5cm (2¾in x 2in)
Provenance: Cyril Gerber Fine Art, Glasgow £500-800 US$800-1,280
60* 592/12 ANNIE FRENCH (SCOTTISH 1872-1965) ‘THE PLUMED HAT’ pen, sepia and black ink with watercolour 19.5cm x 12.5cm (7¾in x 5in)
Provenance: J. S. Maas & Son Ltd, London Exhibited: Glasgow, Glasgow Museums and Art Galleries ‘Glasgow Girls: Women in Art and Design 1880-1920’, 1990 Literature: Burkhauser, Jude (edit.) ‘Glasgow Girls: Women in Art and Design 1880-1920’, Edinburgh 1990, p. 142, ill. fig. 183 £1,000-1,500 US$1,600-2,400
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61* 592/20 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) ‘WHITE TULIPS’ signed bottom right C R MACKINTOSH, watercolour 39cm x 34cm (15in x 13in)
Provenance: Miss Margaret De Courcy Lewthwaite Dewar H.L. Hamilton Esq. William Hardie Ltd., Glasgow Exhibited: Glasgow, McLellan Galleries ‘Charles Rennie Mackintosh, Margaret Macdonald Mackintosh, Memorial Exhibition’, May 1933, no. 78 Glasgow, Hunterian Museum ‘Flower Drawings by Charles Rennie Mackintosh’, November 1977, no. 35 Glasgow, The Fine Art Society, ‘The Memorial Exhibition: A Reconstruction’ 1983, no. 78 Literature: Billcliffe, Roger ‘Mackintosh Watercolours’, London 1978, pp. 16, 98, catalogue 156 Note: Tulips had long been a favourite decorative motif for Mackintosh, appearing in his designs for furniture and more frequently in his textile designs produced in London after 1915. In this composition Mackintosh isolates the stems and blooms against the white of the paper, thus emphasising their structure and sinuous curves. For further information see the note for lot 25. £60,000-80,000 US$96,000-128,000
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62* FRANCES MACDONALD MACNAIR (SCOTTISH 1874-1921) ‘GIRL WITH BLUE BUTTERFLIES’ signed and dated lower centre right FRANCES E MACDONALD 1898, watercolour 43.5cm x 100cm (17in x 39½in)
Provenance: Possibly Charles Macdonald Esq., the artist’s brother and by descent to his daughter, Mrs. L. A. Dunderdale Mrs M. Mackenzie The Fine Art Society, London, 1979 Barry Friedman Ltd., New York Exhibited: Glasgow, Glasgow Museums and Art Gallery, ‘Mackintosh Watercolours’, 1978-79 no. viii Tokyo, Japan, International Symbolist Exhibition, Parko Department Store, 1983 New York, Barry Friedman Ltd., ‘Vision and Reveries Symbolist Works on Paper’, 1982 Glasgow, Hunterian Art Gallery and Liverpool, Walker Art Gallery ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, 12th August 2006-22nd April 2007, exhib. ref. W14 Literature: Billcliffe, Roger ‘Mackintosh Watercolours’, London 1978, pp. 72-3, catalogue viii (as ‘Ophelia’) Helland, Janice ‘The Studios of Frances and Margaret Macdonald’, Manchester, 1996 pp. 150, 183 n.15, 187 n.109 Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, Hampshire 2006, pp. 38, 151 and 153, exhib. ref. W14, cat. ill. 71, ill. pp. 80-81 (detail)
Note: The title comes from Robertson and is descriptive - no work with this title has been identified. It has also been known as Ophelia (given by Billcliffe solely due to the subject matter) and Helland has suggested that it is the same work as exhibited in the Sandon Studios, Liverpool, in 1912, as lent by Charles Reilly. This latter suggestion seems most improbable as Frances was otherwise exhibiting contemporaneous pictures at the Sandon and was very unlikely to ask Reilly for a painting that was very different in style from other exhibits in the exhibition. In addition, there is no link between Reilly, Professor of Architecture in Liverpool, and Mrs Mackenzie, the first documented owner of the painting who believed it to have been in her family for many years and from whom The Fine Art Society acquired the painting. This is the largest of a group of very fine watercolours produced by Macdonald in 1898 (see also lots 30-32 and 111); it is, in fact, the largest painting, as opposed to designs for murals etc. produced by the artist. The subject is unidentified but it falls firmly into the group of works exploring fairy tales or similar allegorical subjects. The ghoulish figures and malevolent plant forms of the period 1893-96 have been firmly banished, although Macdonald retained an eye for the darker side of fairy tales, as in her The Frog Prince (lot 30). Robertson suggests a link with Maris’s Girl and Butterflies, then in a Glasgow collection (now Burrell Collection) and also with the Pre-Raphaelite work of Burne-Jones, which has been noted several times. Whatever its sources, the painting marks a major transition for Macdonald away from illustration to works made for exhibition. £60,000-80,000 US$96,000-128,000
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63* CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) ‘WINTER ROSE’ signed and dated bottom right ‘C R MACKINTOSH, 1916’, signed and inscribed by the artist verso, WINTER ROSE-/C.R. MACKINTOSH/ 2 HANS STUDIOS/ 43A GLEBE PLACE CHELSEA SW3, watercolour 26.5 x 25.5cm (10½ x 10in)
Provenance: Sotheby’s, Perthshire ‘Animalier Bronzes, Scottish and Sporting Pictures’, 29th August 1995, Lot 983
Note: An unusual watercolour, transitional between the Walberswick flower studies and the paintings of cut flowers that Mackintosh began to paint from around 1916. It has affinities with Faded Roses (1905, Glasgow Museums) in its combination of blooms and foliage isolated against a neutral background, while the later paintings of flowers, such as White Tulips (lot 61) and Yellow Tulips. £15,000-20,000 US$24,000-32,000
64* 592/61 FRANCES MACDONALD MACNAIR (SCOTTISH 1874-1921) COVER DESIGN FOR ‘DAS EIGENKLEID DER FRAU’ BY ANNA MUTHESIUS signed and inscribed in pencil, pencil, laid down 32cm x 25cm (12½in x 9¾in)
Provenance: Phillips, London, 17 November 1998, lot 287 Literature: Burkhauser, Jude ‘Glasgow Girls: Women in Art and Design 1880-1920’, Edinburgh 1990, p. 54, fig. 53 for illustration of printed book cover. Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, Hampshire 2006, p. 170, exhib. ref. G17; G18, cat. ill. 16 for an image of the printed cover.
Note: Anna Muthesius (1870-1961) was married to the architectural writer Hermann Muthesius and the couple were good friends of the Glasgow Four, Fra Newbery and Mackintosh being godfather to Eckart Muthesius, their youngest son. Her book celebrates artistic dresses, usually made by their designers and includes plates showing the Macdonald sisters wearing such dresses along with similar examples designed by Jessie Newbery and worn by her daughters, Mary and Elsie. In 1902 Margaret Macdonald had designed a cover for ‘Deutsche Kunst und Dekoration’, showing a very stylised Glasgow figure adorned with roses. This design by Frances is more painterly and shows three women with billowing dresses entwined among briar rose tendrils. £4,000-6,000 US$6,400-9,600
65* 592/88 CHARLES RENNIE MACKINTOSH MEISTER DER INNEN KUNST: HAUS ELNES KUNST FREUNDES II a portfolio of fourteen (14) designs, 1901, with title page, text by Herman Muthesius, including designs for: Plans of ground and first floors, West and East Elevations, North Elevation, South Elevation, Perspective from South East, Perspective from North West, Perspective of the Music Room Elevation of Music Room Windows, etc., with original board cover. 54.6cm x 40.4cm (21½in x 16in)
Note: A competition to design a house for a connoisseur of the arts was announced in the December 1900 issue of ‘Zeitschrift für Innendekoration’, published by Alexander Koch. It seems reasonable to assume that Mackintosh would have heard about the competition on his visit to Vienna at the end of 1900, where it would almost certainly have been a topic of discussion amongst the architects and designers he met at the Secession, especially as J.M. Olbrich, who had become a good friend, was to be one of the judges. The closing date was 25th March 1901, and the adjudication was set for 16th and 17th May 1901, at Darmstadt. Mackintosh’s entry was disqualified initially because he did not submit the required number of interior perspectives; but after preparing these, he was awarded a purchase prize of 600 marks and the drawings were reproduced in one of three folios of competition drawings issued in 1902 under the title ‘Meister der Innenkunst’. No first prize was awarded, the prize money being divided between more than sixteen competitors. The second prize was given to M.H. Baillie Scott; and the third was shared by Leopold Bauer and Oskar Marmorek of Vienna and Paul Zeroch of Coblenz. See end papers for additional illustrations. £4,000-6,000 US$6,400-9,600 66* 592/89 AFTER CHARLES RENNIE MACKINTOSH MEISTER DER INNEN KUNST; HAUS EINES KUNST FREUNDES II facsimile edition, Architectural Heritage Prints 1990 54cm (21in)in x 40cm (15¾in)
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67* 592/87 THE YELLOW BOOK: AN ILLUSTRATED QUARTERLY 13 vols, 4to, original printed boards, illus. by Aubrey Beardsley and other artists, published by Elkin Mathews & John Lane, 1894-1897 (13) Note: ‘The Yellow Book’ was a quarterly literary periodical published in London from 1894 to 1897 by Elkin Mathews and John Lane. A leading journal of the 1890s, it was associated to some degree with Aestheticism and Decadence and contained a wide range of literary and artistic genres including short stories, poetry, essays, book illustrations, portraits and reproductions of paintings. Aubrey Beardsley was its first art editor and has been credited with the idea of the yellow cover, associated as it was with the somewhat ‘immoral’ French fiction of the period. Works by artists such as John Singer Sargent, Walter Sickert and Philip Wilson Steer were featured, as well as writings by equally distinguished authors, including Henry James and H.G. Wells. £300-500 US$480-800
68* THE STUDIO AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART YEARBOOKS London: Offices of The Studio, 1893-1918. 4to, volumes 1-73 (in 70 books), including special summer numbers 1899 and 1901, plates, some coloured, some lithographed, mostly contemporary red and brown cloth (volume 5 in green cloth), occasional slight spotting and minor dust soiling, spines a little faded and bumped, some leaves and plates loose, volume 3 lacks ‘The Lay Figure’ section (70) £300-500 US$480-800 69* THE STUDIO AN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ART YEARBOOKS London: Offices of The Studio, 1893-1908. 4to, volumes 1-44 (in 22 books); and The Studio special summer number 1899 and 1901; and The Studio special winter number 1901; and The Studio extra numbers 1897 and 1898; all with plates, some coloured, some lithographed, uniform green cloth gilt with stylised gilt tooled foliate pattern on spines, bookplates of Bedford Arts Club, some occasional light spotting to text and plates, spines slightly faded, cover of volumes 39 and 40 soiled; and The Studio Yearbook of Applied Art, 1921. 4to., plates, red cloth gilt, Bedford Arts Club bookplate to title, occasional spotting; and The Studio. An illustrated magazine of fine and applied art, 1917-1918. 4to, volumes 70-72, plates, contemporary quarter calf gilt, slight rubbing to spines; and The Studio Yearbook of Decorative Art, 1922-1932. 4to, 10 volumes, lacking volume for 1930, plates, blue cloth gilt, some blind stamped with tiled pattern, bookplates of Bedford Arts Club, slight spotting and some fading to covers and spines; and Several Studio publications in original wrappers, including Modern Book Illustrators and Their Work (1914); The Studio Yearbook of Decorative Art... (1913); The Genius of J.M.W. Turner (1903); and 6 others, some wear and soiling to wrappers (49) £300-500 US$480-800
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70* ART & ANTIQUE REFERENCE BOOKS SCOTTISH ART AND DESIGN including Smith, Bill ‘The Life and Work of Edward Atkinson Hornel’; Billcliffe, Roger ‘The Glasgow Boys’ (2 copies); Burkhauser, Jude ‘The Glasgow Girls: Women in Art and Design 1880-1920’ (3 copies including one hard back); Morris, Margaret ‘The Art of J.D. Fergusson’ and several other books and pamphlets on the Scottish Colourists, Glasgow School etc (approx 50) £200-300 US$320-480
71* ART & ANTIQUE REFERENCE BOOKS ARTS & CRAFTS, ART NOUVEAU, ART DECO ETC. including Borsi, Franco and Portghesi ‘Victor Horta’; Durant, Stuart ‘Christopher Dresser’; Aslin, Elizabeth ‘E.W. Godwin: Furniture and Decoration’; Vergo, Peter ‘Art in Vienna 18981918’; Harris, David A. ‘The Decorative Designs of Frank Lloyd Wright’, and several other books and pamphlets (approx 115) £300-500 US$480-800
72* VER SACRUM. [VIENNA SECESSION] MITTEILUNGEN DER VEREINIGUNG BILDENDER KÜNSTLER ÖSTERREICHS, 1901, HEFT 23 featuring the work of Charles Rennie Mackintosh, Margaret Macdonald Mackintosh and Frances MacNair, printed paper wrappers, some staining to top RH corner; CHARLES RENNIE MACKINTOSH (1868-1928) (DESIGNER), THE CORAL ISLAND, published Blackie & Son Ltd, the front cover and spine with trellis repeat stylized Glasgow style motifs; another 11 with matching design; and another similar with orange cloth; CHARLES RENNIE MACKINTOSH (1868-1928) (DESIGNER), TOWN MICE IN THE COUNTRY, the front cover and spine with Modernist design; and another book with matching designs ‘The Saucy May’; TALWIN MORRIS (DESIGNER), THE STUDENT’S ENGLISH DICTIONARY; CHILDREN OF THE NEW FOREST and DECISIVE BATTLES, and 13 other Blackie’s titles with Art Nouveau cloth bindings; also JESSIE MARION KING (DESIGNER), GLASGOW, CITY OF THE WEST; THE GREY CITY OF THE NORTH (2 copies); and THE CITY OF THE WEST (34)
Note: After he moved to London in 1915 Mackintosh approached William Davidson, who had commissioned Windyhill in 1899, asking him to buy a painting as he was in need of money. Mackintosh may well have approached Walter Blackie too, as Blackie owned one of the late flower paintings, Anemones, before the 1933 Memorial Exhibition. Blackie probably commissioned these designs for book covers, and others, as a means of allaying Mackintosh’s financial distress. £300-500 US$480-800
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73* AUCTION CATALOGUES SCOTTISH ART, DECORATIVE ART AND DESIGN FROM 1860 Sothebys, Christies, Bonhams, Phillips etc (approx 160 catalogues) £100-200 US$160-320
74* ART & ANTIQUE REFERENCE BOOKS CHARLES RENNIE MACKINTOSH AND THE GLASGOW STYLE including Howarth, Thomas ‘Charles Rennie Mackintosh and the Modern Movement’; Helland, Janice ‘The Studios of Frances and Margaret Macdonald’; Billcliffe, Roger ‘Charles Rennie Mackintosh: the Complete Furniture, Furniture Drawings and Interiors’ (2 copies); and several other books and pamphlets concerning Mackintosh and his circle (approx 100) £300-500 US$480-800
75* 592/109 RAMON DILLEY (SPANISH b. 1932) ‘LES MÉCHETILDES’ signed bottom right R. DILLEY, and signed and inscribed verso, A MONSIEUR ET MADAME/ DON AND ELEANOR/ TAFFNER/ EN TOUTE SYMPATHIE/ DILLEY/ 2 MAI 92, oil on canvas 60cm x 30cm (23½in x 12in)
76* 592/116 FRANCIS MARSHALL (BRITISH 1901-1980) THE ABDICATION pen and ink, 16cm x 16cm (6in x 6in) and a companion ‘OBSERVATION ROOF’, by the same hand, pen and ink, 28cm x 46cm (11in x 18in) (2) Provenance: Michael Parkin Fine Art, London £300-500 US$480-800
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77* 592/27 ATTRIBUTED TO GEORGE MONTAGUE ELLWOOD FOR J.S. HENRY OAK SIDE CHAIR, CIRCA 1910 the tapering rectangular back with upholstered panel and later applied repoussé brass panel to the arch, bearing stylized initials C C, the rushed seat with arched seat rail raised on square section tapering legs, terminating in flared feet and linked by stretchers 38cm (15in) wide x 111cm (44in) high x 41cm (16in) deep
78* 592/103 HUGH WALLIS (BRITISH 1871-1943) TWO CAST COPPER DISHES, CIRCA 1910 each with geometric repoussé borders, impressed mark HW, 29cm (11½in) across; A RECTANGULAR SECTION COPPER WATER CAN, with plain loop handle and stylized floral decoration, 29cm (11½in) high; TWO ARTS & CRAFTS RECTANGULAR HAMMERED COPPER TRAYS, with white embellishments, 25.5cm and 30cm (10 and 12in) across; AN ART NOUVEAU TALL COPPER JUG, with stylized poppy decoration, loop handle, stamped JS&S, 33cm (13in) high; a similar BRASS JUG, 29cm (11½in) high; and another lidded BRASS ART NOUVEAU JUG, stamped JS& S, 16.5cm (6¾in) high (7)
Provenance: Simon Tracey, London
80* 592/83 ART NOUVEAU COLLECTION OF BRASS AND COPPER FINGER PLATES, EARLY 20TH CENTURY comprising: SIX COPPER PLATES, embossed with an allegory of night, 30.5cm x 7.5cm (12in x 3in); FOUR BRASS PLATES, embossed with stylized plant forms, bears registered number, 28.5cm x 7.5cm (11in x 3in); TWO BRASS PLATES, embossed with stylized plant forms, 21cm x 7cm (8in x 3in) (12)
79* 592/41 NEWLYN SCHOOL HAMMERED COPPER ARTS & CRAFTS STICK STAND, CIRCA 1910 of flattened cylindrical form with riveted and repoussé decoration
81* 592/37 ARTS & CRAFTS STEEL AND COPPER FIRE IRON SET, CIRCA 1900 the stand with inset oval turquoise panel (cracked) on hammered hooped base, with companion poker, ash shovel and coal pincers (4)
63cm (25in) high
50cm (19½in) high
82* 592/102 NEWLYN SCHOOL ROUNDED RECTANGULAR TEA TRAY, CIRCA 1900 the border repoussé decorated with continuous frieze of fruit, stamped mark NEWLYN 51cm (20in) wide
Provenance: Simon Tracey, London £200-300 US$320-480
83* 592/39 MANNER OF JOHN PEARSON NEWLYN SCHOOL ARTS & CRAFTS RECTANGULAR COPPER CASKET, CIRCA 1890 with repoussé fish and shell decoration, 17cm (6½in) across; ARTS & CRAFTS HEXAGONAL HAMMERED COPPER BOX AND COVER, 13cm (5in) across; COPPER INKWELL, with spreading rectangular plinth stamped RATHBONE & CO, 10cm (4in) across; NEWLYN SCHOOL, CIRCULAR COPPER INKWELL, repoussé decoration, 10cm (4in) across; and a small NEWLYN SCHOOL, HAMMERED COPPER CASKET, 10cm (4in) across (6) £300-500 US$480-800
84* 592/36 WILLIAM ARTHUR SMITH BENSON (BRITISH 1854-1924) PAIR OF BRASS AND COPPER TABLE CANDLESTICKS, CIRCA 1900 each with scroll columns supported by plain copper sconces on hooped feet with hoof terminals, counter balanced by brass sphere (2) 32cm (12½in) wide
85* 592/63 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) PAIR OF EBONISED BEECH ARMCHAIRS, CIRCA 1909 the curved and waved top rails above spindle filled back and arms, the seats with serpentine fronts having drop-in upholstered panels raised above flattened turned and blocked front legs linked by turned stretchers (2) 63cm (25in) wide, 79cm (31in) high, 39.5cm (15½in) deep
Provenance: Miss Catherine Cranston (Major and Mrs J Cochrane), for the Card Room at Hous’hill, Nitshill, Glasgow, 1909 Edward Arthur Gamble, Glasgow His sale, 13 May 1933, Glasgow Private Collection Sotheby’s, ‘Applied Arts from 1880’, Friday 17th June, 1988, lot 291 Literature: Larner, Gerald and Celia ‘ The Glasgow Style’, Edinburgh 1979, no. 118 Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs’, Moffat 2009, p. 245-6, ill. p. 246, no. 1909.4 Note: Mackintosh had decorated and furnished Kate Cranston’s home, Hous’hill, Nitshill, Glasgow in 1904 but was recalled in 1909 to make a small extension and design furniture and fittings for a Card Room. All of the pieces designed for the room are unique in Mackintosh’s oeuvre, each of them a departure from his established style of 1904-5 where he achieved a maturity in his furniture design reflected in his later architectural designs for the second phase of the Glasgow School of Art in 1907. Mackintosh had earlier drawn traditional Windsor chairs in his sketchbooks and designed simple variants for the Dutch Kitchen at the Argyle Street Tea Rooms in 1906 and for the library at the Glasgow School of Art in 1910. Neither design was as sophisticated nor innovative as the Card Room chairs with their scalloped back rails and turned and blocked legs linked by spindly stretchers. Four tables were commissioned from Francis Smith, Glasgow, who also made the accompanying chairs, presumably sixteen in all. Four are known to survive, including this pair. £20,000-25,000 US$32,000-40,000
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86* OFFICE OF CHARLES RENNIE MACKINTOSH DESIGN FOR AN UPHOLSTERED CHAIR AND A SPINDLE CHAIR, 1909 shown in elevation and plan, dated 1909 and prepared for the Card Room, Hous’hill, inscribed and dated 4 BLYTHSWOOD SQUARE, GLASGOW. AUGUST 1909, and inscribed upper left THE HOUS’HILL, NITSTHILL FOR JOHN COCHRANE ESQ. DETAILS OF CHAIRS FOR CARD ROOM, DRAWING NO. 48, with scale indications and notes, pen, black ink and wash on linen 46cm x 64cm (18¼in x 25in)
Provenance: Herbert Smith Esq. Dr. Thomas Howarth Christies, London ‘The Dr. Thomas Howarth Collection’,17th February 1994, Lot 119
Exhibited: Toronto, Art Gallery of Ontario ‘Charles Rennie Mackintosh, 1868-1928’, 1978, no. 128 Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs’, Moffatt 2009, p. 245, ill. p. 246, no.1909.4A Note: A working drawing for lot 85 by one of Mackintosh’s assistants, possibly A Graham Henderson, later senior partner of Mackintosh’s firm. The easy chair shown in the drawing is untraced and may never have been made. £2,500-3,500 US$4,000-5,600
87* OFFICE OF CHARLES RENNIE MACKINTOSH DESIGN FOR A CARD TABLE, 1909 shown in elevation section and plan, dated 1909, for the Card Room, Hous’hill, inscribed JOHN COCHRANE, ESQ THE HOUSHILL./ DETAIL OF TABLE FOR CARD ROOM’ and ‘4 BLYTHSWOOD SQ.,/ GLASGOW 1909/ DRAWING NO. 52.’, pencil, pen and black and red ink and wash, on linen 36cm x 42cm (14in x 6½in)
Provenance: Herbert Smith Esq. Dr. Thomas Howarth Christies, London ‘The Dr. Thomas Howarth Collection’, 17th February 1994, Lot 120 Exhibited: Toronto, Art Gallery of Ontario ‘Charles Rennie Mackintosh, 1868-1928’, 1978, no. 128, no. 135
Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs’, Moffat 2009, pp. 247-8, ill. p. 248, no.1909.12 Note: Mackintosh’s job books list ‘writing room furniture’ for the Hous’hill commission of 1909. This drawing is the only evidence of a table that could correspond with this description, having a flap at one end of the table that could serve as a desk or writing shelf. A table corresponding to this drawing, one of Mackintosh’s most accomplished and elegant pieces is in the collection of Glasgow School of Art. Drawn by an office assistant - see also lot 86. £1,000-1,500 US$1,600-2,400
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88* 592/65 AFTER CHARLES RENNIE MACKINTOSH OAK DRESSING TABLE CHAIR, CIRCA 1904/ 5 the slightly curved back filled with slats extending to the lower stretcher and crossed in the centre to form a vertical column of squares, the drop-in seat with later cover above arched seat rails on square section tapering legs linked by stretchers and having a central splat to the front, forming a vertical column of squares and linking the front seat rail to the stretcher 46.5cm (18in) wide, 60cm (23½in) high, 41cm (16in) deep
Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs’, Moffatt 2009, p. 216, see footnote to no. 1904.93A Note: One of the contractors who regularly worked for Mackintosh, William Douglas, owned various pieces of, mainly, bedroom furniture that bear similarities to various items designed by Mackintosh for the White and Blue Bedrooms at Hous’hill in 1904. Although the designs of the various chairs Douglas owned are closely related to the original Hous’hill pieces they have none of the subtleties of detail and construction that mark the known original Hous’hill items. This chair is closest to the original design for the dressing table chair for the Blue Bedroom but it differs in dimensions, construction and other details of design from the actual chair from the Blue Bedroom. One possibility is that Douglas commissioned these chairs from one of his fellow contractors who chose not to make exact copies of the original chairs; whether this was because the chairs were made at some unspecified date after 1904 or after the full scale drawings had been destroyed is not known. £3,000-4,000 US$4,800-6,400
89* 592/111 AFTER CHARLES RENNIE MACKINTOSH EBONISED LOW CHAIR, EARLY 20TH CENTURY the slightly curved lattice back extending to lower stretcher, the drop-in seat over arched seat rail raised on square section tapering legs linked by stretchers and with latticed support to the front 41.5cm (16in) wide, 71.5cm (28in) high, 34cm (13in) deep
Provenance: William Douglas Nestor Douglas Sold at auction at J. & R. Edmiston, Glasgow, 1st July 1970 A.A. Tait Sotheby’s, Monte Carlo, 9th October 1983, lot 205 Sotheby's, London 'Applied Arts from 1880', 4th November 1994, lot 248 Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs’, Moffatt 2009, pp. 215-6, see footnote to no. 1904.93 and 1904.93A. Note: One of the chairs based on the original chair for the White Bedroom at Hous’hill made for William Douglas; see lot 88. £3,000-5,000 US$4,800-8,000
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90* 592/67 AFTER CHARLES RENNIE MACKINTOSH OVERPAINTED ‘ORDER DESK CHAIR’, MODERN with loose cushion and hinged seat, the curved back with latticed construction in the form of a stylised tree 80.5cm (32in) wide, 109cm (43in) high, 39cm (15.5in) deep
Note: This chair is a reproduction of the Order Desk Chair, designed by Mackintosh for the Willow Tea Rooms, Sauchiehall Street, Glasgow circa 1903-4, and now in the collection of Glasgow School of Art. £600-800 US$960-1,280
91* 592/123B AFTER CHARLES RENNIE MACKINTOSH OVERPAINTED LOW CHAIR, MODERN the slightly curved lattice back extending to lower stretcher, the drop-in seat over arched seat rail raised on square section tapering legs linked by stretchers and with latticed support to the front 43cm (17in) wide, 72cm (28in) high, 35cm (13¾in) deep
Note: This chair is a reproduction of one of two bedroom chairs, originally designed by Mackintosh for the White bedroom at Hous’hill, Nitshill Glasgow circa 1904. £300-500 US$480-800
92* MANNER OF CHARLES RENNIE MACKINTOSH PAIR OF OVERPAINTED SIDE TABLES, MODERN each with rectangular tops raised above drop down cupboard door on slatted supports (2) 61cm (24in) wide, 76cm (29in) high, 34cm (13¾in) deep
93* 592/123 AFTER CHARLES RENNIE MACKINTOSH OVAL TABLE, MODERN comprised of two tiers, the upper tier with convex sides, the lower having concave sides, each joined by pierced supports 93.5cm (36¾in) long, 62cm (24½in) high, 49cm (19¼in) wide
Note: This table is a reproduction of the oval table, designed by Mackintosh for Mrs Rowat, 14 Kingsborough Gardens, Glasgow circa 1901-02. Mackintosh later made other versions for his own use and of the three known, two are now in the collection of Glasgow University. £300-500 US$480-800
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94* 592/66 JOHN EDNIE (SCOTTISH 1876-1934) OAK ‘DOMINO’ OCCASIONAL TABLE, CIRCA 1903 the square top above crossed supports tapering to a wide base and pierced, centred by a quatrefoil-shelved tier 45cm (18in) wide, 76cm (30in) high
Provenance: 26 Huntly Gardens, Kelvinside, Glasgow £3,000-4,000 US$4,800-6,400
95* 592/69 GLASGOW STYLE STAINED BEECH LIDDED STOOL, EARLY 20TH CENTURY the oval hinged seat above tapering sides pierced with split yin/ yang motifs 40cm (16in) high
96*§ 592/100 BARBARA RAE C.B.E., R.A., R.S.A., R.S.W. (SCOTTISH b. 1943) HIGHLAND WINDOW: SERIES NO. 5 signed and inscribed in pencil, lithograph 47cm x 46cm (18½in x 18in)
97* 592/68 IRENE CAVANAGH (DESIGNER), WILLIAM KENNEDY (SCOTTISH b. 1967) (MAKER) HOMAGE TO CHARLES RENNIE MACKINTOSH, CIRCA 1992 oak chair sculpture 136cm (53½in) high
Note: This sculpture was made as the result of a student competition in 1992. Donald Taffner asked whether a Glasgow School of Art student could come up with something that could be made to celebrate his 32nd wedding anniversary - the idea being that the design must have 32 compartments or pockets - one for each year of their marriage. Peter Trowles, Taffner Mackintosh Curator at the Glasgow School of Art, took the designs over to New York and Eleanor Taffner chose this work. £500-700 US$800-1,120
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98* 592/150 JAMES STUART PARK (SCOTTISH 1862-1933) ROSES signed lower right ‘STUART PARK’, oil on canvas 48cm x 58cm (19in x 22¾in)
99* 592/163 MARIQUITA JENNY MOBERLEY (BRITISH 1855-1937) JACK RUSSELL TERRIER signed and dated M J MOBERLEY 1891, oil on canvas 59.5cm x 49.5cm (23½in x 19½in)
Provenance: Sotheby’s London ‘Victorian Paintings and Sculpture’, June 15, 1988, Lot 122 Sara Davenport Fine Paintings, London £2,000-3,000 US$3,200-4,800
100*§ 592/118 LESLEY BANKS (SCOTTISH b. 1962) ‘CANADIAN THOUGHTS’ signed and dated ’94, oil on canvas 34cm x 29cm (13½in x 11½in)
Provenance: Cyril Gerber Fine Art, Glasgow £400-600 US$640-960
101*§ 592/152 ANDREW FITZPATRICK (SCOTTISH b. 1966) SELF PORTRAIT signed bottom right FITZPATRICK, oil on canvas 75cm x 59.5cm (29½in x 23½in)
Provenance: Compass Gallery, Glasgow Exhibited: Glasgow, Compass Gallery, ‘Andrew Fitzpatrick and Alan Connell’, 6th October-2nd November 1990 £200-300 US$320-480
102*§ 592/154 GEORGE TELFER BEAR (SCOTTISH 1874-1973) SUMMER FLOWERS signed bottom right G. TELFER BEAR, and signed, inscribed with title and with the artist’s address on the stretcher, GLADSMUIR, KILMACOLM, oil on canvas 75cm x 62cm (29½in x 24½in)
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103* 592/42 ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ HAMMERED AND POLISHED PEWTER MANTEL CLOCK, CIRCA 1910 with shaped tapered cast, cast with stylized tree and Celtic relief cast roots, copper chapter ring and turquoise central dial on spreading rectangular plinth, impressed mark 0150 32cm (12½in) high
104* 592/33 ARCHIBALD KNOX (BRITISH 1864-1933) FOR LIBERTY & CO, LONDON SET OF 10 SILVER AND ENAMEL PASTRY FORKS, 1926 each with stylized spaded blue and turquoise enamel handles, hallmarked Birmingham, 1926 (10) 13cm (5¼in) long
£200-300 US$320-480 105* 592/34 ARCHIBALD KNOX (BRITISH 1864-1933) FOR LIBERTY & CO, LONDON SET OF SIX SILVER GRAPEFRUIT SPOONS, 1926 of matching design, hallmarked Birmingham, 1926 (6) 12.5cm (5in) long
106* 592/44 ARCHIBALD KNOX (BRITISH 1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER BREAD BASKET, CIRCA 1910 the plain loop handle with cast stylized plant motif, the sides similarly cast and the centre set with turquoise enamel, impressed marks 0357. Rd: 449.32 30.5cm (12in) across
107* 592/71 ARCHIBALD KNOX (BRITISH 1864-1933) FOR LIBERTY & CO., LONDON ‘TUDRIC’ PEWTER TWIN HANDLED BOWL, CIRCA 1905 the bowl of circular form cast with a repeating band of plant form united by tendrils, the twin handles extending to form spade-like supports, stamped TUDRIC/ 0229, 31cm (12in) wide; together with an ARCHIBALD KNOX LIBERTY & CO. THREE HANDLED ‘TUDRIC’ PEWTER BOWL, the sides cast with stylized plant forms, impressed mark 0162, 15cm (6in) diameter (2) £400-600 US$640-960
108* 592/81 LIBERTY & CO., LONDON PAIR OF ‘TUDRIC’ HAMMERED PEWTER VASES, CIRCA 1920 each of tapered cylindrical form on a spreading base with inset green cabochon, impressed mark 01145, 19cm (7½in) high; together with a PAIR OF LIBERTY & CO ‘TUDRIC’ HAMMERED PEWTER TABLE CANDLESTICKS, each with plain semi-faceted columns on broad circular plinths, impressed number 0983, 22cm (8¾in) high (4) £200-300 US$320-480
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109* 592/13 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) ‘BOULETERNÈRE’ signed with initials in pencil lower right CRM, and inscribed verso (possibly by Margaret Macdonald Mackintosh), watercolour with traces of pencil 44cm x 44cm (17¼in x 17¼in)
Provenance: Ronald W.B. Morris Esq., Kilmacolm, an executor of the Estate of Margaret Macdonald Mackintosh, acquired after the Memorial Exhibition in 1933 Christie’s, Edinburgh, ‘Fine Paintings and Drawings’, April 27, 1989, Lot 570 Exhibited: Glasgow, McLellan Galleries ‘Charles Rennie Mackintosh and Margaret Macdonald Mackintosh: Memorial Exhibition’, May 1933, no. 136; Glasgow, Glasgow Museum and Art Galleries, ‘Mackintosh Watercolours’, July 1979, no. 201; Glasgow, The Fine Art Society, ‘The Memorial Exhibition: A Reconstruction’ 1983, no. 136 Edinburgh, Royal Scottish Academy ‘Mackintosh Watercolours’, 8th August-5th October 1986, no. 48 New York, The Metropolitan Museum of Art, November 19thFebruary 16th 1996; Chicago, The Art Institute of Chicago, March 29th-June 22nd 1997, Los Angeles, Los Angeles County Museum, August 3rd-October 12th 1997, ‘Charles Rennie Mackintosh’, Glasgow Museums Exhibition, May 25th 1996October 12th October 1997, Cat. No. 285 Edinburgh, Scottish National Gallery of Modern Art ‘Charles Rennie Mackintosh in France’ 26th November-5th February 2006, Cat. No. 292 Literature: Billcliffe, Roger ‘Mackintosh Watercolours’, London, 1978, p. 44, ill. p. 135, catalogue 201 Robertson, Pamela & Long, Philip, ‘Charles Rennie Mackintosh in France’, Edinburgh 2006, pp. 34-5 Crichton, Robin ‘Monsieur Mackintosh: the Travels and Paintings of Charles Rennie Mackintosh in the Pyrénées-Orientales’, Edinburgh 2006, pp. 63-5. £80,000-120,000 US$128,000-192,000
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‘Bouleternère’ (bottom right) hanging at the Memorial Exhibition, Glasgow, 1933. Photo T. & R. Annan.
Mackintosh left London in 1923 and settled in the south-west of France until his return to London for medical treatment in 1927. We have no statements from Mackintosh as to his intentions in painting the towns and mountain foothills of the region but it is thought that he went to France after an offer of an exhibition in a London gallery if he could amass forty to fifty suitable works. His choice of France was probably encouraged by the Scottish artist J. D. Fergusson, whom Mackintosh got to know while living in London. Fergusson praised the light and the climate and, not least, the ability to live relatively well and cheaply compared to London, a factor that probably swayed the Mackintoshes, existing then on a much reduced income. Crichton - a Scottish film-maker who lives in the Roussillon has proposed a credible chronology and itinerary for Mackintosh’s numerous excursions into the mountains from his various bases, sometimes at Collioure, then Ille-sur-Têt and finally at Port Vendres. From these, it seems likely that this painting of the village of Bouleternère was made in 1925, along with three or four others which bear some stylistic similarity and whose subjects all lie along the same route from Ille-sur-Têt up into the mountains. Comparing these watercolours with the actual townscapes, we can see that Mackintosh was not seeking verisimilitude. Bouleternère is an amalgam of at least two views of the village, giving a relatively bland and unexciting townscape a
much more brooding presence. He did a similar thing in his painting of Palalda, changing the colours of the roofs to suit the tonal values of his painting and even sticking a cut-out piece of paper over the lower part of the composition to allow him to change the design or correct what he perceived as errors in his drawing. These paintings show little of the life of these small towns which seem deserted. Mackintosh is more concerned with the patterns of the houses and roofs as they pile up on each other against the hillside. Perspective is flattened, even dispensed with altogether, as the shapes come to dominate the design. Harry Jefferson Barnes, a former Director of the Glasgow School of art, speculated that Mackintosh was losing control of one eye, damaged by a childhood bout of rheumatic fever, which could possibly account for the absence of stereoscopic vision in these works. Perhaps, also, Mackintosh was aware of the landscapes of Klimt and Schiele of around 1913 where a similar flattening of perspective produces an emphasis on geometric pattern of roofs, windows and walls. Whatever the sources and physical reasons for the development of these watercolours, they do not detract from the masterly achievement of this series of late paintings. They point to Mackintosh’s exciting future as an artist, sadly brought quickly to an end by his death from cancer in 1928.
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110* 592/58 CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) ‘GARDEN BOUQUET’ CIRCA 1918-20 gouache and traces of pencil 29.8cm x 26cm (11¾in x 10¼in)
Provenance: Purchased at the Mackintosh Memorial Exhibition, 1933 by Mrs D Turnbull J. & R. Edmiston, Glasgow, 24 February 1977, lot 58 The Fine Art Society, London Private Collection Exhibited: Glasgow, McLellan Galleries ‘Charles Rennie Mackintosh, Margaret Macdonald Mackintosh, Memorial Exhibition’, May 1933, no. 83 Glasgow, The Fine Art Society, ‘The Memorial Exhibition: A Reconstruction’ 1983, no. 83 Edinburgh, Royal Scottish Academy ‘Mackintosh Watercolours’, 8th August-5th October 1986, no. 30 Literature: Billcliffe, Roger ‘Mackintosh Watercolours’, London 1978, p. 39, Catalogue 162 Note: Mackintosh produced a series of paintings of stylised bouquets of flowers on a black background, probably around 1918-20. The format is unsuited for use as a textile pattern, of which he designed a considerable number at this time, and it seems probable that he produced them for sale as pictures in their own right. They combine the deliberation of the later flower paintings with the formal patterns and stylisation of flowers of his textile designs. £10,000-15,000 US$16,000-24,000
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111* 592/59 FRANCES MACDONALD MACNAIR (SCOTTISH 1874-1921) ‘SLEEP’ signed bottom right FRANCES MACNAIR, watercolour and pencil on vellum 33cm x 29cm (13in x 11in)
Provenance: Charles Macdonald Esq., the artist’s brother By descent to his daughter, Mrs. L. A. Dunderdale Mario Amaya, acquired circa 1960-65 Christies, Edinburgh, ‘Fine Paintings and Drawings’, 13th May 1993, Lot 829 Exhibited: possibly, Liverpool, Sandon Studios Society, 1908, no. 38 possibly, London, Allied Artists Association, 1908, no. 2099 possibly, London, The Baillie Gallery ‘Watercolour Painting by Herbert and Frances MacNair’, 1911, no. 20 (15 guineas) Toronto, Art Gallery of Ontario ‘The Sacred and Profane in Symbolist Art’, 1969, no. 230 Glasgow, Hunterian Art Gallery and Liverpool, Walker Art Gallery ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, 12th August 2006-22nd April 2007, exhib. ref. W47 Literature: Burkhauser, Jude ‘Glasgow Girls: Women in Art and Design 1880-1920’, Edinburgh 1990, p. 125, ill. Fig. 157, wrongly identified and dated as ‘Eve’, 1896. Neat, Timothy ‘Part Seen, Part Imagined: Meaning and Symbolism in the Work of Charles Rennie Mackintosh and Margaret Macdonald’ Edinburgh 1994, illus. p. 66 Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, Hampshire 2006, p. 170, exhib. ref. W47, cat. ill. 88 £30,000-50,000 US$48,000-80,000
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'The Immortals': back row: Frances Macdonald; middle row (left to right): Margaret Macdonald, Katherine Cameron, Janet Aitken, Agnes Raeburn, Jessie Keppie, John Keppie; front row (left to right): Herbert McNair, Charles Rennie Mackintosh. Photo: The Glasgow School of Art Archives and Collections.
After marrying Herbert MacNair in 1899 Frances joined him in Liverpool, where he was an instructor at the University School of Architecture and Applied Art, and together they furnished and decorated a rented house at 54 Oxford Street. In 1905 the University transferred its Applied Art department, where MacNair worked, to the Municipal Art School; MacNair left the new school shortly afterwards and helped establish an independent school in the city, the Sandon Studios. MacNair never really made enough money to keep his family while he was at the Sandon but he was cushioned by funds from his family in Scotland. Around 1908, however, that source of income faltered (and eventually disappeared in 1909 with his family’s bankruptcy) and Herbert and Frances, with their young son Sylvan, returned to Glasgow. What followed was a very disruptive period for them all. Frances managed to find part-time teaching at the School of Art, encouraged and supported by Fra Newbery, but Herbert found it impossible to find work as a teacher and his income as an artist dwindled further. They held a joint show at the Baillie Gallery in London in 1911 but sales were few. Herbert reportedly took to drink and various temporary jobs, for which he was almost always unsuited, and by 1913 he was in Canada, alone, his passage reputedly financed by the Macdonald family in an attempt to rescue Frances from the growing misery of their life together. Frances moved between Glasgow and
Liverpool, again alone, trying unsuccessfully to establish herself as a teacher of embroidery - having left the Glasgow School of Art where she was an assistant to Anne Macbeth, the head of embroidery, whose methods and attitude to ‘artistic’ embroidery were completely at odds with Frances’s own. MacNair returned to Glasgow in 1914, by now an alcoholic, and found work at the Post Office; in the same year Frances’s mother died and her sister, Margaret Macdonald Mackintosh, left Glasgow for the south of England. Few paintings or pieces of metalwork survive from the period after she arrived in Glasgow in 1908 and before her death (a possible suicide) in 1921 - the only coherent group is of seven paintings, probably produced after 1911 as they do not seem to have been included in the Baillie Gallery Exhibition. (Sleep has been identified with a work in this exhibition, and also as Eve, but there is nothing about this lot that identifies it as being the painting shown in 1911. The titles of all seven paintings in this group have been passed down through family tradition - they may not be titles ascribed by the artist. The Macdonald family obviously had an association with, and possession of, these paintings before Frances’s death as Herbert is believed to have destroyed all of Frances’s and his own surviving work after her death.) These seven watercolours, all roughly the same size and having a similar handling, are generally interpreted as reflecting the
vicissitudes and troubles of the artistâ€™s life, particularly after her return to Glasgow, but they also form a commentary on aspects of the life of women in general. If the current titles do reflect the content of the paintings then they provide a Rosetta Stone to an otherwise ambiguous group of images open, like so many Spook School works before them, to a variety of explanations - The Choice, Truth lies at the bottom of the Well, Tis a Long Path which Wanders to Desire and so on. In several of the works the women are seen presented with choices or dilemmas; the palette and tonality verge on the depressive; their compositions are schematic, or episodic, seeming to tell different phases of the same story. Ambiguity pervades Sleep. What are the three episodes on the right of the painting? Do they represent various stages of a womanâ€™s life? Is the figure on the left hiding her eyes or simply weeping? Does she represent the age-old confusion between Death and Sleep? Like the other six paintings in the series it almost certainly reflects the troubled mind and life of a woman who has juggled the elements of wife, mother, daughter, sister, artist, teacher and no longer wishes to continue the struggle. There is a raw northern symbolism about them, a Celtic version of the angst often identified in the contemporary paintings of Munch, and by far the most powerful of any contemporary work by The Four.
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112* 592/24 JAMES HERBERT MACNAIR (SCOTTISH 1868-1955) ‘THE LOVERS’ signed bottom left MACNAIR, watercolour 23cm x 15cm (9in x 6in)
Provenance: Mrs. C Armstrong, the artist’s niece The Fine Art Society, London Barry Friedman Ltd., New York Exhibited: London, International Society (ISSPG), 1899, no. 210 London, The Fine Art Society ‘Glasgow 1900’ 1979, no. 88 Glasgow, Hunterian Art Gallery and Liverpool, Walker Art Gallery ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, 12th August 2006-22nd April 2007, exhib. ref. W48 Literature: Billcliffe, Roger ‘J. H. MacNair in Glasgow and Liverpool’, Annual Report and Bulletin of the Walker Art Gallery, Liverpool, 1971, pp. 51, 68, fig. 40 Larner, Gerald and Celia ‘The Glasgow Style’, New York, 1979, pl. 132 Neat, Timothy ‘Part Seen, Part Imagined: Meaning and Symbolism in the Work of Charles Rennie Mackintosh and Margaret Macdonald’ Edinburgh 1994, illus. p. 30 Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair’, Hampshire 2006, p. 171-172, exhib. ref. W48, cat. ill. 89 Note: One of the earliest Spook School watercolours where MacNair establishes his own vocabulary of menacing figures with an amalgam of erotic and threatening imagery. The drawing features colours that were to become a staple of the palette of The Four over the next few years, eerie blues and greens that contain their own powerful symbolism. The compositional scheme, of central figures framed by other indeterminate human forms, arranged as a framework in turn supporting, then attacking the main protagonists. This tension, combined with the sensual nature of the central pose, was to characterise much of the related work of the next four years. £10,000-15,000 US$16,000-24,000
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113* 592/98 FRANCIS CAMPBELL BOILEAU CADELL, R.S.A., R.S.W. (SCOTTISH 1883-1937) ‘TULIPS’ signed bottom centre FCB CADELL, and signed and inscribed verso TULIPS/ BY/ F.C.B.CADELL./ 6 AINSLIE PLACE/ EDINBURGH./ ABSORBENT GROUND. NEVER VARNISH./ F.C.B.C., oil on board 45cm x 37.5cm (17¾in x 14¾in)
Sotheby’s, Perthshire ‘Animalier Bronzes, Scottish and Sporting Pictures’, 29th August 1995, Lot 1009 Exhibited: Possibly, Royal Glasgow Institute of the Fine Arts, 1919, no. 353. £60,000-80,000 US$96,000-128,000
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self-deprecating and immensely charming, his company was always in demand - a fact which was to stand him in good stead when relying on the generosity of patrons in the lean times. Though he was undoubtedly a colourful character, he did not necessarily fit the traditional “artistic eccentric” mould and his love of the good life; of luxury, cleanliness, orderliness and all things beautiful, over-spilled abundantly into his art. Honeyman comments that, to Cadell, “to paint pictures was not enough. One had to express one’s idea of decoration in everything. He made his studio a work of art.”
In 1920 Cadell made his studio in an exquisite townhouse at 6 Ainslie Place, Edinburgh. Many of his finest interiors and still lifes were painted during this period and, as we shall see, the move marked decided developments away from his pre-war technique. It is rather easy to forget that Cadell was an inter-war era artist. There is a total lack of any residual element of his experiences in the trenches visible in his work. Though he was present at The Somme and spent the considerable majority of his army career serving as a private, no anguish, violence or sadness is tangible in his output whatsoever. This is entirely a result of Cadell’s remarkably positive attitude to life, a fact worth mentioning because, quite simply, to understand Cadell’s art is to first understand his character. Cadell has been roundly recorded as an indomitably cheerful and vibrant personality. Always seeing the funny side, ever
Ainslie Place was the studio in question, and the full fruition of this philosophy. The huge windows of the Edinburgh New Town flooded the spacious rooms with light. The floor was a lacquered black, the frames and furniture were gilded and the walls were a distinctive lilac hue. This lilac provides the backdrop of many of Cadell’s paintings of this period and is indeed present in the work represented here, Tulips which, stylistically, is likely to date to the late 1920s. The selection of the rather unusual lilac tone is interesting to consider. On the grey end of the spectrum, the tone provides a perfect foil to brighter, more riotous colour; here we see it rendering yellow, blue, pink and green tones perfectly harmonious seemingly against the logic of the un-artistic eye. However, that more sentimental impulses could have influenced the choice of lilac is an attractive supposition. During this period, Cadell was spending regular time on his beloved island of Iona in the Outer Hebrides and was always loathe to return to Edinburgh where he was reminded of his financial realities. It would not be a huge leap to postulate that the lilac reminded him of the heather clad hills he so enjoyed to roam around, and even paid tribute to in a poem in 1913: No chairs for me when I can lie And air myself upon the heather And watch the fat bees buzzing by And smell the smell of summer weather Additionally, purple has of course always been a colour of sumptuous overtones, associated with wealth and carrying regal connotations. This would certainly have appealed to Cadell’s somewhat decadent sense of style. Beyond this, Tulips is a quintessential work of this period in many further respects. Cadell was working with wholly
confident virtuosity by this stage and had progressed from the looser, suggestive brushwork of his pre-war output to a more robust, solid and vibrant aesthetic. He began working on a chalky white ground to provide his colours with greater purity and impact. He would inscribe emphatically on the reverse of his canvases, as here on Tulips, instructing future owners “NEVER” to varnish the surface in order to retain the freshness of tone. However, though he maximised his use of colour, he minimised his handling. In this manner, he was able to cleverly stylize and pare back complicated, even cluttered compositions, producing a clean effect which bordered on the graphic on occasion. This has been credited to Cadell’s by now full absorption of the post-Cezanne French School of art. The Scottish Colourists have been praised for returning colour to the palette of Scottish art; however, it is really for their understanding and command of European developments of this period that they deserve the most considerable admiration. Cadell, alongside his fellow Colourists, grasped the use of colour constructively as opposed to simply decoratively. Here we see him use flattened plains of tone to allow his objects to alternatively recede or ‘pop’. This new luxurious colour scheme and artful simplicity, derived from a seemingly effortless minimum of labour, truly encapsulated Cadell and his personal values. However, at the time, Scotland was a largely artistically staid environment. Cadell’s still lifes of this period duly caused a stir in Edinburgh society, condemned by some as “vulgar” and “Bolshevik”, and he did not find his new, mature style selling particularly successfully outside his collection of staunch supporters.  p.89, ‘The Scottish Colourists: Peploe, Cadell, Hunter’, by T. J. Honeyman, London, 1950  p.35, ‘Cadell: The Life and Works of a Scottish Colourist,1883-1937’, by Tom Hewlett, London, 1988  p.43, ‘The Scottish Colourists: Peploe, Cadell, Hunter’, by T. J. Honeyman, London, 1950  p.44, ‘Cadell: The Life and Works of a Scottish Colourist,1883-1937’, by Tom Hewlett, London, 1988
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114* 592/2 FRANCIS CAMPBELL BOILEAU CADELL, R.S.A., R.S.W. (SCOTTISH 1883-1937) ‘IONA COTTAGES’ signed and dated lower right F.C.B. CADELL ’19, oil on canvas board 37cm x 44cm (14½in x 17½in)
Provenance: The Scottish Gallery, Edinburgh Phillips, Edinburgh, ‘Fine Paintings’, 4th May 1990, Lot 64 Exhibited: Edinburgh, The Scottish Gallery ‘20th Century Scottish Masters’, September 1987 £20,000-30,000 US$32,000-48,000
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116* 592/112 JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961) ‘MADEMOISELLE CASSAVETES’ signed and dated verso J D FERGUSSON 1938, oil on board 40cm x 32cm (15¾in x 12½in)
Provenance: The Scottish Gallery, Edinburgh Cyril Gerber Fine Art, Glasgow Note: Fergusson, the last to be officially grouped with Peploe, Hunter and Cadell in the official definition of ‘Scottish Colourist’, was more commercially successful. Spending more time in France, he exhibited with greater frequency in Paris and London and his profile was consequentially higher. Arguably, Cadell and Fergusson were the two Colourists in whose work the “Cezannian” influence was most evident. Their work shares a robustness of line and sense of rhythm that is found less frequently or easily in Peploe or Hunter’s paintings. However, where Cadell’s work was deliberately flattened, Fergusson’s had a more sculptural quality as here in his work of 1938, Mademoiselle Cassavetes. One of the artist’s typically handsome women, the composition is also demonstrative of Fergusson’s attention to pattern. £20,000-30,000 US$32,000-48,000 115* 592/114 JOHN DUNCAN FERGUSSON (SCOTTISH 1874-1961) ‘HEAD OF A LADY’ conté crayon 19.5cm x 12cm (7¾in x 4¾in)
Provenance: Sotheby’s, Perthshire ‘Scottish and Sporting Paintings’, 29th August 1988, Lot 821 Cyril Gerber Fine Art, Glasgow Note: It has been noted that many of Fergusson’s female sitters wear hats, perhaps viewing a woman’s taste in fashion as an extension of their personality. £1,500-2,000 US$2,400-3,200
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117* 592/15 SIR JOHN LAVERY, R.A., R.S.A., R.H.A. (IRISH 1856-1941) ‘SHIRLEY TEMPLE AND THE PAINTER’ signed lower right J LAVERY, oil on canvas 104cm x 58cm (41in x 22¾in)
Provenance: The Artist By descent Sold Christie’s April 1949 Private Collection, Glasgow, by family descent William Hardie Ltd, Glasgow Exhibited: Dundee, Victoria Art Galleries, Exhibition of Paintings by Sir John Lavery Kt., RA, RSA, September 1936, no 23 London, Royal Society of Portrait Painters, November 1936 Manchester, Platt Hall, Royal Society of Modern Painters’, 1937 Dublin, Royal Hibernian Academy, 1939, no. 146 London, Leicester Galleries, Memorial Exhibition of Paintings by the Late Sir John Lavery, RA, 1941, no. 34 (illus in catalogue) Glasgow, The Glasgow Royal Concert Hall, The Glasgow Boys, 1990, no 24 Literature: ‘Court Circular’, The Manchester Guardian, 16 May 1936, p. ‘Artist and Actress’, The Manchester Guardian, 17 November 1936, p. 14 ‘The Royal Society of Portrait Painters’, The Manchester Guardian, 19 November 1936, Anon, ‘The Royal Society of Portrait Painters’, The Times, 21 November 1936, p. John Lavery, The Life of a Painter, 1940 (Cassell and Co), p. 156, 239, illus, ‘A Memorial Lavery Exhibition’, The Manchester Guardian, 3 April 1941, p. 4 Kenneth McConkey, Sir John Lavery, 1993 (Canongate), p. 196, Kenneth McConkey, John Lavery, A Painter and his World, 2010, (Atelier Books), p. 198-9, illus £40,000-60,000 US$64,000-96,000
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Following the death of her mother in July 1935, Sir John Lavery’s teenage granddaughter, Ann Forbes-Sempill came to live with him at 5 Cromwell Place, South Kensington. She was an avid moviegoer and her enthusiastic chatter about the latest releases filled a house that was cloaked in sadness. As a result the painter, approaching his eightieth birthday and having completed his pictures for the forthcoming Royal Academy exhibition, now conceived a new project; he would go to Hollywood, gatecrash the studios and paint the stars. He set sail on 2 January 1936, accompanied by his stepdaughter, Alice McEnery, and her husband, for the first leg of the journey to New York. To his great surprise, he discovered a friend in Hollywood who invited him to lunch at Paramount
Studios. Her name was Alison Skipworth, an actress who he had painted as a young woman forty years earlier in Glasgow. Various introductions were made but when Lavery appeared with his sketching easel amidst the chaos of ‘Directors, Producers, scenario-writers, dozens of cameramen, sound-recorders, scene-shifters, not to speak of actors and actresses, stand-ins and extras’, he quickly realized the impossibility of working in such an environment. The same was true of the MGM lots where they were shooting Romeo and Juliet with Leslie Howard and Norma Shearer in the title roles. Although he made some rapid sketches, it was clear that nothing more substantial than a series of slight sketches would be possible.
Fig 1: Shirley Temple playing croquet with Orson Wells, c. 1937
Lavery had more success outside the studios when he painted a small canvas entitled Stars in Sunlight (City of Limerick Art Gallery) showing Maureen O’Sullivan and Loretta Young resting in a garden between takes, but there was nothing of the ‘tinsel town’ glamour in the picture. His luck changed, however, when he encountered Shirley Temple, at that point the most ‘bankable’ star in the ‘dream factory’. Having begun her film career at the age of four in 1932, Temple achieved international fame two years later when Bright Eyes, in which she sang ‘On the Good Ship Lollipop’, was released. At this stage she was under contract to Twentieth Century Fox for four films a year and Darryl F Zanuck, the studio head, had appointed a team of writers to develop new scripts for her. These were mostly ‘feel-good’ musical comedies in which the child ingénue would effectively melt the hearts of the more niggardly adult characters and raise the spirits of the downtrodden. In thirties America, where Roosevelt’s ‘New Deal’ was often criticised for its bureaucratic excesses, Temple’s innocence effectively lifted the national depression. Roosevelt even declared that it was ‘a splendid thing that for just fifteen cents an American can go to a movie and look at the smiling face of a baby and forget his troubles’.
he had many successful child portraits to his name. Now in his declining years he would defy the critics and those like Clementine Churchill who felt that after the death of his wife, Hazel Lavery, his career was finished. Sittings took place at his hotel in Palm Springs and her arrival caused a stir - as the painter told a reporter, ‘a young girl brought groups of children to see the juvenile star, charging them a dime a head’ when she was posing. This sparkling personality, he would later recall, had perfect manners. Commenting on how forward American children could be, he described Temple as ‘... very different from that type of American child’,…in her there is no sign of anything other than innocent childhood allied to the most perfect manners - others addressed me as “Sir Lavery”, she, invariably, as “Sir John”. I could see from her parents where her intelligence came from. Far from presenting Temple in a conventional portrait format, Lavery opted to show her in full-length, holding a croquet mallet, a game she famously played with Orson Welles and Gary Cooper, and that matched her tomboyish character (fig 1). It also chimed with an artist who in 1890 had painted one of the few modern depictions of the game. However, the novel feature to be added to the composition was the painter himself, stepping out from behind the canvas to introduce himself to the child. It was to be Lavery’s last self-portrait, and it reveals the aged artist, fashionably attired in two-tone shoes, white flannels and dove-grey jacket. Only his butterfly collar and side-whiskers allude to an older Pickwickian persona. He leans forward, his model looks up and an exchange ensues. A
Shortly after his arrival in Hollywood Lavery let it be known that he was interested in painting Temple’s portrait. This was a painter who had addressed great occasions, heads of state, political leaders, sportsmen, clerics, the rich and famous, and Fig 2: Père et Fille, 1898-1900, Musée d’Orsay, Paris 117
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reviewer described the double portrait as that of, ... the painter, palette and brushes in hand, succumbing to the precocious charms of Miss Shirley Temple. Sir John’s gracious bow and the suggestion that he is backing out of the picture to give place to youth make rather a disturbing allegory. It is nevertheless unlikely that Lavery saw the picture as a ‘disturbing allegory’ - beyond the general reflections on ‘youth and age’ that had accompanied his Père et Fille, 1898-1900 (fig 2). The comparison here is apposite, in as much as both canvases reveal the artist’s natural sympathy for all ages and conditions. Yet in very few instances does he cross the footlights and reveal himself in direct exchange with his subject (fig 3). The Sunday Times critic summed this up by saying, ‘In all his long and honourable career I do not think Lavery has ever given us a picture of greater charm and technical suavity’. Having first indicated that it would be submitted to the Royal Academy the following year, Lavery decided to send the picture immediately to his retrospective exhibition at Dundee in September 1936, before showing it in London at the Royal Society of Portrait Painters, of which he was President. On this occasion he was photographed unveiling the double portrait and within days the press pictures were reproduced as far afield as Ottawa. However, eighteen months later, fortunes had begun to change and after the completion of Rebecca of Sunnybrook Farm, Temple’s career went into decline. Hackneyed story-lines and Zanuck’s refusal to ‘loan’ her to MGM for The Wizard of Oz led her parents to send her to school for a year in 1940 and when she returned as a teenager, America was in the war and the national mood had changed. Arguably this turn in her career was presaged by indifferent reviews in Britain where her talents were much more appreciated than her scripts. When, in February 1937, C.A. Lejeune, the film critic of The Observer, polled his readers for ‘the most hated thing in pictures’ she came top of the list. Temple’s eclipse did not apply to Lavery’s final years. He would go on to paint the Duveens in their Fifth Avenue apartment, the coronation of 1937, the poet-laureate, John Masefield, and the ravishing society hostess, Viscountess Wimborne. In 1941, at the time of his death, having gone to his step-daughter in Ireland to escape the Blitz, he was working on a picture of a gypsy encampment and, with the tributes, came the profound realization that a great tradition of portrait painting, stretching back through Sargent and Whistler to Manet and Velazquez, had ended. But five years earlier in Palm Springs, faced with the darling of the silver screen, there had been a splendid closing coup de dé. 118
Fig 3: The Ottawa Evening Citizen, 30 November 1936, p. 15
 Shirley Temple and the Painter was part of the division of studio contents which followed Lavery’s death in 1941. One of his legatees, June Forbes-Sempill, was killed in the war and pictures from her portion of the estate were passed to her father, Lord Sempill. It was then sold at Christie’s in April 1949.  Lavery’s wife, Hazel, died in January 1935 and in July of that year, his only daughter, Eileen Forbes-Sempill also died; see McConkey 2010, pp. 192-195.  One evening a few years earlier he had seen a movie crew on location outside Buckingham Palace and thought it an excellent subject.  Alison Skipworth had worked as a ‘paintress’ on the Doulton stand during the Glasgow International Exhibition in 1888, where the young Lavery had sketched her.  John Lavery, The Life of a Painter, 1940 (Cassell), p. 240; quoted in McConkey, 2010, p. 198.  McConkey, 2010, p. 199 illus.  Anne Edwards, Shirley Temple, American Princess, 1988 (William Morrow and Co.), pp. 26-34.  Not only was she supplied with her own bodyguard, but a bungalow was constructed at Fox studios for her and her parents.  Ibid, p. 75-6. Late in 1935 the Roosevelts held a reception at the White House for Shirley Temple.  McConkey, 2010, p. 194.  ‘Court Circular’, The Manchester Guardian, 16 May 1936, p. 12  John Lavery, The Life of a Painter, 1940 (Cassell and Co), p. 239  McConkey, 2010, pp. 51-2.  ‘The Royal Society of Portrait Painters’, The Manchester Guardian, 19 November 1936, p. 7  The Sunday Times, 22 November 1936; quoted in McConkey 2010, p. 198.  The Ottawa Evening Citizen, 30 November 1936, p. 15; see also ‘Artist and Actress’, The Manchester Guardian, 17 November 1936, p. 14.  CA Lejeune, ‘Films of the Week - The Holocaust’, The Observer, 21 February 1937, p. 14. This predates Graham Greene’s assault on the young star and her ‘middle-aged men and clergymen’ admirers, for which he was successfully sued; see Edwards, 1988, p. 105.
Lyon & Turnbull are grateful to Professor Kenneth McConkey for his assistance in cataloguing this lot.
End of Sale
Lyon & Turnbull
Index Banks, L., 100 Bear, G.T., 102 Benson, W.A., 84 Bone, Sir D.M., 33, 34 Cadell, F.C.B ., 113, 114 Cavanagh, I., 97 Davidson, W.A., 23 de Tirtoff, R. (Erté), 50 Dewar, M.deC.L., 8, 23 Dilley, R., 75 Ednie, J., 94 Ellwood, G., attributed to, 77 Fergusson, J.D., 115, 116 Fitzpatrick, A., 101 French, A., 2, 3, 4, 58, 59, 60
Gallé, E., 47 Gilmour, M., 9, 10, 12, 13 Gilmour, M., after, 15 Glasgow School, 11, 18, 19, 20 Glasgow Style, 14, 56, 95 Hoffmann, J., 49 Icart, L., 51 Keppie, J., 1 King, J.M., 6, 7 Knox, A., 103-107 Lavery, Sir J., 117 Le Faguays, P., 42, 43 Liberty & Co., 103-108
Mackintosh, C.R., 21, 22, 2430, 52-55, 61, 62, 63, 65, 85, 109, 110 Mackintosh, C.R., after, 65, 66, 88-91, 93 Mackintosh, C.R., manner of, 92 Mackintosh, C.R., office of, 86, 87 MacNair, F.M., 30, 31, 32, 64, 111, MacNair, J.H., 112 Marshall, F., 76 McBeth, A., manner of, 57 Moberle, M.J., 99 Moser, K., 48
Park, J.S., 98 Pearson, J., manner of, 83 Rae, B., 96 Scottish Arts & Crafts, 16 Scottish School, 17 Smyth, D.C., 23 Sturrock, M.N., 5 Taylor, E.A., 35, 36, 37 The Studio, 68, 69 The Yellow Book, 67 Tiffany Studios, 38, 39, 40 Wallis, H., 78 WMF, 44, 45, 46
Newlyn School, 79, 80
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Decorative Arts DESIGN FROM 1860 Wednesday, 7th November, 2012 33 Broughton Place, Edinburgh
A collection of Liberty & Co. pewter by Archibald Knox to be included in the sale.
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GEORGE LESLIE HUNTER (SCOTTISH 1879-1931) STILL LIFE WITH PINK ROSES AND FRUIT Signed, oil on board 39cm x 34cm (15.5in x 13.5in)
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STANDARD TERMS & CONDITIONS OF SALE Lyon & Turnbull carries on business with bidders, buyers and all those present in the auction room prior to, or in connection, with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) “Auctioneer” means the firm of Lyon & Turnbull or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which, at the date of the sale, had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Lyon & Turnbull accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;
6. PAYMENT (1) Immediately a lot is sold you will: (a) pay to us the total amount due in cash or in such other way as is agreed by us. We accept cash, bank transfer (details on request), Switch or Debit Cards and Visa or MasterCard (please note there is a surcharge of 2% (VAT included) when using credit cards). We do not accept American Express. (2) any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than four working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and other associated charges. (3) No purchase can be claimed or removed until it has been paid for. (4) It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom and the potential storage charges for lots not collected by the appropriate time.
(2) We shall, as agent for the seller and on their behalf pursue these rights and remedies only as far as is reasonable to make appropriate recovery in respect of breach of these Conditions 9. THIRD PARTY LIABILITY All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale. 10. COMMISSION BIDS While prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer or our employees or agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and to you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims. 12. AGENCY
inevitably, representations or statements by us as to authorship, genuineness, origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents or the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 16. FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition.
The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.
The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.
(g) “You”, “Your”, etc. refer to the buyer as identified in Condition 2.
8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES
13. TERMS OF SALE
(h) The singular includes the plural and vice versa as appropriate.
(1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:
The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot.
17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.
(a) to proceed against you for damages for breach of contract;
(1) Commission: 15% of the first £3000 and 10% thereafter is charged on the selling price of each lot (subject to a minimum charge of £30). Loss and damage warranty: 1.5% on value of lots sold. Photography: max £40 mono per lot, max £250 colour. Internet Marketing Service: £10 per lot.
2. BIDDING PROCEDURES AND THE BUYER (a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid; (b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid, which must be raised before the next lot is offered, shall be settled at the auctioneer’s absolute discretion. (c) Bidders shall be deemed to act as principals. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The buyer shall pay the hammer price together with a premium thereon. Antiques, Jewellery & Silver and Pictures (Not Fine Sales) 20%. All other sales (Fine/Special/Collections) 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium at the rate imposed by law.
5. VALUE ADDED TAX Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk (*) or dagger (†). Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots.
(b) to rescind the sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate of 1.5% per month above the current base rate on the total amount due, to the extent it remains unpaid for more than four working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.
14. STANDARD VENDOR FEES AND CHARGES (Subject to VAT)
(2) If a vendor wishes to withdraw a lot organized for sale, a withdrawal fee will apply; (a) If withdrawn over 28 working days prior to the sale, this will be charged at 10% of the mid estimate along with any ancilliary incurred (such as photography), all subject to VAT at the current rate. (b) If withdrawn within 28 working days of the sale, this will be charged at 20% of the mid estimate along with any ancilliary incurred (such as photography), all subject to VAT at the current rate. 15. DESCRIPTIONS AND CONDITION (1) While we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that,
18 (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 19. Any notice to any buyer, seller, bidder or viewer may be given by first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 20. Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, paintings, guns, firearms etc) in which case the descriptions must be interpreted in accordance with any glossary or guidance notes appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales. 21. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 22. Scottish law applies to the interpretation of these Conditions.
Absentee bid form Sale/customer details 33 Broughton Place Edinburgh EH1 3RR Telephone 0131 557 8844 Fax 0131 557 8668
Sale Title Sale Date
182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 2928 e-mail: firstname.lastname@example.org www.lyonandturnbull.com
Surname Address Postcode Telephone
I request Lyon and Turnbull, without legal obligation of any kind on its part, to bid on the following lots up to the prices listed.
£ Sterling limit Lot.No
Ex. Premium & VAT
I understand that if any of my bids are successful the total price payable will be the amount of the final bid plus a Buyer’s premium calculated at the following rates: Antiques, Jewellery & Silver and Pictures (Not Fine Sales) 20%. All other sales (Fine/Special/Collections) 25% up to £25,000 / 20% thereafter. VAT will be charged on the premium. The premium and VAT is payable by all purchasers. Lots in the catalogue marked * or † are subject to VAT on the hammer price as well as the premium. Where there are identical bids for a lot, the first bid received will be have precedence.
Please make certain that your bids are submitted at least two hours before the start of the sale.
Lyon and Turnbull office use Date Received Entered
33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668 email. email@example.com www.lyonandturnbull.com
182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240
78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274