A few examples of appraisal values for
MELDRUM

• SHERI MELDRUM (B. 20TH CENTURY), "WIND
  SHERI MELDRUM (B. 20TH CENTURY), "WIND SHAMAN" AND "RAIN SHAMAN"Sheri Meldrum, (b. 20th century) "Wind Shaman" and "Rain Shaman", Copper with mixed media set on plastic rotating base Each titled and attributed to metal plaque applied to stone base Copper with mixed media set on plastic rotating base Dimensions: Each: 24.25" H x 24.5" W x 10" D approximately
• A.D.M. COOPER CHROMOLITHOGRAPH - "BURNING
  A.D.M. COOPER CHROMOLITHOGRAPH - "BURNING ARROW" (1904)...**First Time At Auction** Astley David Middleton (A.D.M.) Cooper (American, 1856-1924). "The Burning Arrow" or "Flaming Arrow" chromolithograph, 1904. An original, antique chromolithograph of "Burning Arrow" (aka "Flaming Arrow") - one of A.D.M. Cooper's most famous paintings. Cooper is best known for his depictions of indigenous peoples with whom he lived in the American West when he was in his early twenties. "Burning Arrow" depicts a group of warriors using a flaming arrow to signal their movements to a distant Indian camp during the Great Sioux War (also called The Black Hills War and known for the famous Battle of Little Big Horn) of 1876 to 1877. Starting at the top and in clockwise order, the figures depicted are as follows: Bull Head (son of Sitting Bull) is the man firing the arrow; Chief Hard Heart is standing with his back to the fire; Sitting Bear is on the ground sitting watching the arrow in flight; Lone Wolf, Buffalo Head, Standing Bear, and two unnamed Indians in the background are also depicted. A remarkable, large-scale, original antique chromolithograph that likely took months to create given its extensive composition and coloration - mounted in an exceptional frame that was artistically designed with carefully selected, museum-quality materials. Size (sight view): 19" L x 25.5" W (48.3 cm x 64.8 cm) Size (frame): 32.625" L x 38.875" W (82.9 cm x 98.7 cm) A.D.M. Cooper objected to the American Indian Wars and was greatly respected by the indigenous peoples. Cooper exhibited "Burning Arrow" at H.A. Meldrum Company's Free Art Gallery at the Pan American Exposition of 1901 in Buffalo, New York. Cooper's models for this painting included six prominent Sioux Indians who participated at the Indian Congress at the Midway at the Pan Am Expo in addition to two other Sioux Indians. Starting at the top and in clockwise order: Bull Head (son of Sitting Bull) is the man firing the arrow; Chief Hard Heart is standing with his back to the fire; Sitting Bear is on the ground sitting watching the arrow in flight; Lone Wolf, Buffalo Head, Standing Bear, and two unnamed Indians in the background are also depicted. Interestingly, Cooper first exhibited his 9' x 12' painting of "Burning Arrow" at the Exhibition Hall of the Emporium and Golden Rule Bazaar in San Francisco beginning on January 31, 1900. According to the advertisement in the "The San Francisco Call" newspaper on that date: "'The Burning Arrow'—a realistic painting of an episode of the Sioux-Custer war, by A.D.M. Cooper, a well-known painter of Indian pictures—on free exhibition to-day and until further notice in Exhibition Hall, second floor. The canvas is 9x12 feet in size. Aside from its artistic merits, it will be of special interest to every boy and girl who is studying the history of this country." Chromolithography was invented by lithographers as a means of printing on flat surfaces by using chemicals instead of relief or intaglio printing. A chromolithograph like this one took months to produce, depending on the number of colors in the image. Provenance: private Colorado Collection; Private Collection of a Private Colorado Family All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #176982 Condition: This is an original antique hand-colored lithograph. It is not a later reproduction. It is mounted in a custom, museum-quality frame behind glass. While not examined outside the frame, it appears to be in outstanding condition with vivid imagery and hand coloring. Framing is of an impressive design, made with carefully selected, museum-quality materials. Frame has a few minute (nearly invisible) scuffs, but is otherwise excellent, fit with suspension wire, and ready to display.
• ANNIE FRENCH (1872-1965) THE BUTTERFLIES
  ANNIE FRENCH (1872-1965) THE BUTTERFLIES pen and ink, signed bottom right ANNIE FRENCH13.5cm x 9.8cmProvenance: James Meldrum Esq., GlasgowThe Piccadilly Gallery, LondonThe Fine Art SocietyCyril Gerber Fine Art
• CHARLES RENNIE MACKINTOSH (1868-1928) PATTERN
  CHARLES RENNIE MACKINTOSH (1868-1928) PATTERN DESIGN pencil on tracing paper, later framedsheet size 15.1cm x 14.4cm (frame 34.2cm x 32cm)Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933and by descent to his son, James MeldrumGiven to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984Note: This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
• CHARLES RENNIE MACKINTOSH (1868-1928) DESIGN
  CHARLES RENNIE MACKINTOSH (1868-1928) DESIGN FOR STENCIL DECORATION FOR 14 KINGSBOROUGH GARDENS, 1901 pencil and watercolour on paper, pencil annotations, later framedsheet size 21.9cm x 29.8cm (frame 40.3cm x 47.5cm)Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933and by descent to his son, James MeldrumGiven to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984Literature:Billcliffe, R., Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp.132-133,1901.67 illus.Note: This delicate design for a wall frieze is a study for 14 Kingsborough Gardens in Glasgow, the property of Fra Newbery’s mother-in-law Mrs Rowat. Dating to circa 1901, Billcliffe states that the design of Kingsborough Gardens was notably feminine, with detailed stencilled motifs of stylized flowers decorating the walls.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
• CHARLES RENNIE MACKINTOSH (1868-1928) 'SCALE
  CHARLES RENNIE MACKINTOSH (1868-1928) 'SCALE DRAWING OF PROPOSED MEMORIAL STONE TO LT. COL. OSWALD ARTHUR GERALD FITZGERALD CMG', 1916 pencil and wash on squared paper, showing the front and side elevation of the memorial stone, later framedsheet size 27.5cm x 23.1cm (frame 46.5cm x 41.2cm)Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933and by descent to his son, James MeldrumGiven to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984Literature: www.mackintosh-architecture.gla.ac.ukNote: Lt Col. Oswald Arthur Gerald Fitzgerald (1875–1916) was personal military secretary to Lord Kitchener (1850–1916). Both men died in the sinking of HMS Hampshire off Marwick Head, Orkney, on 5 June 1916. Fitzgerald's body was not buried at Lyness on the island of Hoy, with others recovered from the sea, but was taken instead to Ocklynge Cemetery, Eastbourne, Sussex, where his father was buried. The design shows an upright stone slab 7 feet (2.13 m) high and just over 3 feet (0.91 m) wide at the base, framed at the top and sides by mouldings of a stepped profile. The angular mouldings have similarities with some of the stone carving at Scotland Street School and with later decorative work by Mackintosh, especially the hall fireplace at 78 Derngate, Northampton. The classical victor's laurel wreath and the military badges above and below the inscription speak the familiar language of soldiers' memorials. It is not known how Mackintosh came to make the design, or who commissioned it. Fitzgerald had served for some years with Kitchener in India, and it may have been through Mackintosh's association with Patrick Geddes's Indian town planning work in 1915–16 that the job came his way. The monument ultimately erected over Fitzgerald's grave is very much simpler and in no sense a realisation of Mackintosh's design, although it contains faint echoes of the original drawing offered here and suggests that whoever carved it may have had access to Mackintosh's design.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
• CHARLES RENNIE MACKINTOSH (1868-1928) PLANT
  CHARLES RENNIE MACKINTOSH (1868-1928) PLANT STUDIES pencil and watercolour, later framedsheet size 39cm x 35cm (57cm x 50.3cm)Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933and by descent to his son, James MeldrumGiven to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984Note: ‘Plant Studies’, offers a tantalising insight into Mackintosh's design process. Here he considers a cluster of appealingly shaped leaves. In the bottom right we see he has constructed a grid, sketching within it a floral form: pinned for dissection by his designer’s eye which seeks to discover his subject’s recurring natural shapes to extrapolate into pattern.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
• CHARLES RENNIE MACKINTOSH (1868-1928) HAREBELLS
  CHARLES RENNIE MACKINTOSH (1868-1928) HAREBELLS watercolour, later framedsheet size 27.3cm x 23.4cm (frame 47cm x 37cm)Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933and by descent to his son, James MeldrumGiven to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984Note: Colour began making a subtle, delicate appearance after a visit to Lindisfarne, Holy Island in 1901. ‘Harebells’ is a decorative and stylised piece, unusually created entirely in watercolour with no traces of the assured and technical pencil lines that one associates with his botanic studies. Nonetheless, each brushstroke is considered and placed with intent above spontaneity.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
• CHARLES RENNIE MACKINTOSH (1868-1928) 'ANEMONIE',
  CHARLES RENNIE MACKINTOSH (1868-1928) 'ANEMONIE', 1896 pencil on paper, inscribed ANEMONIE/ FOUND AT LAMLASH ARRAN MAY 1893/ DRAWN MAY 1896, later framedsheet size 25.9cm x 20.2cm (frame 44.8cm x 38cm)Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933and by descent to his son, James MeldrumGiven to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984Exhibited: Edinburgh, Royal Scottish Museum Charles Rennie Mackintosh (1868-1928): Architecture, Design and Painting, 17th August - 8th September 1968, no. 285, titled 'Anemone and Daisy'.Note: Mackintosh began creating flower sketches as far back as his student days in the 1880s. ‘Anemones’ is one such early example. He notes in the cartouche that the plant was found at Lamlash on Arran in 1893, presumably pressed, and then sketched three years later in 1896. These trips and the company he kept (recorded by the inclusion of his friend’s initials in many cases) were clearly important to him. The sketches represent a journal of sorts, and it perhaps speaks to a sensitivity (as well as his great precision) that he chose to depict a re-discovered flower from a past excursion.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
• CHARLES RENNIE MACKINTOSH (1868-1928) 'LAVANDER,
  CHARLES RENNIE MACKINTOSH (1868-1928) 'LAVANDER, WALBERSWICK', 1915 pencil and watercolour, inscribed, dated and signed with initials LAVANDER/ WALBERSWICK/ 1915/ CRM/ MMM, later framedsheet size 28.8cm x 22.5cm (frame 46.3cm x 38.7cm)Provenance: Acquired by William Meldrum, after the Memorial Exhibition 1933and by descent to his son, James MeldrumGiven to The Glasgow Art Club by Eva Meldrum, widow of James Meldrum, 1984Note: During a ten-month period in 1914-1915, Charles Rennie Mackintosh created his celebrated series of botanical watercolour studies at Walberswick on the Suffolk coast. Believed to number around 30-40 in total, these works are loved for their meditative, skilful delicacy, and the way they encapsulate the extraordinary marriage of technical and creative vision that Mackintosh possessed. Few beyond Mackintosh are capable of perceiving, much less conveying, both the random beauty and extraordinary symmetry and inherent structural design of the natural world.By 1915 he had married Margaret Mackintosh, and her initials ’MMM’ begin to appear on his drawings, denoting, like a diary entry, that she was present with him when these sketches were created. ‘Lavander, Walberswick’, the most detailed of the sketches offered here for sale, beautifully illustrates his technical prowess and ever-elegant hand. Creating a sense of texture by highlighting just a few upper leaves with the most delicate of washes, our eye then focuses on the accomplished pencil mark tangle of unfurling leaves towards the base of the stem.One contemporary source, an article by author Desmond Chapman-Huston, suggests that Mackintosh produced this proliferation of flower studies for a book commissioned by a German publisher, the outbreak of war preventing its publication. It could also have been a deliberate move towards more commercial subject matter as Mackintosh had just quit his architectural practice in Glasgow. He left the recession-bound city under a cloud; his reputation tarnished by rumours of alcoholism. From what we can infer from this beautiful series of drawings, the tranquillity of the coastal village provided him with an opportunity to re-sharpen the clarity of his artistic vision, with many followers holding the Walberswick sketches among his finest work.This sketch, and the other works by Mackintosh in this sale, belonged to James Meldrum, having come from the collection of his father William Meldrum, Mackintosh’s friend and fellow student at the Glasgow School of Art in the 1880s. James Meldrum notably staged the 1933 Memorial Exhibition of Mackintosh’s work in the MacLellan Galleries on Glasgow’s Sauchiehall Street, along with his friend William Davidson. After James’ death, his widow Eva gifted the vast body of the William Meldrum Collection to the Mitchell Library, Glasgow. The series of works offered here were gifted to the Glasgow Art Club in the 1980s and now appear on the open market for the first time.
• JAMES DUNCAN MAHOGANY ENGLISH LONG CASE
  JAMES DUNCAN MAHOGANY ENGLISH LONG CASE CLOCK: Early 19th Century mahogany English case with Scottish James Duncan Oldmeldrum marked metal face. Unsigned movement. Case measures 90 1/2'' x 18 1/4'' x 9 3/4''.CONDITION: Note crack in glass missing trim piece on bonnet. Movement not functioning both case and movement in need of conservation. Sold as-is.