Lyon & Turnbull Sale No 370 - The Taffner Collection

Friday, 7th September, 201233 Broughton PlaceEdinburgh

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Catalogue: £10

BUYERS’ PREMIUM25% up to £25,00020% thereafter.VAT will be charged on the premiumat 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 Conditionsof Sale and Information for Buyers).

PLEASE NOTE:All lots in this sale are subject toimport VAT at 5%.

Friday, 7th September, 2012

at 2pm

Sale Number LT370

Viewing

August 21st to September 6thMonday to Friday 10am to 5pmSaturday & Sunday 12 noon to 4pm

SpecialistJohn [email protected]

Nick [email protected]

Charlotte [email protected]

ENQUIRIES AND COMMISSION BIDSLyon and Turnbull Ltd.33 Broughton PlaceEdinburgh EH1 3RRTel. 0131 557 8844Fax. 0131 557 8668email. [email protected]

each addition to their collection complemented the wholeand brought something new to it. They rarely prevaricatedover acquisitions and had great confidence in each other’staste. Once they set their mind on something it was a rareoccasion when they let it go elsewhere. Mackintosh was thecore of their collection and they bought well and selectively.At the Howarth sale they could have indulged themselveseasily, but their eye and self-restraint ensured that they onlychose pieces that would fit with their growing collection.Originally, the collection included some substantial piecesof furniture, including two fine examples from Mackintosh’sDerngate period, and the two large gesso panels byMargaret Macdonald, The White Rose and the Red Roseand The Heart of the Rose. These were sold when, or after,the Taffners left their spacious Upper East Side house inNew York for an 1822 wooden town house in GreenwichVillage. This left a concentration of works on paper,including many of the masterpieces of The Four and their

There have been a couple of collections of work by theMackintosh and The Four on the market in recentyears, the last being the 2002 sale of a major

collection of Mackintosh’s furniture and watercolours, andthe largest being the sale of Thomas Howarth’s collection in1994. At that sale, Donald and Eleanor Taffner bought wisely– and generously, purchasing at the sale the washstand forMr Blackie’s dressing room at The Hill House that they laterdonated to the National Trust for Scotland. They had beencollecting work by Mackintosh and his Glasgowcontemporaries since the mid-1980s when they wereintroduced to the then Director of Glasgow School of Art,Tony Jones. He nurtured in them an interest in Glasgow andits art school, which they acknowledged with the creation ofthe Taffner Mackintosh Curatorship at GSA, their support ofthe 1996 Mackintosh exhibition, particularly its tour of theUSA, and by providing funding to allow Mackintosh’s WhiteRoom from the Ingram Street Tea Rooms (restored for the1996 exhibition) to be shown at the National Gallery of Art inWashington DC.

Don Taffner was born in Brooklyn in 1930 and developed hisbusiness acumen, he later recalled, working as a teenagerin his father’s news and candy store. After university he wasemployed by the William Morris Agency, in the mailroom,but by the time he left in 1959 to found his own company hehad risen to the post of agent. A year later, on a visit to anadvertising agency in New York, he met Eleanor Bolta. Theymarried in 1961 and, in 1963, together formed their newventure, D L Taffner Ltd. Their success took many forms, butgiven their later interest in Scottish art, it perhaps seemsappropriate that they specialised in taking UK televisionshows and transforming them for the American market,introducing Benny Hill, among others, to a whole newaudience. Don and Eleanor were a successful and outgoingcouple whose generosity was not just limited to Scotland, asthey were major benefactors to Don’s alma mater, St John’sUniversity, New York, and to St John’s Bread and Life. Thelatter was a charity for the poor and hungry in Brooklyn andQueens – Don never forgot where he came from, saying‘There is a world of difference between what we are doingnow and where I came from’.

As collectors, the Taffners were blessed with a good eye anda decisive attitude. They took advice and made sure that

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The Taffner Collection

The Greenwich Village home of Donald and Eleanor Taffner.

Glasgow contemporaries, such as Annie French and JessieKing.

Mackintosh is represented at almost every stage of hiscareer, 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-knownexamples that concentrate on line and composition, withTacsonia being a particularly fine example. Other ‘botanical’works illustrate their eye for the unusual – At the Edge ofthe Wood and Winter Rose are untypical watercolours thatextend our knowledge and appreciation of the artist, andboth are unique in his oeuvre. These flower studies prepared

the way for Mackintosh’s move towards more naturalisticpaintings of cut flowers, made between 1915 and 1922 andsent to various exhibitions, at home and abroad, in anattempt to create a new career and new source of income –as an artist. White Tulips and Yellow Tulips are at oppositeends of the spectrum of these flower paintings, the formerperhaps being early in the sequence and moststraightforward, while the latter is unique in its depiction ofthe interior of Mackintosh’s Chelsea studio. Bouleternèrerepresents the final phase of his career, with one of thefinest of his studies of the villages of the Pyrenées-Orientales, painted about 1925-27.

Frances Macdonald is particularly well represented in the

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The Drawing Room with “Girl with Blue Butterflies” hanging above the fire.

association with Scotland, with Glasgow and with theGlasgow School of Art. Their work for the city, for the arts inScotland and their continuing support of the Art School ledto several unsought, but much appreciated, awards. In 1996Eleanor was awarded the prestigious ‘Lord Provost’s Medal’for her contribution to the arts in Scotland, and in 2005 thecouple were presented with a ‘Wallace Award’ at the Iconsof Scotland Dinner hosted by Scotland Magazine. They werethe first recipients with no hereditary connection to Scotlandto receive the award. As a result of her work promoting thearts in Scotland, Eleanor received an MBE in 2005 and Donreceived an OBE for his contribution to British Television.But final words should rest with the couple’s son, DonaldTaffner Jr: “It’s an extraordinary collection put together overmany years by my parents. My sister Karen and I hope thatthe future owners of these works will get as much pleasurefrom them as our parents certainly did.”

Roger Billcliffe

Lyon & Turnbull are grateful to Roger Billcliffe for his helpin the compilation of this catalogue.

collection with three major watercolours from 1898 and oneof her later melancholic studies. Girl with Blue Butterflies isperhaps the largest of all of the symbolist watercolours ofthe 1890s by Frances and Margaret, and is certainly largerthan any similar watercolour by Mackintosh. The FrogPrince is one of her most accomplished and complexwatercolours from any period of her life, choosing a ratherdark episode from the well-known fairy tale. The Rose Childexplores 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 hauntthe work of both Frances and Margaret, a symbolism whichlends itself to suggestions of maternal feelings, a theorywhich post-feminist art historians would rightly find toosimplistic. Frances exhibited The Frog Prince at the 8thExhibition of the Vienna Secession, in the room created byMackintosh, and her European contacts led to thecommission for the cover of Anna Muthesius’s book, ‘DasEigenkleid der Frau’. The original pencil drawing for thecover and a late watercolour, Sleep, complete this fine groupof works by arguably the most talented of the Spook Schoolartists. The Taffners did not neglect MacNair, or the otherGlasgow Style artists. MacNair is represented by his earliestknown watercolour, The Lovers of 1893 and Annie Frenchand Jessie M King, in particular, are represented by fineexamples of their work.

And beyond the Glasgow Style Don and Eleanor had an eyefor the Colourists and the Glasgow Boys, rounding off theirpurchases with a painting that united Scottish art with theirown world of the American entertainment business. In 1936,John Lavery, one of the Glasgow Boys who had become apillar of the artistic, and social, establishment, set off forHollywood to revitalise his career (at the age of eighty) bypainting movie sets and portraits of the stars. It did notprove to be a successful venture but out of it came oneiconic painting of the artist meeting the child star, ShirleyTemple.

Quality and individuality are at the heart of the works thatthe Taffners sought out. This is a collection that also reflectsthe character and values of its makers, as well as the artistsit contains. Don and Eleanor Taffner enjoyed putting thiscollection together; they enjoyed their continuing

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“Yellow Tulips” and “White Tulips”, the centrepiece of a group of Mackintoshwatercolours.

accommodation but they were also keen that those visitingNew York got to enjoy a wide range of local dining. In theearly years, lunch or dinner at Elaine’s on the Upper EastSide 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 Melain the heart of Little Italy is probably only just recovering! Inthe early 1990s it was a slightly crazy, chaotic place with nomenu as such but with a constant stream of good foodarriving at your table and wine (house red and white only)being charged based on what you hadn’t drunk; it was atruly memorable experience and highly recommended!

In Glasgow we tried to match this experience with dinner atThe Cabin restaurant in the city’s west end. The food wasexcellent 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 singerwith diner – participation an absolute must. Memories ofthe whole room (including Don and Eleanor) singing andbouncing along to the theme tune of Skippy the BushKangaroo is firmly etched into my mind. And of course noone else would have known that this popular Australianchildren’s TV series just so happened to be a successfulTaffner business venture!

I made my last visit to Grove Street in the spring of 2008. Ihad planned a Saturday night stopover there on my wayback to the UK from visiting Virginia. Unfortunately,snowstorms had shut most of the airports on the Easternseaboard and I found myself arriving into Newark Airportvery early on Sunday morning instead. Yet by 9am I washaving coffee with Don and Eleanor around their kitchentable; it was as if I did this every Sunday morning. Althoughthe sidewalks were very icy Don was keen that we go forlunch so later we ended up tottering over to their localbrasserie for a delightful meal. It was the perfect end to ahectic few days and by late afternoon I was in a car and onmy way to the airport and home.

Happy memories.Peter Trowles

Mackintosh CuratorThe Glasgow School of Art

For an American couple with no hereditary links toScotland, Don and Eleanor Taffner developed aremarkable passion for Glasgow – and Glasgow

School of Art in particular – after a chance meeting in themid 1980s with Tony Jones, then Director of the School. Notonly were they philanthropic towards the School in theirsupport of the post of Mackintosh curator for over twodecades, but they were also incredibly generous andwelcoming to those of us from GSA who found ourselves inNew York. A stay in their apartment on West 57th Streetgave my wife and I the perfect base to explore New York forthe first time when we finally took up Eleanor’s offer to“come and stay” back in 1992. Subsequent visits wereequally 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 blockfrom Central Park, the perfect setting. Later, when theTaffners moved to Greenwich Village, their hospitalityextended to letting us stay in the self-contained flat at GroveStreet (illustrated opposite). It was an absolute delight andprivilege to be their house guests and to join them forafternoon tea in their kitchen.

First time visitors to New York were encouraged by Eleanorto undertake some retail therapy, not Macy’s orBloomingdales, but a trip with her to Chinatown where sheknew exactly where to go amongst the myriad of streettraders to find the best ‘quality’ fake designer watches andhandbags. And if the seller wanted too much, Eleanor’sresponse was “we’ll find something better and cheaperelsewhere” and off we would go!

Some years later I reciprocated as shopping guide when, onone of the Taffners’ weekend visits to Glasgow, we foundourselves visiting Glasgow’s rather unique Barras market.The friendly concierge at their hotel had suggested that ‘theBarras’ offered an insight into the real Glasgow and, havingsafely parked the Daimler in a side street, we spent the nexthour or so wandering the market. We returned laden withbags of toys destined for the grandchildren. The fact thatsimilar toys (and probably of a better quality) could havebeen purchased in Manhattan at F.A.O. Schwartz was tohave missed the point. It was about the experience.

Not only were the Taffners generous in their offer of

A Personal Recollection

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1* 592/1JESSIE 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 closefriend of Charles Rennie Mackintosh, and may at one time havebeen engaged to him, before he met and married MargaretMacdonald. She studied at the Glasgow School of Art between1888-1899 under Fra Newbery and James Dunlop and workedin watercolours, painting landscapes and flowers, possiblyinfluenced 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.

£700-1,000US$1,120-1,600

Annie French

Born and raised in Glasgow,Annie French was encouraged byher father to pursue her artisticambitions, enrolling in the GlasgowSchool of Art in her early twenties.There, following the example of JessieM. King, French developed her talent forline drawing, similarly preferring ‘romantic’and ‘fanciful’ subjects.[1] She was one of manyartists of this period who borrowed some of the conventions ofthe Pre-Raphaelites and seldom departed from the theme ofdelicately pretty ladies among flowers or woods, which isreflected in the six works offered for sale. As can be seen inAutumn and The Rose, flowers play an important part in herdesigns, and are often the basis for her paintings’ highlypatterned and decorative style. While small scale watercoloursformed the mainstay of her work French also produced bookillustrations, such as Girl Smelling Roses, as well as designsfor postcards and greeting cards. It has been suggested thatThe Plumed Hat was such a design.[2]French’s work first appeared publicly in the Brussels Salon of1903, while she was still a student, and was acceptedthereafter in exhibitions at the Royal Glasgow Institute of the

Fine Arts and the RoyalScottish Academy.[3]Comparisons of her work withthat of Aubrey Beardsley arebased on her use of dots and the

dotted line but an article in ‘TheStudio’ in 1906 noted a distinction

between the two stating that, “fromwhat might be termed the Beardsley

convention [French forms] fanciful schemes ofher own”.[4] Praising her “individual charm” and

“highly decorative quality and elegance of design” thepublication helped to enhance her reputation. From 1906French shared a studio in Glasgow with Bessie Innes Young andJane Younger and, three years later, became Tutor in CeramicDecoration at Glasgow School of Art as successor to King.Following her marriage to the artist George Woolliscroft Rheadin 1914 she settled in London and became a frequent exhibitorat the Royal Academy until the mid-1920s. Her style andproduction remained constant throughout her life until herdeath in Jersey aged 93.

[1] Louise Annand, ‘Annie French (1872-1965) in Glasgow Girls, p. 141[2] Ibid, p. 142[3] Ibid, p. 145.[4] ‘Studio Talk’, The Studio, Vol. XXXVIII, 14th July, 1906, p. 164.

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2* 592/5ANNIE FRENCH (SCOTTISH 1872-1965)‘O BESSIE BELL AND MARY GRAY’signed lower right ANNIE FRENCH, ink, watercolour, gold inkand traces of pencil on paper

30cm x 23cm (12in x 9in)

Provenance:The Fine Art Society, LondonSotheby’s, Perthshire, ‘Scottish and Sporting Paintings’, 29thAugust 1988, Lot 836

Exhibited:The Royal Glasgow Institute, 1910, no. 395

Note:The subject, taken from The Child Ballads, tells the tale of twofriends who take refuge from the plague in a bower, but wholater die after being infected during a visit from a suitor.£3,000-5,000US$4,800-8,000

3* 592/7ANNIE FRENCH (SCOTTISH 1872-1965)THE ROSEsigned lower left ANNIE FRENCH, ink, watercolour,gold ink and traces of pencil on paper

24.5cm x 26.5cm (9¾in x 10¼in)

£2,500-3,500US$4,000-5,600

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4* 592/11ANNIE 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)


£1,000-1,500US$1,600-2,400

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5* 592/8MARY NEWBERY STURROCK (BRITISH 1892-1985)‘CARNATIONS’signed with initials in pencil lower right MNS, black inkand watercolour

27cm x 20cm (10¾in x 8in)

Provenance:The Fine Art Society, London

Exhibited:Edinburgh, the Fine Art Society ‘Mary NewberySturrock: Flower Studies’, 19th August-9th September,1978

Literature:Moffat, Alistair & Baxter, Colin, ‘Remembering CharlesRennie Mackintosh’, Lanark 1989, p.79

£300-500US$480-800

Note:Mary Newbery Sturrock was the daughter of Francis 'Fra'Newbery (1855-1946), the Headmaster of the Glasgow Schoolof Art at the time Mackintosh designed the new premises inRenfrew Street. Newbery and Mackintosh, and their families,became good friends and Mary Newbery was a frequent visitorto the Mackintoshes' house in Glasgow before they left the cityin 1913. Mary was convalescing in Walberswick while theMackintoshes were in the village in 1914 . She watchedMackintosh making some of his flower drawings and wasinspired by them to produce her own studies in later life. In aconversation with Roger Billcliffe she stated that theappearance of Margaret's initials on Mackintosh's flower

drawings merely indicated that Margaret was present when thedrawing was made, not that she made any contribution to thedrawings. There is no stylistic evidence of Margaret addingwatercolour to these drawings (the most frequent reason givenfor the appearance of her initials) which are consistent withMackintosh's own watercolour technique. Sturrock's theory issupported by the absence of Margaret Mackintosh's initials onsome watercolours (see lot 28) and the presence of severalsets of initials on some drawings, made when Mackintosh wasaccompanied by friends such as Herbert and Frances MacNair,John Keppie or Charles Macdonald, brother of the Macdonaldsisters.

Jessie Marion King

One of the most individual and successful ‘Glasgow Style’designers in her lifetime, Jessie Marion King had a long andproductive career.[1] Despite the disapproval of her parentsKing pursued her early artistic promise and enrolled at theGlasgow School of Art in 1892. There she was encouraged bythe inspirational, liberal Headmaster, Fra Newbery, to maintainher ‘child-like vision’ while developing her natural gift for linearexpression.[2] Predominantly working in pen and ink Kingproduced intricately designed and delicately coloured bookcovers and illustrations, such as the series entitled The GoldenDawn. Her talent was recognised in 1902 when she won a goldmedal at the International Exhibition of Decorative Art in Turinfor 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 aninstructor in book illustration before her marriage to E.A.Taylor in 1908 precipitated a relocation to Salford and, later, toParis. While in France King was to be greatly influenced by theinnovative colour and design work of Leon Bakst, whose boldcostumes for the Ballets Russes were creating an internationalsensation.[3] This influence can be seen in her later workwhere we see her style change from the ‘linear fantasy’ of

Golden Days in the Coming Years to use of a broader line withbrightly coloured washes.

Although her earliest success was with book illustrations Kingalso wrote over seventy children’s books and designedwallpaper, posters, fabrics and costumes, as well as creatingsilver and jewellery for Liberty and Co.’s Cymric line. Sheexperimented with the use of batik, after being introduced tothe new technique while in Paris, and produced a series ofvividly coloured landscapes in oil and watercolour after shemoved to Kirkcudbright in 1914. Throughout her variedprofessional career King retained a distinctly individual style.This individuality can be seen by her refusal to copy designs atart school, instead insisting she be allowed to draw “out of myhead”.[4] Cutting an eccentric figure in her trademark blackbrimmed hat, cape and buckled shoes King becamewell-known and liked in Kirkcudbright where she lived withTaylor until her death aged 74.

[1] Jude Burkhauser, ‘Jessie M. King (1875-1949)’ in Glasgow Girls, p. 133.[2] Cordelia Oliver, ‘’Jessie M. King’, in Jessie M. King and E.A.Taylor, (1977)p. iv.[3] Jude Burkhauser, ‘Jessie M. King (1875-1949)’ in Glasgow Girls, p. 135.[4] Jessie M. King, ‘Lecture on design’, King Collection.

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6* 592/160JESSIE 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, BourneFine Art ‘Jessie M King’, 2nd November-16th December 1989,no. 6

£4,000-6,000US$6,400-9,600

7* 592/101JESSIE MARION KING (SCOTTISH 1875-1949)‘THE GOLDEN DAWN’Inscribed THE GOLDEN DAWN, ink, watercolourand traces of pencil, 23.5cm x 11.5cm (9½in x4½in); and three companions by the same hand,a set of four (4)


£3,000-5,000US$4,800-8,000

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8* 592/46MARGARET DE COURCY LEWTHWAITE DEWAR(SCOTTISH 1878-1959)COPPER AND ENAMEL MANTEL CLOCK, CIRCA 1900with domed lantern pediment having applied red enamelbands over Celtic cross design enamelwork with centralcircular dial, painted Arabic numerals, the base of the crossdecorated with two figures, one playing a pipe, the sides withpanels of fairies and enamel inscription NOW THE BRIGHTMORNING STAR COMES DANCING FROM THE EAST, ANDRAPT THRO’ MANY A ROSY CHANGE THE TWILIGHT DIEDINTO THE BANK, raised on spreading rectangular plinth(alterations)

31cm (12in) high x 19.5cm (7½in) wide

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Provenance:Barclay Lennie Fine Art, Glasgow

Literature:Burkhauser, Jude (edit.) ‘Glasgow Girls: Women in Art andDesign 1880-1920’, Edinburgh 1990, pp. 158-163

Note:The inscription on this clock is taken from John Milton's 'Songon May Morning'.

De Courcy Lewthwaite Dewar was born in Kandy, Ceylon, thedaughter of a tea planter. From 1891 to around 1909 [if she wasemployed in 1902 by GSA she was no longer studying there in1909] she studied at the Glasgow School of Art and her maincontribution to the Glasgow Style was her enamel and metalwork, frequently illustrated and promoted in ‘The Studio’magazine. Traditionally a male preserve in the early 19thcentury, metalworking by women had, by the late 19th century,become socially acceptable. Numerous talented women artistsin jewellery, metalwork and enamelling were working inGlasgow at this time. By 1902 Dewar had been employed by FraNewbery, Director of the School of Art, as a teacher inenamels. She had been influenced by her teacher in metalworkPeter Wylie Davidson, and she also benefitted from a visit tothe School of Art of the celebrated enamellist Alexander Fisher.In addition to her teaching role, she had her own studio inGlasgow, recieving frequent commissions for her work andcollaborating with other contemporaries such as DorothyCarleton Smyth (see lot 28) and Jessie M. King. Along with theMackintoshes and the MacNairs, she exhibited at the TurinInternational Exhibition of Decorative Art in 1902. Her concernfor women’s issues also led to her support of the suffragemovement and she designed many bookplates, calendars andprogrammes for suffrage organisations. She remained anactive and ouspoken participant in the arts and for womensrights throughout her life. In 1933 she purchased White Tulips(lot 61) by Charles Rennie Mackintosh at the MemorialExhibition in Glasgow in 1933 (no. 78).

£4,000-6,000US$6,400-9,600

9* 592/76MARGARET GILMOUR (SCOTTISH 1860-1942)BRASS DESK STAND, CIRCA 1900with two hinged sloping doors decorated with Glasgow rosepanels over similarly decorated front and spreadingrectangular plinth, signed with stamped monogram

28cm (11in) across

Note:Margaret Gilmour and her sister, Mary, maintained a studioteaching and producing metalwork at 179 West George Street,Glasgow from 1893 until the early 1940s.

£700-900US$1,120-1,440

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10* 592/77MARGARET GILMOUR (SCOTTISH 1860-1942)BRASS MOUNTED RECTANGULAR BLOTTER, CIRCA 1900the sides with Celtic entrelac decoration, signed with stampedmonogram

48cm (19in) across


£200-300US$320-480

11* 592/80GLASGOW SCHOOLLARGE BRASS TRAY, CIRCA 1910with eared corners and linked Glasgow rose spandreldecoration, unsigned, 29cm (11½in) across; an ARTS &CRAFTS SMALL BRASS DISH, with Celtic entrelac decoration,11cm (4¼in) across; and ANOTHER SMALLER, with rosedecoration, 8.5cm (3¼in) across (3)

£200-300US$320-480

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13* 592/79MARGARET GILMOUR (SCOTTISH 1860-1942)BRASS INKWELL, CIRCA 1900the hinged lid with Glasgow rose decoration and front withmonogram, on spreading plinth, signed with stampedmonogram

10cm (4in) across

£300-400US$480-640

14* 592/82GLASGOW STYLEOVAL BRASS TEA TRAY, CIRCA 1910repoussé decorated with continuous frieze ofroundels amidst entrelac Celtic frieze, insetcarrying handles to the gallery, 57.5cm(22½in) wide; together with a GLASGOWSTYLE BRASS CANDLE SCONCE, repoussédecorated with a Glasgow rose, 31cm (12in)high (2)

£300-400US$480-640

12* 592/78MARGARET GILMOUR (SCOTTISH 1860-1942)NARROW RECTANGULAR BRASS PEN TRAY,CIRCA 1900with repoussé Glasgow rose panels, signed withstamped monogram, 22cm (9in) across; and ANOTHERIDENTICAL IN SIZE, with Celtic entrelac decoration,signed with stamped monogram, 22cm (9in) across (2)


£200-300US$320-480

15* 592/40AFTER MARGARET GILMOURARTS & CRAFTS BRASS CASED KIDNEY SHAPED WALLMIRROR, CIRCA 1910the broad border repoussé decorated with butterflieslinked by scrolls

77cm (30in) wide

£500-700US$800-1,120

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16* 592/74SCOTTISH ARTS & CRAFTSCOPPER AND PEWTER WALL MIRROR, CIRCA 1910of tapering rectangular outline, the beaten metal frame set tothe angles with red cabochons

49cm x 80cm (19in x 31½in)

£300-500US$480-800

17* 592/104SCOTTISH SCHOOLBRASS FRAMED WALL MIRROR, CIRCA 1930of oval form, the frame embossed and chased with Celtic knotwork, enclosing a later mirrored plate, 85cm x 41cm (33½in x16in); another SCOTTISH CELTIC REVIVAL BRASS FRAMEDWALL MIRROR, of rectangular form, with embossed andchased Celtic decoration, 57cm x 36.5cm (22½in x 14in); and apair of OVAL COPPER WALL MIRRORS, each with strapworkdecoration, 38cm (15in) x 22cm (8½in) high (6)

£300-500US$480-800

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20* 592/161GLASGOW SCHOOLBRASS WALL CHARGER, CIRCA 1910repoussé decorated with a band of entwined Celticdecoration

48cm (19in) diameter

£200-300US$320-480

19* 592/157GLASGOW SCHOOLBRASS WALL SCONCE, CIRCA 1910repoussé decorated with stylised moths

38cm (15in) high

£200-300US$320-480

18* 592/155GLASGOW SCHOOLBRASS AND ENAMEL WALL SCONCE, CIRCA 1910repoussé decorated with stylised roses and inset withturquoise enamel roundel

56cm (22in) high

£300-500US$480-800

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21* 592/38CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)SUITE OF SILVER CUTLERY, 1902comprising: A SINGLE SOUP SPOON, with deep almostcircular bowl and with incised heel, pierced terminal, 26.5cm(10½in) long; A SINGLE DESSERT SPOON, with deeper bowland with incised heel, pierced terminal, 26.5cm (10½in) long; ASINGLE DINNER FORK, with four prongs, pierced terminal,26cm (10¼in) long; and A SINGLE DESSERT FORK, with fourprongs, pierced terminal, 23cm (9in) long, each with maker’smark DWH (David W. Hislop), hallmarked Glasgow 1902 (4)

Provenance:Fra H. NewberyElsie Newbery and by family descentBarclay Lennie Fine Art, Glasgow

Literature:Howarth, Thomas, ‘Charles Rennie Mackintosh and theModern Movement’, New York, 1953, pl. 50

Note:In 1902 Jessie and Fra Newbery commissioned fromMackintosh a design for a twelve place setting of diningcutlery, each set containg a soup spoon, dessert spoon, dinnerfork and dessert fork (knives were supplied separately from astock pattern). The commission was handled by a jeweller’s inGlasgow, Edwards & Company, and the cutlery was made by DW Hislop, a Glasgow silversmith who worked with Mackintoshon other projects. All of the cutlery was later divided equallybetween the Newberys’ daughters, Mary and Elsie; Mary’spieces were sold separately during the 1970s and 1980s.

£5,000-8,000US$8,000-12,800

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22* 592/38ACHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)SUITE OF SILVER CUTLERY, 1902comprising: A SINGLE SOUP SPOON, with deep almost circularbowl and with incised heel, pierced terminal, 26.5cm (10½in)long; A SINGLE DESSERT SPOON, with deeper bowl and withincised heel, pierced terminal, 26.5cm (10½in) long; A SINGLEDINNER 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 markDWH (David W. Hislop), hallmarked Glasgow 1902 (4)

Provenance:Fra H. NewberyElsie Newbery and by family descentBarclay Lennie Fine Art, Glasgow

Literature:Howarth, Thomas, ‘Charles Rennie Mackintosh and the ModernMovement’, London, 1952, pl. 50C

£5,000-8,000US$8,000-12,800

Photographed at the Memorial Exhibition, 1933. The label reads“Lent by Mr. F.H. Newbery”. Photo: T. & R. Annan.

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23*CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)SUITE OF SILVER CUTLERY, 1902comprising: A SINGLE SOUP SPOON, with deep almostcircular bowl and with incised heel, pierced terminal, 26.5cm(10½in) long; A SINGLE DESSERT SPOON, with deeper bowland 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 fourprongs, pierced terminal, 23cm (9in) long, each with maker’smark DWH (David W. Hislop), hallmarked Glasgow 1902 (4)

Provenance:Fra H. NewberyElsie Newbery (Lang) and by family descentBarclay Lennie Fine Art, Glasgow

Literature:Howarth, Thomas, ‘Charles Rennie Mackintosh and theModern Movement’, London, 1952, pl. 50C

£5,000-8,000US$8,000-12,800

venue for shows of recent work. At the end of 1894 itsexhibition included work by the Macdonald sisters which led tooutcries in the press about ‘ghoul-like’ works with ‘impossibleforms, lurid colour, and symbolism that requires manyfootnotes of explanation’. The name ‘Spook School’, given tothe work of The Four, was born.

Mackintosh was never as extreme in his ‘Spook School’ graphicwork as his friends Margaret and Frances Macdonald andHerbert MacNair. The figures in this design are much moreclassical in feeling (there is an affinity with Michelangelo inother similar work of the period) and the elaborate patterns ofhair and vegetation in the background have a more ordered andsubstantial feel than that in contemporary works by his friends.The central figure may be the earliest appearance of a favouriteMackintosh motif, the Tree of Knowledge. Two other examplesare known (The Hunterian, University of Glasgow)

£1,800-2,200US$2,880-3,520

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24*CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)GLASGOW SCHOOL OF ART CLUB DIPLOMA OF HONOURoffset 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. 397Howarth, Thomas. ‘Charles Rennie Mackintosh and the ModernMovement’, London, 2nd ed. 1977, pl. 7CNeat, Timothy ‘Part Seen, Part Imagined: Meaning andSymbolism in the Work of Charles Rennie Mackintosh andMargaret Macdonald’ Edinburgh 1994, ill. p. 30

Note:The School of Art Club was a student organisation, a socialclub for current and past pupils at the School and an exhibition

25* 592/19CHARLES 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 Estateof Margaret Macdonald Mackintosh, acquired after theMemorial Exhibition in 1933Christie’s, Edinburgh ‘Fine Paintings and Drawings’, November17, 1994, Lot 814

Exhibited:Chicago, 4th International Exhibition of Watercolours, 1924Glasgow, McLellan Galleries ‘Charles Rennie Mackintosh andMargaret Macdonald Mackintosh: Memorial Exhibition’, May1933, no. 51Glasgow, Hunterian Museum and Art Gallery ‘Flower Drawingsby Charles Rennie Mackintosh’, November 1977, no. 41Edinburgh, Glasgow and London, The Fine Art Society ‘Glasgow1900’,1979London, The Fine Art Society ‘Charles Rennie MackintoshMemorial Exhibition’, 1983Edinburgh, The Royal Scottish Academy ‘MackintoshWatercolours’, August 1986, no. 35New York, The Metropolitan Museum of Art, November 19th-February 16th 1996; Chicago, The Art Institute of Chicago,March 29th-June 22nd 1997, Los Angeles, Los Angeles CountyMuseum, August 3rd-October 12th 1997, ‘Charles RennieMackintosh’, Glasgow Museums Exhibition, May 25th 1996-October 12th October 1997, no. 285

Literature:Billcliffe, Roger ‘Mackintosh Watercolours’, London, 1978, pp.16-17, 41, ill.102, catalogue 173

£100,000-150,000US$160,000-240,000

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In 1913 Mackintosh dissolved his partnership with John Keppiein Glasgow and set up on his own. There are no records of himgaining any new commissions, however, and in 1914 he and hiswife, Margaret Macdonald, set off for Walberswick for whatseems to have been a recuperative holiday near to their friendsthe Newberys (see lots 28 and 29). Mackintosh spent much ofhis time there painting wild flowers, possibly intended forpublication. The outbreak of war, however, probably dissuadedhim from returning to Glasgow, where the chances ofestablishing a new architectural practice were somewhatdiminished by the hostilities and legislation curtailing newbuilding.

The Mackintoshes stayed on in Walberswick into 1915 andMackintosh began to make more elaborate watercolours of thevillage and some of its houses. He must have known that hewould have to find new sources of income and this movetowards more finished watercolours, suitable for exhibition,was probably part of his strategy. Before he was able to developthe idea beyond three or four finished pieces, he was arrestedon suspicion of working for the enemy. His accent, hispersistent visits to the coast (to draw flowers) and his recordingof the village in his watercolours were all seen as suspicious ata time when the east coast seemed vulnerable to enemyattack. The discovery in his lodgings of letters from Austria and

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‘Yellow Tulips’ photographed at the Memorial Exhibition, 1933. Photo: T. & R. Annan.

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Germany added to the general hysteria and it was only afterthe intervention of several influential friends, includingNewbery and Patrick Geddes, that he was released, with arecommendation that he move to London. There, the coupletook lodgings in Willow Road, Hampstead, and rented twoadjacent studios in Glebe Place, Chelsea.

Mackintosh made immediate efforts to extend his income,producing designs for printed textiles for sale to a couple ofmanufacturers who were interested in modern design, andbeginning work on a series of finished watercolours whichcould be sent to various exhibiting societies in the hope ofmaking sales. The inspiration that the townscape ofWalberswick had given him was obviously missing in the heartof London, despite the adjacent charms of Glebe Place,Cheyne Walk and the Thames, so he turned towards finishedpaintings of cut flowers, arranged in the studio. Some of theearliest of these, such as Begonias and Anemones containstylised backgrounds formed from pieces of fabric made fromthe concurrent designs Mackintosh was making for textiles.Begonias is reminiscent of the strong patterns thatMackintosh was making for a house at 78 Derngate,Northampton, while Anemones moves towards a morenaturalistic composition, with a white wall for a backgroundon which hangs a piece of Mackintosh-designed cloth, like apicture. White Tulips makes a further move towards this newnaturalism. The flowers are arranged on the frontal plane ofthe painting, with the base of their vase cut off and itssupporting table excluded completely from the composition.The curving stems of the flowers fan out across the paper andtheir blooms are arranged along its top edge, all seen againstthe white of a wall behind. In the lower half of the paintingMackintosh introduced a simple table, covered in a checkedcloth, on which is placed a plain white vase containg fourpeonies. The checked cloth and the lush blooms of thepeonies contrast vividly with the classic elegance of the tulips.

The tulip became a favourite motif for Mackintosh whiledesigning textiles at this time, although its shape probably laybehind some of the more naturalistic curves and blooms ofthe earlier Spook School designs of the 1890s. And the tulip isthe only flower that Mackintosh used more than once in thissequence of paintings of cut flowers. Yellow Tulips is probablyone of the later paintings made just before the Mackintoshesleft London for France in 1923. Mackintosh chose to send it toChicago for the 4th International Exhibition of WatercolourPaintings; it seems very likely that he would choose a recentwork, especially as most of his other paintings remained

unsold and so he would have had a number to choose from. Itssetting is unique, showing in the background a wall of hisGlebe Place studio. He seems to have made a wall ofbookshelves, not unlike the treatment of the fireplace wall ofhis sitting room in Glasgow, although here the woodwork isstained dark, as opposed to the Glasgow white paint. As inWhite Tulips, Mackintosh has arranged the flowers across thesheet of paper, emphasising the sinuous curves of the stemsand contrasting the bright yellow of the blooms against thecool grey-browns of the room.

The flattening of the composition, the emphasis on pattern andshapes, looks forward to Mackintosh’s later work in France,where he concentrated on landscape rather than cut flowerssuch as these. Mackintosh went to France, seemingly, with thepromise of an exhibition if he could amass enough work. TheseLondon flower paintings would have given him the confidenceto work towards this new goal and they would have shown togallery owners that Mackintosh had the necessary skills andimagination to achieve a solo show. But these are nottransitional works - a halfway-house between the flowerstudies of Walberswick and the powerful landscapes of PortVendres - they are the first fruits of a new career forMackintosh, one that he was born to, for the bedrock ofeverything he ever did.

Charles Rennie Mackintosh. Photo: T. & R. Annan.

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26* 592/23CHARLES 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 weddingpresent in 1915 and by family descentWilliam Hardie Ltd., Glasgow

Literature:Howarth, Thomas ‘Charles Rennie Mackintosh and the ModernMovement’, London, 2nd ed. 1977, p. 27, note 2Billcliffe, Roger ‘Mackintosh Watercolours’, London 1978, p. 81,catalogue 85Robertson, Pamela ‘Charles Rennie Mackintosh: Art is theFlower’, 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, anamalgam of the symbolist watercolours of the 1890s and later,more naturalist paintings. Traditionally dated to circa 1905-6 itcould, given the date of the gift to Elsie Newbery, date from1914-15 and may even relate to the contemporary Voices of theWoods, a collaborative exhibit by Charles and Margaret.Its form has always been a puzzle, with trees melding into thebackground to create an uncertain landscape. Elsie Newberyadmitted to hanging it upside down until her discovery of agroup of silver birches growing in a similar fashion in Arran.

£10,000-15,000US$16,000-24,000

27* 592/16CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)‘TACSONIA’signed with initials CRM and MMM, inscribed and dated lowercentre left CINTRA JUNE 1908, pencil and watercolour

24.5cm x 19cm (9¾in x 7½in)

Provenance:R.W.B Morris, executor of Margaret Macdonald Mackintosh’sestate, 1933Sotheby’s Belgravia, 7th November 1978, lot 162Piccadilly Gallery, LondonGalleria Galatea, MilanSotheby’s, Glasgow ‘Scottish Paintings’, 11th December 1996,lot 281

Exhibited:Edinburth, Royal Scottish Museum and London, Victoria andAlbert Museum, Scottish Arts Council Exhibition, ‘CharlesRennie Mackintosh - Architecture, Design and Painting’, 17thAugust-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 elegantcompositions of Mackintosh’s flower studies combining pencildrawings of the plant’s leaves and a dissection of its seed pod,overlaid with a watercolour depiction of the flower in variousstages of its life. This layering of different views and elementswithin a composition had been used regularly in his pencilarchitectural sketches from about 1900 onwards and can beseen in other drawings

£10,000-15,000US$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 lowercentre right CHICKORY/ WALBERSWICK 1914, pencil andwatercolour

24.5cm x 19cm (9¾in x 7¾in)

Provenance:R.W.B Morris, executor of Margaret Macdonald Mackintosh’sestate, 1933Sotheby’s Belgravia, 7 November 1978, lot 162The Fine Art Society, LondonPiccadilly Gallery, LondonGalleria Galatea, MilanSotheby’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 fora recuperative holiday, but the outbreak of war persuadedthem to remain in the village for fifteen months. They first ofall stayed next door to the Newberys, who had bought asemi-detached villa in the village about 1900. Mackintoshspent much of his time sketching wild flowers on the coast (anactivity which was to contribute to his arrest as a suspectedenemy spy in 1915). The belief that the colouring on thesedrawings was applied by Margaret Mackintosh is counteredhere by the appearance of only Mackintosh’s initials while thequality and manner of the watercolour is entirely consistentwith the many drawings where both his own initials and thoseof Margaret are included (see lot 5).

£8,000-12,000US$12,800-19,200

29* 592/18CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)‘GRASS HYACINTHE’signed with initials CRM and MMM, inscribed and dated lowercentre GRASS HYACINTHE/ WALBERSWICK/ 1915, pencil andwatercolour



Note:Mackintosh’s mis-spelling of ‘hyacinth’ is typical; similarerrors occur throughout his work and it has been suggestedthat he was perhaps mildly dyslexic.

£6,000-8,000US$9,600-12,800

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30* 592/22FRANCES MACDONALD MACNAIR (SCOTTISH 1874-1921)‘THE FROG PRINCE’signed and dated FRANCES E MACDONALD 1898, watercolourand gold ink

49cm x 37cm (19¼in x 14½in)

Provenance:Private Collection, FranceChristies, Edinburgh ‘Fine Paintings and Drawings’, 13th May1993, Lot 827

Exhibited:Edinburgh, Royal Scottish Academy, Royal Scottish Society ofPainters in Watercolours, 1898, no. 170Vienna, Eighth Exhibition of the Vienna Secession, 1900, no. 545Turin, International Exhibition of Modern Decorative Art, 1902,no. 75Glasgow, Hunterian Art Gallery and Liverpool, Walker ArtGallery ‘Doves and Dreams: The Art of Frances Macdonald andJ. Herbert MacNair’, 12th August 2006-22nd April 2007, exhib.ref. W13

Literature:Ver Sacrum, no. 24, 1900, ill. p. 304Ver Sacrum, no. 23, 1901, ill. p. 399Dekorative Kunst, Vol. VII, 1901, “Die VIII Austellung der WienerSecession”, p.170, reproduced.Helland, Janice ‘The Studios Of Frances And MargaretMacdonald’, Manchester, 1996, p. 113, fig. 36 and p. 119, fig.40, illustration of the interior.Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art ofFrances Macdonald and J. Herbert MacNair’, Hampshire 2006,p. 151-2, exhib. ref. W13, cat. ill. 70

£30,000-50,000US$48,000-80,000

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Frances and her sister Margaret Macdonald each exhibited awatercolour depicting a scene from the tale of the frog princeat the RSW in 1898. Each was unsold and both paintings wereshown in the 8th Exhibition of the Vienna Secession in late 1900in the room designed by Mackintosh as a showcase for thework of The Four. Helland and Robertson have bothcommented on the themes and possible feminist undertones inFrances’s choice of the cruel moment in the story when theprincess, after the frog has retrieved the golden ball for her,runs off with it, reneging on her promise to share her life withhim, leaving the distraught frog prince behind.

The prince is seen here as half frog, half human and theprincess, despite her billowing dress, veils and cascading hair -all seen as symbols of her wealth and beauty - is shown withscaly claws for hands.

The overall design and execution shows Frances at the heightof her powers at this date and remains perhaps her highestachievement among her pre-1900 watercolours.

‘The Frog Prince’ (on the right) hanging in the Writing Room which the MacNairs designed for the InternationalExhibition of Modern Decorative Art, Turin, 1902.

31* 592/60FRANCES 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 brotherBy descent to his daughter, Mrs. L. A. DunderdaleThe Fine Art Society, LondonGordon HouseChristies, 14th June 2005, Lot 218.

Exhibited:Glasgow, Hunterian Art Gallery and Liverpool, Walker ArtGallery ‘Doves and Dreams: The Art of Frances Macdonald andJ. Herbert MacNair’, 12th August 2006-22nd April 2007, exhib.ref. W12

Literature:Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art ofFrances 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 wasto become familiar in the work of the sisters. Children androses or rose bushes featured regularly in the work of FrancesMacdonald, and her future husband Herbert MacNair, from themid-1890s. This symbolism is multi-layered and open to muchspeculation over its meaning. By no means all of it celebrateshuman fecundity and romantic love and, particularly inFrances’s paintings, the debate over the effect of children on awoman’s creative output seems never far beneath the surface.

£8,000-12,000US$12,800-19,200

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32*FRANCES MACDONALD MACNAIR (SCOTTISH 1874-1921)DESIGN FOR CLASP AND ORNAMENT, CIRCA 1900-10bears inscriptions, pencil and watercolour

14cm x 11.5cm (5½in x 4½in)

Provenance:The Fine Art Society, GlasgowEd and Jess SimpsonRoger Billcliffe Fine Art, Glasgow

Exhibited:Glasgow, Edinburgh and London, The Fine Art Society ‘Glasgow1900’, 1979, no. 60Liverpool, The Walker Art Gallery, ‘The Art Sheds 1894-1905’,1981, no. 117

Note:Frances gave classes in design at the Art Sheds at theUniversity of Liverpool, where Herbert MacNair was one of theinstructors. After her return to Glasgow about 1908 she wasalso employed in the jewellery and textiles department atGlasgow School of Art. Some examples of her early jewellerywere exhibited at St George’s Hall, Liverpool in 1900 and againin Turin in 1902.

£1,000-1,500US$1,600-2,400

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34* 592/4SIR DAVID MUIRHEAD BONE, H.R.W.S. (SCOTTISH 1876-1953)‘THE TERRACE’signed lower left MUIRHEAD BONE, pencil on paper, 13cm x17cm (5in x 6½in); and another similar by the same hand, THEPIAZZA, 13cm x 22cm (5in x 8¾in), mounted within one frame(2)

Provenance:Cyril Gerbil Fine Art, Glasgow

£400-600US$640-960

33* 592/3SIR DAVID MUIRHEAD BONE, H.R.W.S. (SCOTTISH 1876-1953)‘GLASGOW EXHIBITION AT NIGHT’signed in pencil lower right MUIRHEAD BONE, black ink andpencil, 18cm x 12cm (7in x 4¾in); and another similar by thesame hand, GLASGOW EXHIBITION LAST NIGHT, 12cm x 18cm(4¾in x 7in), mounted within one frame (2)

Provenance:Cyril Gerbil Fine Art, Glasgow

£600-800US$960-1,280

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Ernest Archibald Taylor

E.A. Taylor was born in Greenock in 1874, the fifteenth ofseventeen children of an army major. After training as adraughtsman in the yards of the shipbuilders Scott and Co.Ltd, Taylor became a student of the Glasgow School of Art inthe late 1890s. There he absorbed the influence of FraNewbery and the already well-established ‘Glasgow Four’before joing a firm of cabinet makers in 1900 and becoming aleading designer of furniture and stained glass in the GlasgowStyle. In 1907 he became the head of furniture design withWragge and Co. in Salford and married the illustrator andfellow Glasgow School protégé, Jessie M King, the followingyear. A move to Paris three years later saw Taylor become theParis correspondent of The Studio’ and second in command ofTudor Hart’s ‘Paris School of Drawing and Painting’. Beforelong, however, the couple established their own school, ‘TheShealing Atelier’, and also set up a popular summer sketchingschool on the Isle of Arran, which they continued to run until1940. Cottages By the Sea was most likely produced duringone of these extended stays on Arran.

Returning to Scotland shortly after the outbreak of World WarI they settled in Kirkcudbright, whose particular quality of lightis said to have drawn many artists to reside in its picturesquestreets. Cottages were converted to studios and many youngartists of the day, including Dorothy Johnstone and CecileWalton, 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 Scottishdesign he worked at a prodigious rate, particularly focusing onwater colours of local scenes, some of which he reproducedas etchings. While in Paris, Taylor was influenced bycontemporary French painting resulting in his work at homebecoming more like that of the Colourists, with simplifiedforms and bold outlines. Kirkcudbright is a typical example ofthis 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 FineArt Association and was in demand as a speaker on art andalso on the work of Robert Burns. With his death in 1951 animportant chapter in the life of Kirkcudbright’s artists colonycame to a close.

35* 592/97ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1951)TREES BY A FENCEpencil and watercolour

28.5cm x 23cm (11¼in x 9in)

£300-500US$480-800

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37* 592/95ERNEST ARCHIBALD TAYLOR(SCOTTISH 1874-1951)KIRKCUDBRIGHTblack conté crayon and watercolour

16cm x 18cm (6¼in x 7in)

£300-500US$480-800

36* 592/96ERNEST ARCHIBALD TAYLOR(SCOTTISH 1874-1951)COTTAGES BY THE SEApencil and watercolour

18cm x 16cm (7in x 6¼in)

£300-500US$480-800

38* 592/90TIFFANY STUDIOS, NEW YORK‘ZODIAC’ PATTERN TABLE LAMP, CIRCA 1910bronze, with ‘turtle back’ glass shade, the bronze cast withZodiac decoration, stamped maker’s marks TIFFANY STUDIOSNEW YORK 541.

37cm (14½in) high

Literature:Duncan, Alistair ‘Tiffany Lamps and Metalware’, Woodbridge

£2,000-3,000US$3,200-4,800

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39* 592/72TIFFANY STUDIOS, NEW YORKBRONZE PAPERWEIGHT, CIRCA 1910with ‘turtle back’ glass panel

20.5cm (8in) across

£600-800US$960-1,280

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40* 592/70TIFFANY STUDIOS, NEW YORK‘ZODIAC’ PATTERN COMPOSITE DESK SET, CIRCA 1910bronze, comprising of: an INKWELL, 16cm (6in) across; a PAIROF 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; aSILVERED STAMP BOX, 9.5cm (4in) across; and a PEN TRAY,25cm (10in) across (9)

£2,000-3,000US$3,200-4,800

41* 592/73ART NOUVEAU METALWAREQUANTITY OF BRASS AND COPPER WARES, EARLY 20THCENTURYto include: an EMBOSSED COPPER TRAY, 40cm (16in) across;a BRASS TWIN HANDLED TRAY, 59.5cm (23½in) across; aBRASS MATCH BOX HOLDER, 15.5cm (6in) high, a BRASS PENTRAY, 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, stampedmark JS&S, 19cm (7½in) high; a CONTINENTAL BRASS ANDCOPPER JARDINIERE, 41cm (16in) across (qty)

£300-500US$480-800

42* 592/121PIERRE LE FAGUAYS(FRENCH 1892-1962)GIRL WITH A HOOPpatinated spelter figure, raised on marbleplinth, inscribed on the circular baseFAYRAL

30cm (12in) high

£300-500US$480-800

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44* 592/75WMF (WURTTEMBERGISCHE METALLWARENFABRIK)GROUP OF METALWARES, CIRCA 1910to include; A RECTANGULAR ELECTROPLATED CASKET, the hinged lid withSecessionist shield and motifs over similar sides with spreading plinth,impressed marks, 21cm (8in) wide; together with TWO WMFELECTROPLATED BOXES, one hammered with tambour panel and bun feet,impressed mark ANT 123, 15cm (6in) across, the other smaller withembossing, 14.5cm (6in) across; an ARGENTOR SECESSIONIST STYLECIRCULAR BASKET, with pierced loop handle and similar narrow frieze onelongated bullet feet, impressed mark 4123, 20cm (8in) across; and a WMFSTYLE TWIN HANDLED FOOTED FRUIT BOWL, with embossed Glasgow rosedecoration, apparently unmarked, 30.5cm (12in) across (5)

£300-500US$480-800

43* 592/122PIERRE LE FAGUAYS(FRENCH 1892-1962)GIRL WITH A HOOPpatinated bronze figure, raised onmarble plinth, inscribed on thecircular base FAYRAL

25cm (10in) high

£500-700US$800-1,120

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46* 592/99WMF (WURTTEMBERGISCHE METALLWARENFABRIK)ART NOUVEAU PEWTER CASKET, CIRCA 1900with heart and double whiplash pediment to domed hinged lidover shaped sides with opposed female mask, on bracket feet,impressed marks

14cm (5½in) wide

£200-300US$320-480

45* 592/120WMF (WURTTEMBERGISCHE METALLWARENFABRIK)ELECTROPLATED TWIN SPILL VASE, CIRCA 1900with tall square section glass liners and pierced Secessionistdecoration on rectangular plinth, stamped mark BM 1/0

19cm (7½in) high

£200-300US$320-480

47* 592/32EMILE GALLÉ (FRENCH 1864-1904)CAMEO GLASS BOTTLE VASE, CIRCA 1910the frosted glass body overlaid in green and acidetched with a fern design, cameo signature tobody GALLÉ

14cm (5½in) high

£400-600US$640-960

48* 592/25KOLOMAN MOSER (AUSTRIAN 1868-1918)MAHOGANY TABLE VITRINE, CIRCA 1900the square top with bevelled glass panel above four glazedsides and two opposing revolving doors enclosing glass shelvesfor display, the whole raised on a cylindrical column on steppedbrass base

43.5cm (17in) widein x 72cm (28in) high

£1,000-1,500US$1,600-2,400

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49* 592/69AJOSEF HOFFMANN (AUSTRIAN 1870-1956)FOR JACOB & JOSEF KOHNNEST OF THREE EBONISED WOOD TABLES, CIRCA 1906each with rectangular top raised on turn supports with U-formstretchers, the largest with conjoined sphere handles, bearsJ.&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’, October11th 1986, Lot 130

£400-600US$640-960

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50*ROMAIN DE TIRTOFF (ERTÉ) (RUSSIAN 1892-1990)‘THE BALCONY’print, serial no. CXXXIII/CC


£400-600US$640-960

51*LOUIS ICART (FRENCH 1880-1950)‘FAUST’, 1928signed 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 x33cm (21¼in x 13in); and TWO REPRODUCTION LOUIS ICARTPRINTS, ‘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 LouisIcart’, Pennsylvania 1982, p. 103, fig. 145

£400-600US$640-960

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52* 592/45DOROTHY 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, 1904of circular outline with repousse flower head entrelac borderand with Gaelic inscription, NAH.UILE/ LATHA/ CHI’S NACH/FHAIC the centre with turquoise enamel boss bearing theinscription, 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 JamesReid & 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

£6,000-8,000US$9,600-12,800

53No lot

Glasgow School of Art served as both a place of instruction and collaboration formany young artists at the turn of the century. Dorothy Carleton Smyth attended theSchool from 1895 to 1905 and, while principally excelling in theatre and costumedesign, was skilled in the design of stained glass, sculpture, painting andmetalwork. She became Principal of Commercial Art at the school in 1914. One ofher closest friends was fellow student, and later colleague, De Courcy LewthwaiteDewar, whose main contribution to the Glasgow Style was her enamel andmetalwork. Characterised by its strong colour and vigorous outline, her enamellingwas frequently featured in ‘The Studio’ and led to her later being appointedinstructor in enamels at the Art School. Dewar was influenced in the early days ofher career by her tutor of metalwork, Peter Wylie Davidson, who later joined hisbrother and fellow silversmith, William Armstrong Davidson, working at his studioat 93 Hope Street, Glasgow. William Davidson studied design as an Evening Schoolstudent at Glasgow School of Art between 1902-04. The building in Hope Street alsohoused Dewar’s studio, where she worked from 1900 until 1926,collaborating on a variety of commissioned objects in repoussé andsilver during that period.

The quaich offered here bears inscriptions in Gaelic whichtranslate as ‘Bless the song’ and ‘Everyday you see andeveryday you don’t’. It is not known why thisbeautiful collabarative object was made or thereason for the choice of incription. It may bethat the inscriptions in some way allude tothe idea that in art there is always more tobe seen than meets the eye, a themeexplored by C.R. Mackintosh in his1896 drawing ‘Part Seen, ImaginedPart’ (Glasgow Museums and ArtGalleries).

59

54* 592/35CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) FOR MISS CRANSTON’S,GLASGOWSET OF EIGHT ELECTROPLATED TABLE SPOONS, LATE 19TH CENTURYeach 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

£600-800US$960-1,280

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55* 592/43CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) FORMISS CRANSTON’S, GLASGOWSET OF SIX ELECTROPLATED AND STAINED BONE HANDLEDFORKS, CIRCA 1905each with four prongs and faceted handles, impressed marksMISS CRANSTON’S (6)

20.5cm (8in) long

Literature:Howarth, Thomas, ‘Charles Rennie Mackintosh and theModern Movement’, London, 1952, pl. 51

£500-700US$800-1,120

61

56* 592/80AGLASGOW STYLETWO EMBROIDERED PICTURE FRAMES, CIRCA1910each of rectangular outline, worked in colouredthreads on a linen ground, one depicting amother and child, 29cm (11½in)in x 27cm(10½in); the other stylised plant forms, 29cm(11½in)in x 24cm (9½in) (2)

Provenance:Christies, Glasgow ‘Twentieth CenturyDecorative Arts’, 29th August 1990, Lot 166

£200-300US$320-480

57* 592/158MANNER OF ANN MCBETHEMBROIDERED TABLE CLOTH, CIRCA 1900worked in coloured silks with stylised plant forms on alinen ground with lace border, framed

89cm x 70cm (35in x 27½in)

Literature:Burkhauser, Jude ‘Glasgow Girls: Women in Art andDesign 1880-1920’, Edinburgh 1990, p. 104, fig. 129 forsimilar embroidered panel.

£400-600US$640-960

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59*ANNIE FRENCH (SCOTTISH 1872-1965)ILLUSTRATION FOR A BOOK – GIRL SMELLING ROSESink and gouache; and another border design verso

7cm x 5cm (2¾in x 2in)


£500-800US$800-1,280

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58*ANNIE FRENCH (SCOTTISH 1872-1965)AUTUMNsigned upper centre right ANNIE FRENCH, ink, watercolourand gold ink on paper, within an Art Nouveau style silveredgesso frame

24cm x 16cm (9½in x 6in)

Provenance:Simon Tracey, London

Exhibited:Possibly, Royal Scottish Academy, 1905, no. 450

£2,500-3,500US$4,000-5,600

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60* 592/12ANNIE 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 Design1880-1920’, 1990

Literature:Burkhauser, Jude (edit.) ‘Glasgow Girls: Women inArt and Design 1880-1920’, Edinburgh 1990, p. 142,ill. fig. 183

£1,000-1,500US$1,600-2,400

61* 592/20CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)‘WHITE TULIPS’signed bottom right C R MACKINTOSH, watercolour


Provenance:Miss Margaret De Courcy Lewthwaite DewarH.L. Hamilton Esq.William Hardie Ltd., Glasgow

Exhibited:Glasgow, McLellan Galleries ‘Charles Rennie Mackintosh,Margaret Macdonald Mackintosh, Memorial Exhibition’, May1933, no. 78Glasgow, Hunterian Museum ‘Flower Drawings by CharlesRennie Mackintosh’, November 1977, no. 35Glasgow, The Fine Art Society, ‘The Memorial Exhibition: AReconstruction’ 1983, no. 78

Literature:Billcliffe, Roger ‘Mackintosh Watercolours’, London 1978, pp.16, 98, catalogue 156

Note:Tulips had long been a favourite decorative motif forMackintosh, appearing in his designs for furniture and morefrequently in his textile designs produced in London after 1915.In this composition Mackintosh isolates the stems and bloomsagainst the white of the paper, thus emphasising theirstructure and sinuous curves.

For further information see the note for lot 25.

£60,000-80,000US$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 MACDONALD1898, watercolour

43.5cm x 100cm (17in x 39½in)

Provenance:Possibly Charles Macdonald Esq., the artist’s brother and bydescent to his daughter, Mrs. L. A. DunderdaleMrs M. MackenzieThe Fine Art Society, London, 1979Barry Friedman Ltd., New York

Exhibited:Glasgow, Glasgow Museums and Art Gallery, ‘MackintoshWatercolours’, 1978-79 no. viiiTokyo, Japan, International Symbolist Exhibition, ParkoDepartment Store, 1983New York, Barry Friedman Ltd., ‘Vision and Reveries -Symbolist Works on Paper’, 1982Glasgow, Hunterian Art Gallery and Liverpool, Walker ArtGallery ‘Doves and Dreams: The Art of Frances Macdonald andJ. 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 MargaretMacdonald’, Manchester, 1996 pp. 150, 183 n.15, 187 n.109Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art ofFrances 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 workwith this title has been identified. It has also been known asOphelia (given by Billcliffe solely due to the subject matter) andHelland has suggested that it is the same work as exhibited inthe Sandon Studios, Liverpool, in 1912, as lent by CharlesReilly. This latter suggestion seems most improbable asFrances was otherwise exhibiting contemporaneous pictures atthe Sandon and was very unlikely to ask Reilly for a paintingthat was very different in style from other exhibits in theexhibition. In addition, there is no link between Reilly, Professorof Architecture in Liverpool, and Mrs Mackenzie, the firstdocumented owner of the painting who believed it to have beenin her family for many years and from whom The Fine ArtSociety acquired the painting.

This is the largest of a group of very fine watercoloursproduced by Macdonald in 1898 (see also lots 30-32 and 111);it is, in fact, the largest painting, as opposed to designs formurals etc. produced by the artist. The subject is unidentifiedbut it falls firmly into the group of works exploring fairy tales orsimilar allegorical subjects. The ghoulish figures andmalevolent plant forms of the period 1893-96 have been firmlybanished, although Macdonald retained an eye for the darkerside of fairy tales, as in her The Frog Prince (lot 30). Robertsonsuggests a link with Maris’s Girl and Butterflies, then in aGlasgow collection (now Burrell Collection) and also with thePre-Raphaelite work of Burne-Jones, which has been notedseveral times. Whatever its sources, the painting marks amajor transition for Macdonald away from illustration to worksmade for exhibition.

£60,000-80,000US$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 PLACECHELSEA SW3, watercolour

26.5 x 25.5cm (10½ x 10in)

Provenance:Sotheby’s, Perthshire ‘Animalier Bronzes, Scottish andSporting Pictures’, 29th August 1995, Lot 983

Note:An unusual watercolour, transitional between the Walberswickflower studies and the paintings of cut flowers that Mackintoshbegan to paint from around 1916. It has affinities with FadedRoses (1905, Glasgow Museums) in its combination of bloomsand foliage isolated against a neutral background, while thelater paintings of flowers, such as White Tulips (lot 61) andYellow Tulips.

£15,000-20,000US$24,000-32,000

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64* 592/61FRANCES MACDONALD MACNAIR (SCOTTISH 1874-1921)COVER DESIGN FOR ‘DAS EIGENKLEID DER FRAU’ BY ANNAMUTHESIUSsigned 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 Design1880-1920’, Edinburgh 1990, p. 54, fig. 53 for illustration ofprinted book cover.Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art ofFrances Macdonald and J. Herbert MacNair’, Hampshire 2006,p. 170, exhib. ref. G17; G18, cat. ill. 16 for an image of theprinted cover.

Note:Anna Muthesius (1870-1961) was married to the architecturalwriter Hermann Muthesius and the couple were good friendsof the Glasgow Four, Fra Newbery and Mackintosh beinggodfather to Eckart Muthesius, their youngest son. Her bookcelebrates artistic dresses, usually made by their designersand includes plates showing the Macdonald sisters wearingsuch dresses along with similar examples designed by JessieNewbery and worn by her daughters, Mary and Elsie. In 1902Margaret Macdonald had designed a cover for ‘Deutsche Kunstund Dekoration’, showing a very stylised Glasgow figureadorned with roses. This design by Frances is more painterlyand shows three women with billowing dresses entwinedamong briar rose tendrils.

£4,000-6,000US$6,400-9,600

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65* 592/88CHARLES RENNIE MACKINTOSHMEISTER DER INNEN KUNST: HAUS ELNES KUNSTFREUNDES IIa portfolio of fourteen (14) designs, 1901, with title page, textby Herman Muthesius, including designs for: Plans of groundand first floors, West and East Elevations, North Elevation,South Elevation, Perspective from South East, Perspectivefrom North West, Perspective of the Music Room Elevation ofMusic 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 artswas announced in the December 1900 issue of ‘Zeitschrift fürInnendekoration’, published by Alexander Koch. It seemsreasonable to assume that Mackintosh would have heardabout the competition on his visit to Vienna at the end of 1900,where it would almost certainly have been a topic ofdiscussion amongst the architects and designers he met atthe Secession, especially as J.M. Olbrich, who had become agood friend, was to be one of the judges. The closing date was25th March 1901, and the adjudication was set for 16th and17th May 1901, at Darmstadt. Mackintosh’s entry wasdisqualified initially because he did not submit the requirednumber of interior perspectives; but after preparing these, hewas awarded a purchase prize of 600 marks and the drawingswere reproduced in one of three folios of competition drawingsissued in 1902 under the title ‘Meister der Innenkunst’. Nofirst prize was awarded, the prize money being dividedbetween more than sixteen competitors. The second prize wasgiven to M.H. Baillie Scott; and the third was shared byLeopold Bauer and Oskar Marmorek of Vienna and PaulZeroch of Coblenz.

See end papers for additional illustrations.

£4,000-6,000US$6,400-9,600

66* 592/89AFTER CHARLES RENNIE MACKINTOSHMEISTER DER INNEN KUNST; HAUS EINES KUNSTFREUNDES IIfacsimile edition, Architectural Heritage Prints 1990

54cm (21in)in x 40cm (15¾in)

£200-300US$320-480

67* 592/87THE YELLOW BOOK: AN ILLUSTRATED QUARTERLY13 vols, 4to, original printed boards, illus. by Aubrey Beardsleyand other artists, published by Elkin Mathews & John Lane,1894-1897 (13)

Note:‘The Yellow Book’ was a quarterly literary periodical publishedin London from 1894 to 1897 by Elkin Mathews and John Lane.A leading journal of the 1890s, it was associated to somedegree with Aestheticism and Decadence and contained a widerange of literary and artistic genres including short stories,poetry, essays, book illustrations, portraits and reproductionsof paintings. Aubrey Beardsley was its first art editor and hasbeen credited with the idea of the yellow cover, associated as itwas with the somewhat ‘immoral’ French fiction of the period.Works by artists such as John Singer Sargent, Walter Sickertand Philip Wilson Steer were featured, as well as writings byequally distinguished authors, including Henry James and H.G.Wells.

£300-500US$480-800

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68*THE STUDIOAN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ARTYEARBOOKSLondon: Offices of The Studio, 1893-1918. 4to, volumes 1-73 (in70 books), including special summer numbers 1899 and 1901,plates, some coloured, some lithographed, mostlycontemporary red and brown cloth (volume 5 in green cloth),occasional slight spotting and minor dust soiling, spines a littlefaded and bumped, some leaves and plates loose, volume 3lacks ‘The Lay Figure’ section (70)

£300-500US$480-800

69*THE STUDIOAN ILLUSTRATED MAGAZINE OF FINE AND APPLIED ARTYEARBOOKSLondon: Offices of The Studio, 1893-1908. 4to, volumes 1-44 (in22 books); and The Studio special summer number 1899 and1901; and The Studio special winter number 1901; and TheStudio extra numbers 1897 and 1898; all with plates, somecoloured, some lithographed, uniform green cloth gilt withstylised gilt tooled foliate pattern on spines, bookplates ofBedford Arts Club, some occasional light spotting to text andplates, spines slightly faded, cover of volumes 39 and 40 soiled;and The Studio Yearbook of Applied Art, 1921. 4to., plates, redcloth gilt, Bedford Arts Club bookplate to title, occasionalspotting; and The Studio. An illustrated magazine of fine andapplied art, 1917-1918. 4to, volumes 70-72, plates,contemporary quarter calf gilt, slight rubbing to spines; andThe Studio Yearbook of Decorative Art, 1922-1932. 4to, 10volumes, lacking volume for 1930, plates, blue cloth gilt, someblind stamped with tiled pattern, bookplates of Bedford ArtsClub, slight spotting and some fading to covers and spines; andSeveral Studio publications in original wrappers, includingModern Book Illustrators and Their Work (1914); The StudioYearbook of Decorative Art... (1913); The Genius of J.M.W.Turner (1903); and 6 others, some wear and soiling to wrappers(49)

£300-500US$480-800

70*ART & ANTIQUE REFERENCE BOOKSSCOTTISH ART AND DESIGNincluding Smith, Bill ‘The Life and Work of Edward AtkinsonHornel’; Billcliffe, Roger ‘The Glasgow Boys’ (2 copies);Burkhauser, Jude ‘The Glasgow Girls: Women in Art andDesign 1880-1920’ (3 copies including one hard back); Morris,Margaret ‘The Art of J.D. Fergusson’ and several other booksand pamphlets on the Scottish Colourists, Glasgow School etc(approx 50)

£200-300US$320-480

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71*ART & ANTIQUE REFERENCE BOOKSARTS & 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 1898-1918’; Harris, David A. ‘The Decorative Designs of Frank LloydWright’, and several other books and pamphlets (approx 115)

£300-500US$480-800

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72*VER SACRUM. [VIENNA SECESSION]MITTEILUNGEN DER VEREINIGUNG BILDENDER KÜNSTLERÖSTERREICHS, 1901, HEFT 23featuring the work of Charles Rennie Mackintosh, MargaretMacdonald Mackintosh and Frances MacNair, printed paperwrappers, some staining to top RH corner; CHARLES RENNIEMACKINTOSH (1868-1928) (DESIGNER), THE CORAL ISLAND,published Blackie & Son Ltd, the front cover and spine withtrellis repeat stylized Glasgow style motifs; another 11 withmatching design; and another similar with orange cloth;CHARLES RENNIE MACKINTOSH (1868-1928) (DESIGNER),TOWN MICE IN THE COUNTRY, the front cover and spine withModernist design; and another book with matching designs‘The Saucy May’; TALWIN MORRIS (DESIGNER), THESTUDENT’S ENGLISH DICTIONARY; CHILDREN OF THE NEWFOREST and DECISIVE BATTLES, and 13 other Blackie’s titleswith Art Nouveau cloth bindings; also JESSIE MARION KING(DESIGNER), GLASGOW, CITY OF THE WEST; THE GREY CITYOF THE NORTH (2 copies); and THE CITY OF THE WEST (34)

Note:After he moved to London in 1915 Mackintosh approachedWilliam 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, asBlackie owned one of the late flower paintings, Anemones,before the 1933 Memorial Exhibition. Blackie probablycommissioned these designs for book covers, and others, as ameans of allaying Mackintosh’s financial distress.

£300-500US$480-800

73*AUCTION CATALOGUESSCOTTISH ART, DECORATIVE ART AND DESIGN FROM 1860Sothebys, Christies, Bonhams, Phillips etc (approx 160catalogues)

£100-200US$160-320

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74*ART & ANTIQUE REFERENCE BOOKSCHARLES RENNIE MACKINTOSH AND THE GLASGOW STYLEincluding Howarth, Thomas ‘Charles Rennie Mackintosh andthe Modern Movement’; Helland, Janice ‘The Studios ofFrances and Margaret Macdonald’; Billcliffe, Roger ‘CharlesRennie Mackintosh: the Complete Furniture, FurnitureDrawings and Interiors’ (2 copies); and several other books andpamphlets concerning Mackintosh and his circle (approx 100)

£300-500US$480-800

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75* 592/109RAMON DILLEY (SPANISH b. 1932)‘LES MÉCHETILDES’signed bottom right R. DILLEY, and signed and inscribedverso, A MONSIEUR ET MADAME/ DON AND ELEANOR/TAFFNER/ EN TOUTE SYMPATHIE/ DILLEY/ 2 MAI 92, oil oncanvas

60cm x 30cm (23½in x 12in)

£600-800US$960-1,280

76* 592/116FRANCIS MARSHALL (BRITISH 1901-1980)THE ABDICATIONpen and ink, 16cm x 16cm (6in x 6in) and a companion‘OBSERVATION ROOF’, by the same hand, pen and ink, 28cm x46cm (11in x 18in) (2)

Provenance:Michael Parkin Fine Art, London

£300-500US$480-800

77* 592/27ATTRIBUTED TO GEORGE MONTAGUE ELLWOOD FORJ.S. HENRYOAK SIDE CHAIR, CIRCA 1910the tapering rectangular back with upholstered panel and laterapplied repoussé brass panel to the arch, bearing stylizedinitials C C, the rushed seat with arched seat rail raised onsquare section tapering legs, terminating in flared feet andlinked by stretchers

38cm (15in) wide x 111cm (44in) high x 41cm (16in) deep

£600-800US$960-1,280

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78* 592/103HUGH WALLIS (BRITISH 1871-1943)TWO CAST COPPER DISHES, CIRCA 1910each with geometric repoussé borders, impressed mark HW,29cm (11½in) across; A RECTANGULAR SECTION COPPERWATER CAN, with plain loop handle and stylized floraldecoration, 29cm (11½in) high; TWO ARTS & CRAFTSRECTANGULAR HAMMERED COPPER TRAYS, with whiteembellishments, 25.5cm and 30cm (10 and 12in) across; ANART NOUVEAU TALL COPPER JUG, with stylized poppydecoration, loop handle, stamped JS&S, 33cm (13in) high; asimilar BRASS JUG, 29cm (11½in) high; and another liddedBRASS ART NOUVEAU JUG, stamped JS& S, 16.5cm (6¾in)high (7)


£500-700US$800-1,120

79* 592/41NEWLYN SCHOOLHAMMERED COPPER ARTS & CRAFTS STICK STAND,CIRCA 1910of flattened cylindrical form with riveted and repoussédecoration

63cm (25in) high

£200-300US$320-480

80* 592/83ART NOUVEAUCOLLECTION OF BRASS AND COPPER FINGER PLATES,EARLY 20TH CENTURYcomprising: SIX COPPER PLATES, embossed with an allegoryof 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, embossedwith stylized plant forms, 21cm x 7cm (8in x 3in) (12)

£200-300US$320-480

81* 592/37ARTS & CRAFTSSTEEL AND COPPER FIRE IRON SET, CIRCA 1900the stand with inset oval turquoise panel (cracked) onhammered hooped base, with companion poker, ash shovel andcoal pincers (4)

50cm (19½in) high

£200-300US$320-480

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83* 592/39MANNER OF JOHN PEARSONNEWLYN SCHOOL ARTS & CRAFTS RECTANGULAR COPPERCASKET, CIRCA 1890with repoussé fish and shell decoration, 17cm (6½in) across;ARTS & CRAFTS HEXAGONAL HAMMERED COPPER BOX ANDCOVER, 13cm (5in) across; COPPER INKWELL, with spreadingrectangular plinth stamped RATHBONE & CO, 10cm (4in)across; NEWLYN SCHOOL, CIRCULAR COPPER INKWELL,repoussé decoration, 10cm (4in) across; and a small NEWLYNSCHOOL, HAMMERED COPPER CASKET, 10cm (4in) across (6)

£300-500US$480-800

84* 592/36WILLIAM ARTHUR SMITH BENSON(BRITISH 1854-1924)PAIR OF BRASS AND COPPER TABLECANDLESTICKS, CIRCA 1900each with scroll columns supported by plaincopper sconces on hooped feet with hoofterminals, counter balanced by brass sphere(2)

32cm (12½in) wide

£500-800US$800-1,280

82* 592/102NEWLYN SCHOOLROUNDED RECTANGULAR TEA TRAY, CIRCA 1900the border repoussé decorated with continuous frieze offruit, stamped mark NEWLYN

51cm (20in) wide


£200-300US$320-480

85* 592/63CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)PAIR OF EBONISED BEECH ARMCHAIRS, CIRCA 1909the curved and waved top rails above spindle filled back andarms, the seats with serpentine fronts having drop-inupholstered panels raised above flattened turned and blockedfront 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 theCard Room at Hous’hill, Nitshill, Glasgow, 1909Edward Arthur Gamble, GlasgowHis sale, 13 May 1933, GlasgowPrivate CollectionSotheby’s, ‘Applied Arts from 1880’, Friday 17th June, 1988,lot 291

Literature:Larner, Gerald and Celia ‘ The Glasgow Style’, Edinburgh 1979,no. 118Billcliffe, Roger ‘Charles Rennie Mackintosh: The CompleteFurniture, Furniture Drawings and Interior Designs’, Moffat2009, p. 245-6, ill. p. 246, no. 1909.4

Note:Mackintosh had decorated and furnished Kate Cranston’shome, Hous’hill, Nitshill, Glasgow in 1904 but was recalled in1909 to make a small extension and design furniture andfittings for a Card Room. All of the pieces designed for theroom are unique in Mackintosh’s oeuvre, each of them adeparture from his established style of 1904-5 where heachieved a maturity in his furniture design reflected in his laterarchitectural designs for the second phase of the GlasgowSchool of Art in 1907.

Mackintosh had earlier drawn traditional Windsor chairs in hissketchbooks and designed simple variants for the DutchKitchen at the Argyle Street Tea Rooms in 1906 and for thelibrary at the Glasgow School of Art in 1910. Neither designwas as sophisticated nor innovative as the Card Room chairswith their scalloped back rails and turned and blocked legslinked by spindly stretchers.

Four tables were commissioned from Francis Smith, Glasgow,who also made the accompanying chairs, presumably sixteenin all. Four are known to survive, including this pair.

£20,000-25,000US$32,000-40,000

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86*OFFICE OF CHARLES RENNIE MACKINTOSHDESIGN FOR AN UPHOLSTERED CHAIR AND A SPINDLECHAIR, 1909shown in elevation and plan, dated 1909 and prepared for theCard Room, Hous’hill, inscribed and dated 4 BLYTHSWOODSQUARE, GLASGOW. AUGUST 1909, and inscribed upper leftTHE HOUS’HILL, NITSTHILL FOR JOHN COCHRANE ESQ.DETAILS OF CHAIRS FOR CARD ROOM, DRAWING NO. 48, withscale indications and notes, pen, black ink and wash on linen

46cm x 64cm (18¼in x 25in)

Provenance:Herbert Smith Esq.Dr. Thomas HowarthChristies, London ‘The Dr. Thomas Howarth Collection’,17thFebruary 1994, Lot 119

Exhibited:Toronto, Art Gallery of Ontario ‘Charles Rennie Mackintosh,1868-1928’, 1978, no. 128

Literature:Billcliffe, Roger ‘Charles Rennie Mackintosh: The CompleteFurniture, Furniture Drawings and Interior Designs’, Moffatt2009, 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 ofMackintosh’s firm. The easy chair shown in the drawing isuntraced and may never have been made.

£2,500-3,500US$4,000-5,600

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87*OFFICE OF CHARLES RENNIE MACKINTOSHDESIGN FOR A CARD TABLE, 1909shown in elevation section and plan, dated 1909, for the CardRoom, Hous’hill, inscribed JOHN COCHRANE, ESQ THEHOUSHILL./ DETAIL OF TABLE FOR CARD ROOM’ and ‘4BLYTHSWOOD 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 HowarthChristies, London ‘The Dr. Thomas Howarth Collection’, 17thFebruary 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 CompleteFurniture, Furniture Drawings and Interior Designs’, Moffat2009, pp. 247-8, ill. p. 248, no.1909.12

Note:Mackintosh’s job books list ‘writing room furniture’ for theHous’hill commission of 1909. This drawing is the only evidenceof a table that could correspond with this description, having aflap at one end of the table that could serve as a desk orwriting shelf. A table corresponding to this drawing, one ofMackintosh’s most accomplished and elegant pieces is in thecollection of Glasgow School of Art. Drawn by an officeassistant - see also lot 86.

£1,000-1,500US$1,600-2,400

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88* 592/65AFTER CHARLES RENNIE MACKINTOSHOAK DRESSING TABLE CHAIR, CIRCA 1904/ 5the slightly curved back filled with slats extending to thelower stretcher and crossed in the centre to form avertical column of squares, the drop-in seat with latercover above arched seat rails on square section taperinglegs linked by stretchers and having a central splat to thefront, forming a vertical column of squares and linking thefront seat rail to the stretcher

46.5cm (18in) wide, 60cm (23½in) high, 41cm (16in) deep

Literature:Billcliffe, Roger ‘Charles Rennie Mackintosh: TheComplete Furniture, Furniture Drawings and InteriorDesigns’, Moffatt 2009, p. 216, see footnote to no. 1904.93A

Note:One of the contractors who regularly worked forMackintosh, William Douglas, owned various pieces of,mainly, bedroom furniture that bear similarities to variousitems designed by Mackintosh for the White and BlueBedrooms at Hous’hill in 1904. Although the designs ofthe various chairs Douglas owned are closely related tothe original Hous’hill pieces they have none of thesubtleties of detail and construction that mark the knownoriginal Hous’hill items. This chair is closest to theoriginal design for the dressing table chair for the BlueBedroom but it differs in dimensions, construction andother details of design from the actual chair from the BlueBedroom. One possibility is that Douglas commissionedthese chairs from one of his fellow contractors who chosenot to make exact copies of the original chairs; whetherthis was because the chairs were made at someunspecified date after 1904 or after the full scale drawingshad been destroyed is not known.

£3,000-4,000US$4,800-6,400

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89* 592/111AFTER CHARLES RENNIE MACKINTOSHEBONISED LOW CHAIR, EARLY 20TH CENTURYthe slightly curved lattice back extending to lowerstretcher, the drop-in seat over arched seat rail raisedon square section tapering legs linked by stretchers andwith latticed support to the front

41.5cm (16in) wide, 71.5cm (28in) high, 34cm (13in) deep

Provenance:William DouglasNestor DouglasSold at auction at J. & R. Edmiston, Glasgow, 1st July1970A.A. TaitSotheby’s, Monte Carlo, 9th October 1983, lot 205Sotheby's, London 'Applied Arts from 1880', 4thNovember 1994, lot 248

Literature:Billcliffe, Roger ‘Charles Rennie Mackintosh: TheComplete Furniture, Furniture Drawings and InteriorDesigns’, 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 theWhite Bedroom at Hous’hill made for William Douglas;see lot 88.

£3,000-5,000US$4,800-8,000

90* 592/67AFTER CHARLES RENNIE MACKINTOSHOVERPAINTED ‘ORDER DESK CHAIR’, MODERNwith loose cushion and hinged seat, the curved backwith 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 inthe collection of Glasgow School of Art.

£600-800US$960-1,280

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91* 592/123BAFTER CHARLES RENNIE MACKINTOSHOVERPAINTED LOW CHAIR, MODERNthe slightly curved lattice back extending to lower stretcher, thedrop-in seat over arched seat rail raised on square section taperinglegs 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, originallydesigned by Mackintosh for the White bedroom at Hous’hill, NitshillGlasgow circa 1904.

£300-500US$480-800

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93* 592/123AFTER CHARLES RENNIE MACKINTOSHOVAL TABLE, MODERNcomprised of two tiers, the upper tier with convexsides, the lower having concave sides, each joinedby 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, 14Kingsborough Gardens, Glasgow circa 1901-02.Mackintosh later made other versions for his ownuse and of the three known, two are now in thecollection of Glasgow University.

£300-500US$480-800

92*MANNER OF CHARLES RENNIE MACKINTOSHPAIR OF OVERPAINTED SIDE TABLES, MODERNeach with rectangular tops raised above dropdown cupboard door on slatted supports (2)

61cm (24in) wide, 76cm (29in) high, 34cm (13¾in) deep

£200-300

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94* 592/66JOHN EDNIE (SCOTTISH 1876-1934)OAK ‘DOMINO’ OCCASIONAL TABLE, CIRCA 1903the square top above crossed supports taperingto a wide base and pierced, centred by aquatrefoil-shelved tier

45cm (18in) wide, 76cm (30in) high

Provenance:26 Huntly Gardens, Kelvinside, Glasgow

£3,000-4,000US$4,800-6,400

95* 592/69GLASGOW STYLESTAINED BEECH LIDDED STOOL, EARLY 20THCENTURYthe oval hinged seat above tapering sides piercedwith split yin/ yang motifs

40cm (16in) high

£300-500US$480-800

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97* 592/68IRENE CAVANAGH (DESIGNER), WILLIAM KENNEDY(SCOTTISH b. 1967) (MAKER)HOMAGE TO CHARLES RENNIE MACKINTOSH, CIRCA 1992oak chair sculpture

136cm (53½in) high

Note:This sculpture was made as the result of a studentcompetition in 1992. Donald Taffner asked whether aGlasgow School of Art student could come up withsomething that could be made to celebrate his 32ndwedding anniversary - the idea being that the design musthave 32 compartments or pockets - one for each year oftheir marriage. Peter Trowles, Taffner Mackintosh Curatorat the Glasgow School of Art, took the designs over to NewYork and Eleanor Taffner chose this work.

£500-700US$800-1,120

96*§ 592/100BARBARA RAE C.B.E., R.A., R.S.A., R.S.W.(SCOTTISH b. 1943)HIGHLAND WINDOW: SERIES NO. 5signed and inscribed in pencil, lithograph

47cm x 46cm (18½in x 18in)

£100-200US$160-320

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98* 592/150JAMES STUART PARK (SCOTTISH 1862-1933)ROSESsigned lower right ‘STUART PARK’, oil on canvas

48cm x 58cm (19in x 22¾in)

£700-900US$1,120-1,440

99* 592/163MARIQUITA JENNY MOBERLEY(BRITISH 1855-1937)JACK RUSSELL TERRIERsigned and dated M J MOBERLEY 1891, oilon canvas

59.5cm x 49.5cm (23½in x 19½in)

Provenance:Sotheby’s London ‘Victorian Paintings andSculpture’, June 15, 1988, Lot 122Sara Davenport Fine Paintings, London

£2,000-3,000US$3,200-4,800

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101*§ 592/152ANDREW FITZPATRICK (SCOTTISH b. 1966)SELF PORTRAITsigned bottom right FITZPATRICK, oil on canvas

75cm x 59.5cm (29½in x 23½in)

Provenance:Compass Gallery, Glasgow

Exhibited:Glasgow, Compass Gallery, ‘Andrew Fitzpatrick andAlan Connell’, 6th October-2nd November 1990

£200-300US$320-480

100*§ 592/118LESLEY BANKS (SCOTTISH b. 1962)‘CANADIAN THOUGHTS’signed and dated ’94, oil on canvas

34cm x 29cm (13½in x 11½in)


£400-600US$640-960

102*§ 592/154GEORGE TELFER BEAR(SCOTTISH 1874-1973)SUMMER FLOWERSsigned bottom right G. TELFER BEAR, andsigned, inscribed with title and with theartist’s address on the stretcher,GLADSMUIR, KILMACOLM, oil on canvas

75cm x 62cm (29½in x 24½in)

£400-600US$640-960

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103* 592/42ARCHIBALD KNOX (1864-1933) FOR LIBERTY & CO., LONDON‘TUDRIC’ HAMMERED AND POLISHED PEWTER MANTELCLOCK, CIRCA 1910with shaped tapered cast, cast with stylized tree and Celticrelief cast roots, copper chapter ring and turquoise centraldial on spreading rectangular plinth, impressed mark 0150

32cm (12½in) high

£3,000-4,000US$4,800-6,400

104* 592/33ARCHIBALD KNOX (BRITISH 1864-1933) FOR LIBERTY & CO,LONDONSET OF 10 SILVER AND ENAMEL PASTRY FORKS, 1926each with stylized spaded blue and turquoise enamel handles,hallmarked Birmingham, 1926 (10)

13cm (5¼in) long

£200-300US$320-480

105* 592/34ARCHIBALD KNOX (BRITISH 1864-1933) FOR LIBERTY & CO,LONDONSET OF SIX SILVER GRAPEFRUIT SPOONS, 1926of matching design, hallmarked Birmingham, 1926 (6)

12.5cm (5in) long

£150-250US$240-400

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107* 592/71ARCHIBALD KNOX (BRITISH 1864-1933) FORLIBERTY & CO., LONDON‘TUDRIC’ PEWTER TWIN HANDLED BOWL, CIRCA1905the bowl of circular form cast with a repeating bandof plant form united by tendrils, the twin handlesextending to form spade-like supports, stampedTUDRIC/ 0229, 31cm (12in) wide; together with anARCHIBALD KNOX LIBERTY & CO. THREE HANDLED‘TUDRIC’ PEWTER BOWL, the sides cast with stylizedplant forms, impressed mark 0162, 15cm (6in)diameter (2)

£400-600US$640-960

106* 592/44ARCHIBALD KNOX (BRITISH 1864-1933) FORLIBERTY & CO., LONDON‘TUDRIC’ PEWTER BREAD BASKET, CIRCA 1910the plain loop handle with cast stylized plant motif,the sides similarly cast and the centre set withturquoise enamel, impressed marks 0357. Rd:449.32

30.5cm (12in) across

£200-300US$320-480

108* 592/81LIBERTY & CO., LONDONPAIR OF ‘TUDRIC’ HAMMERED PEWTER VASES,CIRCA 1920each of tapered cylindrical form on a spreadingbase with inset green cabochon, impressed mark01145, 19cm (7½in) high; together with a PAIR OFLIBERTY & CO ‘TUDRIC’ HAMMERED PEWTERTABLE CANDLESTICKS, each with plainsemi-faceted columns on broad circular plinths,impressed number 0983, 22cm (8¾in) high (4)

£200-300US$320-480

109* 592/13CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)‘BOULETERNÈRE’signed with initials in pencil lower right CRM, and inscribedverso (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 Estateof Margaret Macdonald Mackintosh, acquired after theMemorial Exhibition in 1933Christie’s, Edinburgh, ‘Fine Paintings and Drawings’, April 27,1989, Lot 570

Exhibited:Glasgow, McLellan Galleries ‘Charles Rennie Mackintosh andMargaret Macdonald Mackintosh: Memorial Exhibition’, May1933, no. 136;Glasgow, Glasgow Museum and Art Galleries, ‘MackintoshWatercolours’, July 1979, no. 201;Glasgow, The Fine Art Society, ‘The Memorial Exhibition: AReconstruction’ 1983, no. 136Edinburgh, Royal Scottish Academy ‘Mackintosh Watercolours’,8th August-5th October 1986, no. 48New York, The Metropolitan Museum of Art, November 19th-February 16th 1996; Chicago, The Art Institute of Chicago,March 29th-June 22nd 1997, Los Angeles, Los Angeles CountyMuseum, August 3rd-October 12th 1997, ‘Charles RennieMackintosh’, Glasgow Museums Exhibition, May 25th 1996-October 12th October 1997, Cat. No. 285Edinburgh, Scottish National Gallery of Modern Art ‘CharlesRennie Mackintosh in France’ 26th November-5th February2006, Cat. No. 292

Literature:Billcliffe, Roger ‘Mackintosh Watercolours’, London, 1978, p. 44,ill. p. 135, catalogue 201Robertson, Pamela & Long, Philip, ‘Charles Rennie Mackintoshin France’, Edinburgh 2006, pp. 34-5Crichton, Robin ‘Monsieur Mackintosh: the Travels andPaintings of Charles Rennie Mackintosh in thePyrénées-Orientales’, Edinburgh 2006, pp. 63-5.

£80,000-120,000US$128,000-192,000

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Mackintosh left London in 1923 and settled in the south-westof France until his return to London for medical treatment in1927. We have no statements from Mackintosh as to hisintentions in painting the towns and mountain foothills of theregion but it is thought that he went to France after an offer ofan exhibition in a London gallery if he could amass forty to fiftysuitable works. His choice of France was probably encouragedby the Scottish artist J. D. Fergusson, whom Mackintosh got toknow while living in London. Fergusson praised the light andthe climate and, not least, the ability to live relatively well andcheaply compared to London, a factor that probably swayedthe 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 forMackintosh’s numerous excursions into the mountains fromhis various bases, sometimes at Collioure, then Ille-sur-Têtand finally at Port Vendres. From these, it seems likely thatthis painting of the village of Bouleternère was made in 1925,along with three or four others which bear some stylisticsimilarity and whose subjects all lie along the same route fromIlle-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 thevillage, giving a relatively bland and unexciting townscape a

much more brooding presence. He did a similar thing in hispainting of Palalda, changing the colours of the roofs to suitthe tonal values of his painting and even sticking a cut-outpiece of paper over the lower part of the composition to allowhim to change the design or correct what he perceived aserrors in his drawing. These paintings show little of the life ofthese small towns which seem deserted. Mackintosh is moreconcerned with the patterns of the houses and roofs as theypile up on each other against the hillside. Perspective isflattened, even dispensed with altogether, as the shapes cometo dominate the design. Harry Jefferson Barnes, a formerDirector of the Glasgow School of art, speculated thatMackintosh was losing control of one eye, damaged by achildhood bout of rheumatic fever, which could possiblyaccount for the absence of stereoscopic vision in these works.Perhaps, also, Mackintosh was aware of the landscapes ofKlimt and Schiele of around 1913 where a similar flattening ofperspective produces an emphasis on geometric pattern ofroofs, windows and walls.

Whatever the sources and physical reasons for thedevelopment of these watercolours, they do not detract fromthe masterly achievement of this series of late paintings. Theypoint to Mackintosh’s exciting future as an artist, sadly broughtquickly to an end by his death from cancer in 1928.

‘Bouleternère’ (bottom right) hanging at the Memorial Exhibition, Glasgow, 1933. Photo T. & R. Annan.

110* 592/58CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)‘GARDEN BOUQUET’ CIRCA 1918-20gouache and traces of pencil

29.8cm x 26cm (11¾in x 10¼in)

Provenance:Purchased at the Mackintosh Memorial Exhibition, 1933 by MrsD TurnbullJ. & R. Edmiston, Glasgow, 24 February 1977, lot 58The Fine Art Society, LondonPrivate Collection

Exhibited:Glasgow, McLellan Galleries ‘Charles Rennie Mackintosh,Margaret Macdonald Mackintosh, Memorial Exhibition’, May1933, no. 83Glasgow, The Fine Art Society, ‘The Memorial Exhibition: AReconstruction’ 1983, no. 83Edinburgh, 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 bouquetsof flowers on a black background, probably around 1918-20.The format is unsuited for use as a textile pattern, of which hedesigned a considerable number at this time, and it seemsprobable that he produced them for sale as pictures in theirown right. They combine the deliberation of the later flowerpaintings with the formal patterns and stylisation of flowers ofhis textile designs.

£10,000-15,000US$16,000-24,000

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111* 592/59FRANCES MACDONALD MACNAIR (SCOTTISH 1874-1921)‘SLEEP’signed bottom right FRANCES MACNAIR, watercolour andpencil on vellum


Provenance:Charles Macdonald Esq., the artist’s brotherBy descent to his daughter, Mrs. L. A. DunderdaleMario Amaya, acquired circa 1960-65Christies, Edinburgh, ‘Fine Paintings and Drawings’, 13th May1993, Lot 829

Exhibited:possibly, Liverpool, Sandon Studios Society, 1908, no. 38possibly, London, Allied Artists Association, 1908, no. 2099possibly, London, The Baillie Gallery ‘Watercolour Painting byHerbert and Frances MacNair’, 1911, no. 20 (15 guineas)Toronto, Art Gallery of Ontario ‘The Sacred and Profane inSymbolist Art’, 1969, no. 230Glasgow, Hunterian Art Gallery and Liverpool, Walker ArtGallery ‘Doves and Dreams: The Art of Frances Macdonald andJ. Herbert MacNair’, 12th August 2006-22nd April 2007, exhib.ref. W47

Literature:Burkhauser, Jude ‘Glasgow Girls: Women in Art and Design1880-1920’, Edinburgh 1990, p. 125, ill. Fig. 157, wronglyidentified and dated as ‘Eve’, 1896.Neat, Timothy ‘Part Seen, Part Imagined: Meaning andSymbolism in the Work of Charles Rennie Mackintosh andMargaret Macdonald’ Edinburgh 1994, illus. p. 66Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art ofFrances Macdonald and J. Herbert MacNair’, Hampshire 2006,p. 170, exhib. ref. W47, cat. ill. 88

£30,000-50,000US$48,000-80,000

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After marrying Herbert MacNair in 1899 Frances joined him inLiverpool, where he was an instructor at the University Schoolof Architecture and Applied Art, and together they furnishedand decorated a rented house at 54 Oxford Street. In 1905 theUniversity transferred its Applied Art department, whereMacNair worked, to the Municipal Art School; MacNair left thenew school shortly afterwards and helped establish anindependent school in the city, the Sandon Studios. MacNairnever really made enough money to keep his family while hewas at the Sandon but he was cushioned by funds from hisfamily in Scotland. Around 1908, however, that source ofincome faltered (and eventually disappeared in 1909 with hisfamily’s bankruptcy) and Herbert and Frances, with their youngson Sylvan, returned to Glasgow.

What followed was a very disruptive period for them all.Frances managed to find part-time teaching at the School ofArt, encouraged and supported by Fra Newbery, but Herbertfound it impossible to find work as a teacher and his income asan artist dwindled further. They held a joint show at the BaillieGallery in London in 1911 but sales were few. Herbertreportedly took to drink and various temporary jobs, for whichhe was almost always unsuited, and by 1913 he was in Canada,alone, his passage reputedly financed by the Macdonald familyin an attempt to rescue Frances from the growing misery oftheir life together. Frances moved between Glasgow and

Liverpool, again alone, trying unsuccessfully to establishherself as a teacher of embroidery - having left the GlasgowSchool of Art where she was an assistant to Anne Macbeth, thehead 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, andfound work at the Post Office; in the same year Frances’smother died and her sister, Margaret Macdonald Mackintosh,left Glasgow for the south of England.

Few paintings or pieces of metalwork survive from the periodafter she arrived in Glasgow in 1908 and before her death (apossible suicide) in 1921 - the only coherent group is of sevenpaintings, probably produced after 1911 as they do not seem tohave been included in the Baillie Gallery Exhibition. (Sleep hasbeen identified with a work in this exhibition, and also as Eve,but there is nothing about this lot that identifies it as being thepainting shown in 1911. The titles of all seven paintings in thisgroup have been passed down through family tradition - theymay not be titles ascribed by the artist. The Macdonald familyobviously had an association with, and possession of, thesepaintings before Frances’s death as Herbert is believed to havedestroyed all of Frances’s and his own surviving work after herdeath.)

These seven watercolours, all roughly the same size and havinga similar handling, are generally interpreted as reflecting the

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'The Immortals': back row: Frances Macdonald; middle row (left to right): MargaretMacdonald, Katherine Cameron, Janet Aitken, Agnes Raeburn, Jessie Keppie, JohnKeppie; front row (left to right): Herbert McNair, Charles Rennie Mackintosh.Photo: The Glasgow School of Art Archives and Collections.

vicissitudes and troubles of the artist’s life, particularly afterher return to Glasgow, but they also form a commentary onaspects of the life of women in general. If the current titles doreflect the content of the paintings then they provide a RosettaStone to an otherwise ambiguous group of images open, likeso many Spook School works before them, to a variety ofexplanations - The Choice, Truth lies at the bottom of the Well,Tis a Long Path which Wanders to Desire and so on. In severalof the works the women are seen presented with choices ordilemmas; the palette and tonality verge on the depressive;their compositions are schematic, or episodic, seeming totell different phases of the same story. Ambiguity pervadesSleep. What are the three episodes on the right of thepainting? Do they represent various stages of a woman’s life?Is the figure on the left hiding her eyes or simply weeping?Does she represent the age-old confusion between Death andSleep?

Like the other six paintings in the series it almost certainlyreflects the troubled mind and life of a woman who has juggledthe elements of wife, mother, daughter, sister, artist, teacherand no longer wishes to continue the struggle. There is a rawnorthern symbolism about them, a Celtic version of the angstoften identified in the contemporary paintings of Munch, and byfar the most powerful of any contemporary work by The Four.

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112* 592/24JAMES HERBERT MACNAIR (SCOTTISH 1868-1955)‘THE LOVERS’signed bottom left MACNAIR, watercolour


Provenance:Mrs. C Armstrong, the artist’s nieceThe Fine Art Society, LondonBarry Friedman Ltd., New York

Exhibited:London, International Society (ISSPG), 1899, no. 210London, The Fine Art Society ‘Glasgow 1900’ 1979, no. 88Glasgow, Hunterian Art Gallery and Liverpool, Walker ArtGallery ‘Doves and Dreams: The Art of Frances Macdonald andJ. 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. 40Larner, Gerald and Celia ‘The Glasgow Style’, New York, 1979,pl. 132Neat, Timothy ‘Part Seen, Part Imagined: Meaning andSymbolism in the Work of Charles Rennie Mackintosh andMargaret Macdonald’ Edinburgh 1994, illus. p. 30Robertson, Pamela (Edit.) ‘Doves and Dreams: The Art ofFrances 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 MacNairestablishes his own vocabulary of menacing figures with anamalgam of erotic and threatening imagery. The drawingfeatures colours that were to become a staple of the palette ofThe Four over the next few years, eerie blues and greens thatcontain their own powerful symbolism. The compositionalscheme, of central figures framed by other indeterminatehuman forms, arranged as a framework in turn supporting,then attacking the main protagonists. This tension, combinedwith the sensual nature of the central pose, was tocharacterise much of the related work of the next four years.

£10,000-15,000US$16,000-24,000

113* 592/98FRANCIS CAMPBELL BOILEAU CADELL, R.S.A., R.S.W.(SCOTTISH 1883-1937)‘TULIPS’signed bottom centre FCB CADELL, and signed and inscribedverso 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 SportingPictures’, 29th August 1995, Lot 1009

Exhibited:Possibly, Royal Glasgow Institute of the Fine Arts, 1919,no. 353.

£60,000-80,000US$96,000-128,000

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In 1920 Cadell made his studio in an exquisite townhouse at 6Ainslie Place, Edinburgh. Many of his finest interiors and stilllifes were painted during this period and, as we shall see, themove marked decided developments away from his pre-wartechnique. It is rather easy to forget that Cadell was aninter-war era artist. There is a total lack of any residualelement of his experiences in the trenches visible in his work.Though he was present at The Somme and spent theconsiderable majority of his army career serving as a private,no anguish, violence or sadness is tangible in his outputwhatsoever. This is entirely a result of Cadell’s remarkablypositive attitude to life, a fact worth mentioning because, quitesimply, to understand Cadell’s art is to first understand hischaracter.

Cadell has been roundly recorded as an indomitably cheerfuland vibrant personality. Always seeing the funny side, ever

self-deprecating and immensely charming, his company wasalways in demand - a fact which was to stand him in goodstead when relying on the generosity of patrons in the leantimes. Though he was undoubtedly a colourful character, hedid not necessarily fit the traditional “artistic eccentric” mouldand his love of the good life; of luxury, cleanliness, orderlinessand all things beautiful, over-spilled abundantly into his art.Honeyman comments that, to Cadell, “to paint pictures was notenough. One had to express one’s idea of decoration ineverything. He made his studio a work of art.”[1]

Ainslie Place was the studio in question, and the full fruition ofthis philosophy. The huge windows of the Edinburgh New Townflooded the spacious rooms with light. The floor was alacquered black, the frames and furniture were gilded and thewalls were a distinctive lilac hue. This lilac provides thebackdrop of many of Cadell’s paintings of this period and isindeed present in the work represented here, Tulips which,stylistically, is likely to date to the late 1920s. The selection ofthe rather unusual lilac tone is interesting to consider. On thegrey end of the spectrum, the tone provides a perfect foil tobrighter, more riotous colour; here we see it rendering yellow,blue, pink and green tones perfectly harmonious seeminglyagainst the logic of the un-artistic eye. However, that moresentimental impulses could have influenced the choice of lilacis an attractive supposition. During this period, Cadell wasspending regular time on his beloved island of Iona in the OuterHebrides and was always loathe to return to Edinburgh wherehe was reminded of his financial realities. It would not be ahuge leap to postulate that the lilac reminded him of theheather clad hills he so enjoyed to roam around, and even paidtribute to in a poem in 1913:

No chairs for me when I can lieAnd air myself upon the heatherAnd watch the fat bees buzzing byAnd smell the smell of summer weather[2]

Additionally, purple has of course always been a colour ofsumptuous overtones, associated with wealth and carryingregal connotations. This would certainly have appealed toCadell’s somewhat decadent sense of style.

Beyond this, Tulips is a quintessential work of this period inmany further respects. Cadell was working with wholly

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confident virtuosity by this stage and had progressed from thelooser, suggestive brushwork of his pre-war output to a morerobust, solid and vibrant aesthetic. He began working on achalky white ground to provide his colours with greater purityand impact. He would inscribe emphatically on the reverse ofhis canvases, as here on Tulips, instructing future owners“NEVER” to varnish the surface in order to retain the freshnessof tone. However, though he maximised his use of colour, heminimised his handling. In this manner, he was able to cleverlystylize and pare back complicated, even clutteredcompositions, producing a clean effect which bordered on thegraphic on occasion. This has been credited to Cadell’s by nowfull absorption of the post-Cezanne French School of art. TheScottish Colourists have been praised for returning colour tothe palette of Scottish art; however, it is really for theirunderstanding and command of European developments ofthis period that they deserve the most considerableadmiration. Cadell, alongside his fellow Colourists, graspedthe use of colour constructively as opposed to simplydecoratively. Here we see him use flattened plains of tone toallow his objects to alternatively recede or ‘pop’.[3]

This new luxurious colour scheme and artful simplicity,derived from a seemingly effortless minimum of labour, trulyencapsulated Cadell and his personal values.

However, at the time, Scotland was a largely artistically staidenvironment. Cadell’s still lifes of this period duly caused a stirin Edinburgh society, condemned by some as “vulgar” and“Bolshevik”,[4] and he did not find his new, mature style sellingparticularly successfully outside his collection of staunchsupporters.

[1] p.89, ‘The Scottish Colourists: Peploe, Cadell, Hunter’, by T. J. Honeyman,London, 1950[2] p.35, ‘Cadell: The Life and Works of a Scottish Colourist,1883-1937’, byTom Hewlett, London, 1988[3] p.43, ‘The Scottish Colourists: Peploe, Cadell, Hunter’, by T. J. Honeyman,London, 1950[4] p.44, ‘Cadell: The Life and Works of a Scottish Colourist,1883-1937’, byTom Hewlett, London, 1988

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114* 592/2FRANCIS 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 canvasboard

37cm x 44cm (14½in x 17½in)

Provenance:The Scottish Gallery, EdinburghPhillips, Edinburgh, ‘Fine Paintings’, 4th May 1990, Lot 64

Exhibited:Edinburgh, The Scottish Gallery ‘20th Century ScottishMasters’, September 1987

£20,000-30,000US$32,000-48,000

116* 592/112JOHN 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, EdinburghCyril Gerber Fine Art, Glasgow

Note:Fergusson, the last to be officially grouped with Peploe, Hunterand Cadell in the official definition of ‘Scottish Colourist’, wasmore commercially successful. Spending more time in France,he exhibited with greater frequency in Paris and London andhis profile was consequentially higher. Arguably, Cadell andFergusson were the two Colourists in whose work the“Cezannian” influence was most evident. Their work shares arobustness of line and sense of rhythm that is found lessfrequently or easily in Peploe or Hunter’s paintings. However,where Cadell’s work was deliberately flattened, Fergusson’shad a more sculptural quality as here in his work of 1938,Mademoiselle Cassavetes. One of the artist’s typicallyhandsome women, the composition is also demonstrative ofFergusson’s attention to pattern.

£20,000-30,000US$32,000-48,000

115* 592/114JOHN 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’, 29thAugust 1988, Lot 821Cyril Gerber Fine Art, Glasgow

Note:It has been noted that many of Fergusson’s female sitters wearhats, perhaps viewing a woman’s taste in fashion as anextension of their personality.

£1,500-2,000US$2,400-3,200

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117* 592/15SIR 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 ArtistBy descentSold Christie’s April 1949[1]Private Collection, Glasgow, by family descentWilliam Hardie Ltd, Glasgow

Exhibited:Dundee, Victoria Art Galleries, Exhibition of Paintings by Sir

John Lavery Kt., RA, RSA, September 1936, no 23London, Royal Society of Portrait Painters, November 1936Manchester, Platt Hall, Royal Society of Modern Painters’, 1937Dublin, Royal Hibernian Academy, 1939, no. 146London, Leicester Galleries, Memorial Exhibition of Paintingsby 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 November1936, p. 14 ‘The Royal Society of Portrait Painters’, TheManchester Guardian, 19 November 1936, Anon, ‘The RoyalSociety 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 ManchesterGuardian, 3 April 1941, p. 4Kenneth McConkey, Sir John Lavery, 1993 (Canongate), p. 196,Kenneth McConkey, John Lavery, A Painter and his World,2010, (Atelier Books), p. 198-9, illus

£40,000-60,000US$64,000-96,000

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Following the death of her mother in July 1935, Sir JohnLavery’s teenage granddaughter, Ann Forbes-Sempill came tolive with him at 5 Cromwell Place, South Kensington.[2] Shewas an avid moviegoer and her enthusiastic chatter about thelatest releases filled a house that was cloaked in sadness. Asa result the painter, approaching his eightieth birthday andhaving completed his pictures for the forthcoming RoyalAcademy exhibition, now conceived a new project; he would goto Hollywood, gatecrash the studios and paint the stars.[3] Heset sail on 2 January 1936, accompanied by his stepdaughter,Alice McEnery, and her husband, for the first leg of thejourney to New York. To his great surprise, he discovered afriend in Hollywood who invited him to lunch at Paramount

Studios. Her name was Alison Skipworth, an actress who hehad painted as a young woman forty years earlier inGlasgow.[4] Various introductions were made but when Laveryappeared with his sketching easel amidst the chaos of‘Directors, Producers, scenario-writers, dozens of cameramen,sound-recorders, scene-shifters, not to speak of actors andactresses, stand-ins and extras’, he quickly realized theimpossibility of working in such an environment.[5] The samewas true of the MGM lots where they were shooting Romeo andJuliet with Leslie Howard and Norma Shearer in the title roles.Although he made some rapid sketches, it was clear thatnothing more substantial than a series of slight sketches wouldbe possible.

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117

Lavery had more success outside the studios when he painteda small canvas entitled Stars in Sunlight (City of Limerick ArtGallery) showing Maureen O’Sullivan and Loretta Young restingin a garden between takes, but there was nothing of the ‘tinseltown’ glamour in the picture.[6] 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, Templeachieved international fame two years later when Bright Eyes,in which she sang ‘On the Good Ship Lollipop’, was released.[7]At this stage she was under contract to Twentieth Century Foxfor four films a year and Darryl F Zanuck, the studio head, hadappointed a team of writers to develop new scripts for her.[8]These were mostly ‘feel-good’ musical comedies in which thechild ingénue would effectively melt the hearts of the moreniggardly adult characters and raise the spirits of thedowntrodden. In thirties America, where Roosevelt’s ‘New Deal’was often criticised for its bureaucratic excesses, Temple’sinnocence effectively lifted the national depression. Roosevelteven declared that it was ‘a splendid thing that for just fifteencents an American can go to a movie and look at the smilingface of a baby and forget his troubles’.[9]

Shortly after his arrival in Hollywood Lavery let it be known thathe was interested in painting Temple’s portrait. This was apainter who had addressed great occasions, heads of state,political leaders, sportsmen, clerics, the rich and famous, and

he had many successful child portraits to his name. Now in hisdeclining years he would defy the critics and those likeClementine Churchill who felt that after the death of his wife,Hazel Lavery, his career was finished.[10] Sittings took place athis hotel in Palm Springs and her arrival caused a stir - as thepainter told a reporter, ‘a young girl brought groups of childrento see the juvenile star, charging them a dime a head’ whenshe was posing.[11] This sparkling personality, he would laterrecall, had perfect manners. Commenting on how forwardAmerican children could be, he described Temple as ‘... verydifferent from that type of American child’,…in her there is nosign of anything other than innocent childhood allied to themost perfect manners - others addressed me as “Sir Lavery”,she, invariably, as “Sir John”. I could see from her parentswhere her intelligence came from.[12]Far from presenting Temple in a conventional portrait format,Lavery opted to show her in full-length, holding a croquetmallet, a game she famously played with Orson Welles andGary Cooper, and that matched her tomboyish character (fig 1).

It also chimed with an artist who in 1890 had painted one of thefew modern depictions of the game.[13] However, the novelfeature to be added to the composition was the painter himself,stepping out from behind the canvas to introduce himself to thechild. It was to be Lavery’s last self-portrait, and it reveals theaged artist, fashionably attired in two-tone shoes, whiteflannels and dove-grey jacket. Only his butterfly collar andside-whiskers allude to an older Pickwickian persona. Heleans forward, his model looks up and an exchange ensues. A

Fig 1: Shirley Temple playing croquet with Orson Wells, c. 1937

Fig 2: Père et Fille, 1898-1900,Musée d’Orsay, Paris

reviewer described the double portrait as that of, ... the painter,palette and brushes in hand, succumbing to the precociouscharms of Miss Shirley Temple. Sir John’s gracious bow andthe suggestion that he is backing out of the picture to giveplace to youth make rather a disturbing allegory.[14]

It is nevertheless unlikely that Lavery saw the picture as a‘disturbing allegory’ - beyond the general reflections on ‘youthand age’ that had accompanied his Père et Fille, 1898-1900 (fig2). The comparison here is apposite, in as much as bothcanvases reveal the artist’s natural sympathy for all ages andconditions. Yet in very few instances does he cross thefootlights 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 hasever given us a picture of greater charm and technicalsuavity’.[15]

Having first indicated that it would be submitted to the RoyalAcademy the following year, Lavery decided to send the pictureimmediately to his retrospective exhibition at Dundee inSeptember 1936, before showing it in London at the RoyalSociety of Portrait Painters, of which he was President. On thisoccasion he was photographed unveiling the double portraitand within days the press pictures were reproduced as farafield as Ottawa.[16]

However, eighteen months later, fortunes had begun to changeand after the completion of Rebecca of Sunnybrook Farm,Temple’s career went into decline. Hackneyed story-lines andZanuck’s refusal to ‘loan’ her to MGM for The Wizard of Oz ledher parents to send her to school for a year in 1940 and whenshe returned as a teenager, America was in the war and thenational mood had changed. Arguably this turn in her careerwas presaged by indifferent reviews in Britain where her talentswere much more appreciated than her scripts. When, inFebruary 1937, C.A. Lejeune, the film critic of The Observer,polled his readers for ‘the most hated thing in pictures’ shecame top of the list.[17] Temple’s eclipse did not apply toLavery’s final years. He would go on to paint the Duveens intheir Fifth Avenue apartment, the coronation of 1937, thepoet-laureate, John Masefield, and the ravishing societyhostess, Viscountess Wimborne. In 1941, at the time of hisdeath, having gone to his step-daughter in Ireland to escapethe Blitz, he was working on a picture of a gypsy encampmentand, with the tributes, came the profound realization that agreat tradition of portrait painting, stretching back throughSargent and Whistler to Manet and Velazquez, had ended. Butfive years earlier in Palm Springs, faced with the darling of thesilver screen, there had been a splendid closing coup de dé.

[1] Shirley Temple and the Painter was part of the division of studio contentswhich followed Lavery’s death in 1941. One of his legatees, JuneForbes-Sempill, was killed in the war and pictures from her portion of theestate were passed to her father, Lord Sempill. It was then sold at Christie’sin April 1949.[2] Lavery’s wife, Hazel, died in January 1935 and in July of that year, his onlydaughter, Eileen Forbes-Sempill also died; see McConkey 2010, pp. 192-195.[3] One evening a few years earlier he had seen a movie crew on locationoutside Buckingham Palace and thought it an excellent subject.[4] Alison Skipworth had worked as a ‘paintress’ on the Doulton stand duringthe Glasgow International Exhibition in 1888, where the young Lavery hadsketched her.[5] John Lavery, The Life of a Painter, 1940 (Cassell), p. 240; quoted inMcConkey, 2010, p. 198.[6] McConkey, 2010, p. 199 illus.[7] Anne Edwards, Shirley Temple, American Princess, 1988 (William Morrowand Co.), pp. 26-34.[8] Not only was she supplied with her own bodyguard, but a bungalow wasconstructed at Fox studios for her and her parents.[9] Ibid, p. 75-6. Late in 1935 the Roosevelts held a reception at the WhiteHouse for Shirley Temple.[10] McConkey, 2010, p. 194.[11] ‘Court Circular’, The Manchester Guardian, 16 May 1936, p. 12[12] John Lavery, The Life of a Painter, 1940 (Cassell and Co), p. 239[13] McConkey, 2010, pp. 51-2.[14] ‘The Royal Society of Portrait Painters’, The Manchester Guardian, 19November 1936, p. 7[15] The Sunday Times, 22 November 1936; quoted in McConkey 2010, p. 198.[16] The Ottawa Evening Citizen, 30 November 1936, p. 15; see also ‘Artistand Actress’, The Manchester Guardian, 17 November 1936, p. 14.[17] CA Lejeune, ‘Films of the Week - The Holocaust’, The Observer, 21February 1937, p. 14. This predates Graham Greene’s assault on the youngstar and her ‘middle-aged men and clergymen’ admirers, for which he wassuccessfully sued; see Edwards, 1988, p. 105.

Lyon & Turnbull are grateful to Professor Kenneth McConkeyfor his assistance in cataloguing this lot.

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Fig 3: The Ottawa Evening Citizen, 30November 1936, p. 15

119

End of Sale

Index

Banks, L., 100Bear, G.T., 102Benson, W.A., 84Bone, Sir D.M., 33, 34

Cadell, F.C.B ., 113, 114Cavanagh, I., 97

Davidson, W.A., 23de Tirtoff, R. (Erté), 50Dewar, M.deC.L., 8, 23Dilley, R., 75

Ednie, J., 94Ellwood, G., attributed to, 77

Fergusson, J.D., 115, 116Fitzpatrick, A., 101French, A., 2, 3, 4, 58, 59, 60

Gallé, E., 47Gilmour, M., 9, 10, 12, 13Gilmour, M., after, 15Glasgow School, 11, 18, 19, 20Glasgow Style, 14, 56, 95

Hoffmann, J., 49

Icart, L., 51

Keppie, J., 1King, J.M., 6, 7Knox, A., 103-107

Lavery, Sir J., 117Le Faguays, P., 42, 43Liberty & Co., 103-108

Mackintosh, C.R., 21, 22, 24-30, 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., 112Marshall, F., 76McBeth, A., manner of, 57Moberle, M.J., 99Moser, K., 48

Newlyn School, 79, 80

Park, J.S., 98Pearson, J., manner of, 83

Rae, B., 96Scottish Arts & Crafts, 16Scottish School, 17Smyth, D.C., 23Sturrock, M.N., 5

Taylor, E.A., 35, 36, 37The Studio, 68, 69The Yellow Book, 67Tiffany Studios, 38, 39, 40

Wallis, H., 78WMF, 44, 45, 46

Lyon & Turnbull

Glossary of Picture Cataloguing Terms

The following expressions withtheir accompanyingexplanations are used by Lyon &Turnbull as standardcataloguing practice. Our use ofthese expressions does not takeaccount of the condition of thelot or the extent of anyrestoration.

Buyers are recommended toinspect the propertythemselves. Written conditionreports are usually available onrequest.

Name(s) or RecognisedDesignation of an Artist withoutany QualificationIn our opinion a work by theartist

Attributed to...In our opinion probably a workby the artist in whole or in part.

Studio of ... / Workshop of ...In our opinion a work executedin the studio or workshop of theartist, possible under hissupervision

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Follower of ...In our opinion a work executedin the artist’s style but notnecessarily by a pupil.

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Signed ... /Dated ... /Inscribed ... /In our opinion the work hasbeen signed/dated/inscribed bythe artist.

BearsSignature ... /Date ... /Inscription ... /In our opinion thesignature/date/inscriptionappears to be by a hand otherthan that of the artist.

Dimensions are given heightbefore width.

International Auction Calendar

AUGUST

14 Scottish Silver & AccessoriesLyon & Turnbull, Edinburgh

14 Scottish Design & Wemyss WareLyon & Turnbull, Edinburgh

15 Scottish Contemporary & Post-War ArtLyon & Turnbull, Edinburgh

29 Rare Books, Maps & ManuscriptsLyon & Turnbull, Edinburgh

SEPTEMBER

07 The Donald & Eleanor Taffner CollectionLyon & Turnbull, Edinburgh

09 Fine Asian ArtsFreeman’s, Philadelphia

19 Photographs & PhotobooksFreeman’s, Philadelphia

20 Rare Books, Maps & ManuscriptsFreeman’s, Philadelphia

20 Coins & MedalsFreeman’s, Philadelphia

OCTOBER

03 The International Sale: Old Master Paintings,Drawings & PrintsLyon & Turnbull, Edinburgh

03 The International Sale: Fine Furniture &Decorative ArtsLyon & Turnbull, Edinburgh

04 Fine AntiquesLyon & Turnbull, Edinburgh

09 English & Continental Furniture & Decorative ArtsFreeman’s, Philadelphia

11 Rugs & CarpetsFreeman’s, Philadelphia

11 The International Sale: Old Master Paintings,Drawings & PrintsFreeman’s, Philadelphia

11 The International Sale: Fine Furniture &Decorative ArtsFreeman’s, Philadelphia

27 Paintings, Prints & WatercoloursAntiquesLyon & Turnbull, Edinburgh

NOVEMBER

04 Modern & Contemporary ArtFreeman’s, Philadelphia

05 Fine Jewelry & WatchesFreeman’s, Philadelphia

07 Decorative Arts & DesignLyon & Turnbull, Edinburgh

13 American Furniture, Decorative & Folk ArtFreeman’s, Philadelphia

14 The Pennsylvania SaleFreeman’s, Philadelphia

28 Fine Jewellery & SilverLyon & Turnbull, Edinburgh

29 Fine PaintingsLyon & Turnbull, Edinburgh

DECEMBER

02 Fine American & European Paintings & SculptureFreeman’s, Philadelphia

12 Fine Asian Works of ArtLyon & Turnbull, Edinburgh

Sale dates are subject to change - please check before travelling.

The International Sale

EE DD II NN BB UU RR GG HH LL OO NN DD OO NN GG LL AA SS GG OO WW PP HH II LL AA DD EE LL PP HH II AA BB OO SS TT OO NN WW AA SS HH II NN GG TT OO NN DD .. CC ..

Old Master Paintings, Drawings and PrintsFine Furniture & Decorative Arts

AuctionsEdinburgh: 3rd October 2012Philadelphia: 11th October 2012

Old Master Paintings, Drawings & PrintsNick Curnow +44 (0)131 557 [email protected]

David [email protected]+1 267.414.1214

To enquire about including selected works in these sales, please contact:

These sales feature selected lots from the oldest auctioneers in America andScotland, now combined into a single sale catalogue. This allows consignors tobenefit from marketing to both Europe and North America, ensuring your lots areseen by as wide an audience as possible, increasing competition and prices.

Fine Furniture & Decorative ArtsDouglas [email protected]+44 (0)131 557 8844

David [email protected]+1 267.414.1216

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Important Information for Buyers

Decorative ArtsDESIGN FROM 1860

Wednesday, 7th November, 201233 Broughton Place, Edinburgh

www.lyonandturnbull .com

A collection of Liberty & Co. pewter by ArchibaldKnox to be included in the sale.

Viewing timesSunday, 4th November 2pm - 5pm Monday, 5th November 10am - 5pm Tuesday, 6th November 10am - 5pm Morning of Sale from 9am

EnquiriesJohn MackieTel: +44 (0)131 557 8844 [email protected]

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Waverley Station

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Arrangements for Sold Lots All bought items will be heldfree of charge at BroughtonPlace until the Fridayfollowing the sale.

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© Lyon & Turnbull Ltd. 2012. All rights reserved. No part of thispublication may be reproduced, stored in a retrieval system ortransmitted by any form or by any means without the prior writtenpermission of Lyon & Turnbull Ltd.

Fine Paintings Thursday, 29th November, 201233 Broughton Place, Edinburgh EH1 3RR


GEORGE LESLIE HUNTER(SCOTTISH 1879-1931) STILL LIFE WITH PINK ROSES AND FRUITSigned, oil on board

39cm x 34cm (15.5in x 13.5in)

£80,000-120,000

Viewing timesSunday, 25th November, 2pm - 5pm Monday, 26th November, 10am - 5pm Tuesday, 27th November, 10am - 5pm Wednesday, 28th November,y 10am - 5pmMorning of Sale by appointment only

EnquiriesNick CurnowTel: +44 (0)131 557 8844 [email protected]

Charlotte RiordanTel: +44 (0)131 557 8844 [email protected]

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Board of Directors

ChairmanSir Angus Grossart

Vice ChairmanPaul Roberts

Managing DirectorNick Curnow

DirectorsCampbell ArmourRachel DoerrTrevor KyleJohn MackieGavin Strang

Associate DirectorsLee YoungMhairi McFadden

Specialist Departments

Pictures, Watercolours andPrintsNick CurnowCharlotte Riordan

Furniture, Clocks and Works of ArtDouglas GirtonLee Young

Asian Works of ArtLee Young

Rugs and CarpetsGavin Strang

Jewellery, Silver, Coins and MedalsTrevor KyleColin Fraser

Decorative Arts and DesignJohn Mackie

European and Asian CeramicsDouglas GirtonCampbell Armour

Rare Books, Maps, Manuscriptsand Photographs Simon VickersCathy Marsden

Arms and ArmourJohn Batty (consultant)

Antique SalesTheo BurrellLydia Stoker

33 Broughton Place, Edinburgh EH1 3RRTel +44 (0)131 557 8844 Fax +44 (0)131 557 8668

email: [email protected] www.lyonandturnbull.com

182 Bath Street, Glasgow G2 4HGTel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

78 Pall Mall, London SW1Y 5ESTel +44 (0)20 7930 9115Fax +44 (0)20 7930 7274


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Operations ManagerAlex Dove

Finance ManagerMhairi McFadden

AccountsFlo MarshallEileen WelshHazel Tyrie

AdministrationEdinburghKim Aitchison

GlasgowLinda Robinson James McNaught

Saleroom StaffSydney DrewDavid RobertsonDavid FiddesValerie Kyle

Press and Public RelationsPhilip Gregory

MarketingMatt McKenzie

PhotographerMike Bascombe

Valuation Department Administration

Telephone: 0845 882 2794

UK DirectorRachel Doerr

Client Services Judith Hardie Linda RobinsonJane Lightfoot

Business DevelopmentLady MiddletonJohn SibbaldJohn ThomsonTessa ThomsonLindsey Michie

VALUERS

ScotlandTrevor KyleCampbell ArmourGavin Strang

Northern EnglandDavid Hall (consultant)

North West England andIrelandRachel Doerr

MidlandsPatrick BowenMichael Mays

London and Home CountiesSean McIlroy

South West & WalesRobin Barlow

London and Southern England

Rachel Doerr Mobile: 07876 [email protected]

Nicholas CampbellMobile: 07920 [email protected]


Lee Young Mobile: 07825 [email protected]

Jenny Johnson Tel: (0)20 7930 [email protected]

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STANDARD TERMS &CONDITIONS OF SALE

Lyon & Turnbull carries on business withbidders, buyers and all those present inthe auction room prior to, or inconnection, with a sale on the followingGeneral Conditions and on such otherterms, conditions and notices as may bereferred to herein.

1. DEFINITIONS

In these Conditions:

(a) “Auctioneer” means the firm of Lyon &Turnbull or its authorised auctioneer, asappropriate;

(b) “deliberate forgery” means animitation made with the intention ofdeceiving as to authorship, origin, date,age, period, culture or source but which isunequivocally described in the catalogueas being the work of a particular creatorand which, at the date of the sale, had avalue materially less than it would havehad if it had been in accordance with thedescription;

(c) “hammer price” means the level ofbidding reached (at or above any reserve)when the auctioneer brings down thehammer;

(d) “terms of consignment” means thestipulated terms and rates of commissionon which Lyon & Turnbull acceptsinstructions from sellers or their agents;

(e) “total amount due” means thehammer price in respect of the lot soldtogether with any premium, Value AddedTax chargeable and any additional chargespayable by a defaulting buyer under theseConditions;

(f) “sale proceeds” means the net amountdue to the seller, being the hammer priceof the lot sold less commission at thestated rate, Value Added Tax chargeableand any other amounts due to us by theseller in whatever capacity and howeverarising;

(g) “You”, “Your”, etc. refer to the buyer asidentified in Condition 2.

(h) The singular includes the plural andvice versa as appropriate.

2. BIDDING PROCEDURES AND THEBUYER

(a) Bidders are required to register theirparticulars before bidding and to satisfyany security arrangements before enteringthe auction room to view or bid;

(b) the maker of the highest bid acceptedby the auctioneer conducting the saleshall be the buyer at the hammer priceand any dispute about a bid, which mustbe raised before the next lot is offered,shall be settled at the auctioneer’sabsolute discretion.

(c) Bidders shall be deemed to act asprincipals.

(d) Once made, no bid may be withdrawn.

(e) Our right to bid on behalf of the selleris expressly reserved up to the amount ofany reserve and the right to refuse any bidis also reserved.

3. INCREMENTS

Bidding increments shall be at theauctioneer’s sole discretion.

4. THE PURCHASE PRICE

The buyer shall pay the hammer pricetogether 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 therate imposed by law.

5. VALUE ADDED TAX

Value Added Tax on the hammer price isimposed by law on all items affixed withan asterisk (*) or dagger (†). Value AddedTax is charged at the appropriate rateprevailing by law at the date of sale and ispayable by buyers of relevant lots.

6. PAYMENT

(1) Immediately a lot is sold you will:

(a) pay to us the total amount due in cashor in such other way as is agreed by us.We accept cash, bank transfer (details onrequest), Switch or Debit Cards and Visaor MasterCard (please note there is asurcharge of 2% (VAT included) whenusing credit cards). We do not acceptAmerican Express.

(2) any payments by you to us may beapplied by us towards any sums owingfrom you to us on any account whateverwithout regard to any directions of you oryour agent, whether express or implied.

7. TITLE AND COLLECTION OFPURCHASES

(1) The ownership of any lots purchasedshall not pass to you until you have madepayment in full to us of the total amountdue.

(2) You shall at your own risk and expensetake away any lots that you havepurchased and paid for not later than fourworking days following the day of theauction or upon the clearance of anycheque used for payment after which youshall be responsible for any removal,storage and other associated charges.

(3) No purchase can be claimed orremoved until it has been paid for.

(4) It is the buyer’s responsibility toascertain collection procedures,particularly if the sale is not being held atour main saleroom and the potentialstorage charges for lots not collected bythe appropriate time.

8. REMEDIES FOR NON-PAYMENT ORFAILURE TO COLLECT PURCHASES

(1) If any lot is not paid for in full and takenaway in accordance with these Conditionsor if there is any other breach of theseConditions, we, as agent for the seller andon their behalf, shall at our absolutediscretion and without prejudice to anyother rights we may have, be entitled toexercise one or more of the followingrights and remedies:

(a) to proceed against you for damages forbreach of contract;

(b) to rescind the sale of that lot and/orany other lots sold by us to you;

(c) to resell the lot (by auction or privatetreaty) in which case you shall beresponsible for any resulting deficiency inthe total amount due (after crediting anypart payment and adding any resale costs).Any surplus so arising shall belong to theseller;

(d) to remove, store and insure the lot atyour expense and, in the case of storage,either at our premises or elsewhere;

(e) to charge interest at a rate of 1.5% permonth above the current base rate on thetotal amount due, to the extent it remainsunpaid for more than four working daysafter the sale;

(f) to retain that or any other lot sold toyou until you pay the total amount due;

(g) to reject or ignore bids from you oryour agent at future auctions or to imposeconditions before any such bids shall beaccepted;

(h) to apply any proceeds of sale of otherlots due or in future becoming due to youtowards the settlement of the total amountdue and to exercise a lien (that is a right toretain possession of) any of your propertyin our possession for any purpose until thedebt due is satisfied.

(2) We shall, as agent for the seller andon their behalf pursue these rights andremedies only as far as is reasonable tomake appropriate recovery in respect ofbreach of these Conditions

9. THIRD PARTY LIABILITY

All members of the public on ourpremises are there at their own risk andmust note the lay-out of theaccommodation and securityarrangements. Accordingly neither theauctioneer nor our employees or agentsshall incur liability for death or personalinjury (except as required by law by reasonof our negligence) or similarly for thesafety of the property of persons visitingprior to or at a sale.

10. COMMISSION BIDS

While prospective buyers are stronglyadvised to attend the auction and arealways responsible for any decision to bidfor a particular lot and shall be assumedto have carefully inspected and satisfiedthemselves as to its condition we shall ifso instructed clearly and in writing executebids on their behalf. Neither theauctioneer or our employees or agentsshall be responsible for any failure to doso. Where two or more commission bidsat the same level are recorded we reservethe right in our absolute discretion toprefer the first bid so made.

11. WARRANTY OF TITLE ANDAVAILABILITY

The seller warrants to the auctioneer andto you that the seller is the true owner ofthe property consigned or is properlyauthorised by the true owner to consign itfor sale and is able to transfer good andmarketable title to the property free fromany third party claims.

12. AGENCY

The auctioneer normally acts as agentonly and disclaims any responsibility fordefault by sellers or buyers.

13. TERMS OF SALE

The seller acknowledges that lots are soldsubject to the stipulations of theseConditions in their entirety and on theTerms of Consignment as notified to theconsignor at the time of the entry of thelot.

14. STANDARD VENDOR FEES ANDCHARGES (Subject to VAT)

(1) Commission: 15% of the first £3000 and10% thereafter is charged on the sellingprice of each lot (subject to a minimumcharge of £30). Loss and damagewarranty: 1.5% on value of lots sold.Photography: max £40 mono per lot, max£250 colour. Internet Marketing Service:£10 per lot.

(2) If a vendor wishes to withdraw a lotorganized for sale, a withdrawal fee willapply;

(a) If withdrawn over 28 working days priorto the sale, this will be charged at 10% ofthe mid estimate along with any ancilliaryincurred (such as photography), all subjectto VAT at the current rate.

(b) If withdrawn within 28 working days ofthe sale, this will be charged at 20% of themid estimate along with any ancilliaryincurred (such as photography), all subjectto VAT at the current rate.

15. DESCRIPTIONS AND CONDITION

(1) While we seek to describe lotsaccurately, it may be impractical for us tocarry out exhaustive due diligence on eachlot. Prospective buyers are given ampleopportunities to view and inspect beforeany sale and they (and any independentexperts on their behalf) must satisfythemselves as to the accuracy of anydescription applied to a lot. Prospectivebuyers also bid on the understanding that,

inevitably, representations or statementsby us as to authorship, genuineness,origin, date, age, provenance, condition orestimated selling price involve matters ofopinion. We undertake that any suchopinion shall be honestly and reasonablyheld and accept liability for opinions givennegligently or fraudulently. Subject to theforegoing neither we the auctioneer or ouremployees or agents or the seller acceptliability for the correctness of suchopinions and all conditions andwarranties, whether relating todescription, condition or quality of lots,express, implied or statutory, are herebyexcluded. This Condition is subject to thenext following Condition concerningdeliberate forgeries and applies save asprovided for in paragraph 6 “information tobuyers”.

(2) Private treaty sales made under theseConditions are deemed to be sales byauction for purposes of consumerlegislation.

16. FORGERIES

Notwithstanding the preceding Condition,any Lot which proves to be a deliberateforgery (as defined) may be returned to usby you within 21 days of the auctionprovided it is in the same condition aswhen bought, and is accompanied byparticulars identifying it from the relevantcatalogue description and a writtenstatement of defects. If we are satisfiedfrom the evidence presented that the lot isa deliberate forgery we shall refund themoney paid by you for the lot including anybuyer’s premium provided that (1) if thecatalogue description reflected theaccepted view of scholars and experts asat the date of sale or (2) you personally arenot able to transfer a good and marketabletitle to us, you shall have no rights underthis condition.

The right of return provided by thisCondition is additional to any right orremedy provided by law or by theseConditions of Sale.

GENERAL

17. We shall have the right at ourdiscretion, to refuse admission to ourpremises or attendance at our auctions byany person.

18 (1) Any right to compensation for lossesliabilities and expenses incurred in respectof and as a result of any breach of theseConditions and any exclusions provided bythem shall be available to the sellerand/or the auctioneer as appropriate.

(2). Such rights and exclusions shallextend to and be deemed to be for thebenefit of employees and agents of theseller and/or the auctioneer who maythemselves enforce them.

19. Any notice to any buyer, seller, bidderor viewer may be given by first class mailin which case it shall be deemed to havebeen received by the addressee 48 hoursafter posting.

20. Special terms may be used incatalogue descriptions of particularclasses of items (Books, Jewellery,paintings, guns, firearms etc) in whichcase the descriptions must be interpretedin accordance with any glossary orguidance notes appearing in thecatalogue. These notices and terms willalso form part of our terms and conditionsof sales.

21. Any indulgence extended to biddersbuyers or sellers by us notwithstandingthe strict terms of these Conditions or ofthe Terms of Consignment shall affect theposition at the relevant time only and inrespect of that particular concession only;in all other respects these Conditionsshall be construed as having full force andeffect.

22. Scottish law applies to theinterpretation of these Conditions.

Sale Title

Sale Date Sale No.

Title Initials Client No.

Surname

Address

Postcode

Telephone Fax

E-mail

Client Signature Date

Lyon and Turnbull office use

Date Time By Bidder No.

Received

Entered

Absentee bid form

Sale/customer details

33 Broughton Place Edinburgh EH1 3RR Telephone 0131 557 8844 Fax 0131 557 8668

182 Bath Street, Glasgow G2 4HGTel +44 (0)141 333 1992 Fax +44 (0)141 332 2928e-mail:[email protected]

I request Lyon and Turnbull,without legal obligation of anykind on its part, to bid on thefollowing lots up to the priceslisted.

I understand that if any of mybids are successful the totalprice payable will be theamount of the final bid plus aBuyer’s premium calculated atthe following rates:

Antiques, Jewellery & Silverand Pictures (Not Fine Sales)20%.

All other sales(Fine/Special/Collections) 25% up to £25,000 / 20% thereafter. VAT will be charged onthe premium.

The premium and VAT ispayable by all purchasers.

Lots in the catalogue marked* or † are subject to VAT on thehammer price as well as thepremium.

Where there are identical bidsfor a lot, the first bid receivedwill be have precedence.

Please make certain that yourbids are submitted at least twohours before the start of thesale.

£ Sterling limitLot.No Description Ex. Premium & VAT

33 Broughton Place, EdinburghEH1 3RRTel +44 (0)131 557 8844Fax +44 (0)131 557 8668

email. [email protected]

182 Bath Street, GlasgowG2 4HGTel +44 (0)141 333 1992Fax +44 (0)141 332 8240

78 Pall Mall, LondonSW1Y 5ESTel +44 (0)20 7930 9115Fax +44 (0)20 7930 7274

Lyon & Turnbull Sale No 370 - The Taffner Collection

Documents

Transcript of Lyon & Turnbull Sale No 370 - The Taffner Collection