A few examples of appraisal values for
GLASGOW SCHOOL

• DAVID FORRESTER WILSON (BRITISH,
  DAVID FORRESTER WILSON (BRITISH, 1873-1950) 24" x 26 ½" canvas The Faggot Gatherer. Oil on canvas, signed at the lower right, in a gilt frame, overall 30" x 32 ¾". Softly tonal representation of rural life typical of Glasgow School.
• MUIRHEAD BONE SEASCAPE
  MUIRHEAD BONE SEASCAPE WATERCOLORSir David Muirhead Bone, HRSA, NEAC (United Kingdom, 1876 - 1953) seascape watercolor on paper depicting a rocky sea shore. Signed lower left "Muirhead Bone". Float mounted and housed in a simple gilt frame.Sight - 8 1/2" H x 11 1/2" W. Framed - 14 1/2" H x 17 3/4" W. Biography (Courtesy of AskArt): Sir Muirhead Bone (23 March 1876 - 21 October 1953) was a Scottish etcher, drypoint and watercolour artist. The son of a printer, Bone was born in Glasgow and trained initially as an architect, later going on to study art at Glasgow School of Art. He began printmaking in 1898, and although his first known print was a lithograph, he is better known for his etchings and drypoints. His subject matter was principally related to landscapes, architecture, which often focused on urban construction and demolition sites and industry. Condition: Painting overall excellent condition. Losses to paint on frame.
• DAVID MURRAY WATERCOLOR "FERRY
  DAVID MURRAY WATERCOLOR "FERRY CROSSING"David Murray (1849-1933), Ferry River Crossing watercolor, framed and matted under glass; measures approximately 36" x 48 " with a sight image of approximately 23-3/4" x 35-3/4". Signed to lower left. Sir David Murray, R.A., P.R.I., R.S.W., H.R.S.A. painter of landscapes in oil and watercolor, and some sea pieces from the Dorset coast. Born in Glasgow on 29th January 1849. After spending eleven years in a mercantile film became an artist and studied at the Glasgow School of Art. In his early years he painted in Scotland, but after moving to London in 1883 broadened his horizons and traveled to the continent, spending some time working in Italy. Elected A.R.S.A. 1181, A.R.W.S. 1886, A.R.A. 1891, R.A. 1905, P.R.I. 1917 and H.R.S.A. 1919. Knighted in 1918.
• SCOTTISH GLASGOW SCHOOL MIRROR,
  SCOTTISH GLASGOW SCHOOL MIRROR, CIRCA 1910 repousse-decorated brass, with mirror plate46.5cm x 66cm
• GLASGOW SCHOOL CELTIC REVIVAL
  GLASGOW SCHOOL CELTIC REVIVAL WALL MIRROR, CIRCA 1900 repoussé-decorated brass, with mirror plate35cm x 70cm
• SCOTTISH GLASGOW SCHOOL LOG BOX,
  SCOTTISH GLASGOW SCHOOL LOG BOX, CIRCA 1900 repoussé-decorated copper with glazed ceramic panel42.5cm wide, 27.5cm high, 30cm deep
• MARGARET GILMOUR (1860-1942)
  MARGARET GILMOUR (1860-1942) (ATTRIBUTED TO) GLASGOW SCHOOL BLOTTER, CIRCA 1910 repoussé-decorated brass, card29.5cm x 45.5cm
• THE GLASGOW SCHOOL OF PAINTING
  THE GLASGOW SCHOOL OF PAINTING DESIGN FOR A BOOK COVER gold paint on a painted green ground48.5cm x 28.5cmProvenance: The Fine Art Society, London
• AGNES BANKIER HARVEY (1873-1947)
  AGNES BANKIER HARVEY (1873-1947) (ATTRIBUTED DESIGNER) PAIR OF GLASGOW SCHOOL WALL SCONCES, CIRCA 1900 repoussé-decorated brass(2)16cm wide, 38cm high, 9cm deep
• GLASGOW SCHOOL EMBROIDERED TEA
  GLASGOW SCHOOL EMBROIDERED TEA COSY, CIRCA 1910 coloured silks and gold threads, the design worked on both sides reserved on a cushioned silk satin ground36cm wide, 26cm high
• ERNEST ARCHIBALD TAYLOR (1874-1951)
  ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW SIDEBOARD, CIRCA 1902 inlaid oak, with patinated metal fittings191cm wide, 132cm high, 68cm deepNote: Initially apprenticed in the Glasgow shipbuilding industry, E. A. Taylor trained as an artist at the Glasgow School of Art, where he met Jessie M. King around 1898. Taylor joined the Glasgow cabinetmakers and retailers Wylie & Lochhead as a trainee designer in 1893. His furniture designs for the firm brought him great acclaim with exhibitions at the 1901 Glasgow International Exhibition and, with his fiancée Jessie King, a series of stained-glass panels for the Turin International Exhibition of Modern Decorative Art in 1902. Taylor went on to lecture in furniture design at the Glasgow School of Art from 1903 to 1905. In 1908 he married Jessie King and moved to Manchester to manage and design for George Wragge Ltd where he produced many designs for stained glass. Between 1911 and 1914 the Taylors lived in Paris where they established an art school – the Shealing Atelier. This rare sideboard by Taylor demonstrates his skills as a furniture designer, the inlaid panels characteristic of the burgeoning 'Glasgow Style', the mouldings and cut-out features enlivening the solid form. This example is similar in form to a sideboard designed by Taylor for William Douglas Weir (later Lord Weir) in Glasgow around 1901, following the success of his room for Wylie & Lochhead at the Glasgow International Exhibition the same year.
• GLASGOW SCHOOL PAIR OF STAINED
  GLASGOW SCHOOL PAIR OF STAINED GLASS WINDOWS, CIRCA 1900 stained and leaded glass within mahogany frames(2)glass 89cm x 35cm
• § MARION HENDERSON WILSON
  § MARION HENDERSON WILSON (1869-1956) (ATTRIBUTED DESIGNER) GLASGOW SCHOOL WALL MIRROR, CIRCA 1910 repoussé-decorated brass, bevelled mirror plate60cm x 32cm
• THE GLASGOW SCHOOL OF ART TWO
  THE GLASGOW SCHOOL OF ART TWO COPIES OF THE SCHOOL PROSPECTUS 1907-08 and 1908-09 editions, printed by Begg, Currie & Russell Printers, Glasgow(2)
• CHARLES RENNIE MACKINTOSH (SCOTTISH
  CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) IVY SEED, WALBERSWICK pencil and watercolour, inscribed, signed and dated lower right IVY SEED/ WALBERSWICK/ 1915/ CRMMMM25.5cm x 18.2cmProvenance: Acquired after the Memorial Exhibition, 1933, by R. W. B. Morris, a partner in Charles Macdonald's legal firm and an executor of Margaret Macdonald Mackintosh's estateThe Fine Art Society, LondonPrivate Collection (1977-present)Exhibited: The Fine Art Society, London, The Flower Drawings of Charles Rennie Mackintosh, May/June 1977Literature: Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quatro, 2017, pp.194-198 and 211-219 Billcliffe R. Mackintosh Watercolours Glasgow Art Gallery, London 1978, p. 38, no. 139Note: By 1914, Mackintosh’s professional fortunes were dwindling and life in Glasgow became unbearably oppressive. Following the completion of the Glasgow School of Art in 1909, Honeyman, Keppie & Mackintosh’s business received very little work, much like their competitors, as the city was grappling with a recession. Mackintosh resigned as partner of the firm in December 1913, supposedly with the intention of setting up his own company, yet sadly nothing came of this. Clearly requiring some rest and recuperation from this drastic turn of events, the Mackintoshes left Glasgow for a summer break to Walberswick in June 1914, but the uncertainty of the First World War and a rather unstable economic climate persuaded them to remain in the village for fifteen months.Like a number of coastal villages across the UK, Walberswick became a hub of artistic creativity in the summer months. Bright blue skies, endless coastal cliffs and colourful fields as far as the horizon brought the likes of Philip Wilson Steer, E. A. Walton and Mary Newbery Sturrock to this charming fishing and boatyard community. Mary Newbery was the daughter of Frances Newbery, Headmaster of the Glasgow School of Art at the time Mackintosh designed its new premises. The two men had formed a very close friendship during their time in Glasgow. Mary was convalescing in Walberswick while the Mackintoshes were staying in the village, close to her family’s villa there. Every day they would venture over to her studio and it is thought that Mackintosh was encouraged by the Newberys to turn to painting during this time, in his search for solace and seclusion.Over the next ten months or so, Mackintosh made over forty botanical watercolour studies using a variety of species: from wild plants such as willow catkins and kingcups to garden favourites fuchsias and petunia, as well as flowers from local fields and hedgerows such as sorrel and chicory. From 1901 Mackintosh had been sketching similar plants and flowers whilst on holiday within Britain, and further afield in Italy and Portugal. These earlier studies are more technical in composition; the background is almost completely abstract as alternating and overlapping perspectives of botanical cross-sections are illustrated. The focus of these sketches was analytical: investigating ways in which certain plant forms could be stylised to create abstract patterns on the page.At Walberswick, the studies are decorative depictions, delicately drawn in a naturalistic manner. It is likely that Mackintosh worked with pressed specimens, perhaps picked on his walks to Sturrock’s studio, giving him an already flattened section to work from. In Ivy Seed, the plant is positioned off-centre as the coloured leaves pointing towards the cartouche draw the eye into the complex structure of the branch itself. Mackintosh was clearly meticulous in his approach: connected stems and foliage are interwoven and overlaid in a beautiful display; there is a careful balance of tension, and delicacy in the delineation of the leaves. The vibrancy of colour, subtly deployed across the page, breathes life into the work and helps capture the decorative beauty of his peaceful new environment.The initials of Margaret Mackintosh appear frequently on many of these watercolours, and it was previously suggested that she contributed to the studies in some way. However, there is no stylistic evidence that correlates with Margaret’s own watercolour techniques. Mary Newbury Sturrock has stated that her initials merely indicate that she was there when the studies were made, thereby highlighting her constant presence in Charles’ life and art.Mackintosh’s time spent studying the coastline and nature in and around Walberswick subsequently led to his arrest in 1915 when he was mistaken for a German spy. After a thorough search of their home led to discoveries of their artistic endeavours in Germany and Austria, Charles and Margaret were forced to leave the area with immediate effect. They eventually settled in London, where his deeply personal connections with nature formed the basis for further watercolours and some innovative textile commissions.The spectacular series of Walberswick studies marks an interesting point in Mackintosh’s career. His intense personal and professional struggles prompted a search for solace in nature: these careful, naturalistic renderings of his surroundings are captivating in their simple beauty, evoking the serenity and contemplation he longed for.
• GLASGOW AND CHARLES RENNIE
  GLASGOW AND CHARLES RENNIE MACKINTOSH COLLECTION OF TEXT BOOKS, PAMPHLETS AND CATALOGUES (Pamela Robertson ed.), The Chronycle, The letters of Charles Rennie Mackintosh to Margaret Macdonald Mackintosh, Hunterian Art Gallery 2001Raymond O’Donnell, James Salmon, Rutland Press 2003Patrick Nuttgens, Mackintosh and his Contemporaries, John Murray 1988(Pamela Robertson ed.), Doves and Dreams, Lund Humphries 2006Pamela Roberton and Philip Long, Charles Rennie Mackintosh in France, NGS 2005Perilla Kinchin, Miss Cranston, NMS 199Perilla Kinchin, Taking Tea with Mackintosh, Pomegranate 1998Elaine Grogan, Beginnings: Charles Rennie Mackintosh’s Early Sketches, National Library of Ireland 2002(Pamela Robertson ed.), Charles Rennie Mackintosh: Architectural Sketches, Hunterian Art Gallery 1999George Rawson, Fra H. Newberry, Foulis Press 1996(Pamela Robertson ed.), Charles Rennie Mackintosh: The Architectural Papers, Cockade 1990Pamela Robertson, Charles Rennie Mackintosh: Art is the Flower, Pavilion 1995David Stark, Charles Rennie Mackintosh & Co., Stenlake 2004Richard Scott, The Walberswick Enigma, Ipswich Borough Council 1994Roger Billcliffe, Visiting Charles Rennie Mackintosh, Frances Lincoln 2012Charles Rennie Mackintosh Scotland Street School, Glasgow Print Studio 1980Charles Rennie Mackintosh Furniture, Glasgow School of Art 1968Charles Rennie Mackintosh Ironwork and Metalwork, Glasgow School of Art 1968Charles Rennie Mackintosh and the Glasgow School of Art, Glasgow School of Art 1961R. Mackintosh: The Chelsea Years, (Exhibition catalogue, Hunterian Art Gallery, 1994)David Brett, R. Mackintosh: The Poetics of Workmanship, Reaktion 1992Charles Rennie Mackintosh 1868-1928, (Exhibition Catalogue, Scottish Arts Council, 1968)Gerald and Celia Larner, The Glasgow Style, Astragal Books 1980Ray McKenzie, Sculpture in Glasgow, Foulis Archive Press 1999Perilla and Juliet Kinchin, Glasgow’s Great Exhibitions, White CockadeCharles Rennie Mackintosh, (Exhibition catalogue, Hida Takayama Museum of Art, 1998)(William Buchanan ed.),Mackintosh’s Masterwork: The Glasgow School of Art, Chambers 1998Roger Billcliffe, Charles Rennie Mackintosh: The Complete Furniture Drawings Etc., Lutterworth Press 1980Alan Crawford, Charles Rennie Mackintosh, Thames & Hudson 1995William Buchanan, The Art of the Photographer, J. Craig Annan, NGS 1992(William Buchanan ed.),Mackintosh’s Masterwork: The Glasgow School of Art, A & C Black 2004(Jude Burkhauser ed.), Glasgow Girls, Canongate 1990Harry Taggin et al, Glasgow Revealed, Heritage Books 1998Andor Gomme & David Walker, Architecture of Glasgow, Lund Humphries 1987Janice Helland, The Studios of Frances and Margaret Macdonald, Manchester University Press 1996Robert Macleod, Charles Rennie Mackintosh, Country Life Books 1968Timothy Neat, Part Seen, Part Imagined, Canongate 1994Alistair Moffat, RememberingCharles Rennie Mackintosh, Colin Baxter 1989A. Oakley, The Second City, Blackie & Sons 1967Wendy Kaplan, Charles Rennie Mackintosh, Glasgow Museums 1996The Doctor Thomas Howarth Collection, Christie’s catalogue, 1994Timothy Neat & Gillian McDermott, Closing the Circle, Iynx Publishing 2002Roger Billcliffe, Mackintosh Furniture, Lutterworth Press 1984Thomas Howarth, Charles Rennie Mackintosh and the Modern Movement, Routledge & Keegan Hall Ltd. 1952Charles Rennie Mackintosh Making the Glasgow Style, Glasgow Museums catalogue 2018William Eadie, Movements of Modernity, Routledge 1990Robin Crichton, Monsieur Mackintosh, Luath Press 2006John Nisbet, A Sketch Book, Adam & Charles Black 1913Irene Maver, Glasgow, Edinburgh University Press 2000Roger Billcliffe, Mackintosh Watercolours, Carter Nash Cameron 1978Roger Billcliffe, Charles Rennie Mackintosh Textile Designs, Pomegranate 1993Roger Billcliffe, Architectural Sketches and Flower Drawings byCharles Rennie Mackintosh, Academy Editions 1977(Jackie Cooper ed.), Mackintosh Architecture, Academy Editions 1984Pamela Robertson, The Mackintosh House, Hunterian Art GalleryTalwin Morris designer The Book of the Home, 6 Volumes, Gresham Publishing Co. 1900and a quantity of pamphlets to include:Mackintosh Watercolours RSA exhibition catalogue 1986; The Private Library: Talwin Morris, Blackie and the Glasgow Style; 78 Derngate Guide Book; C.R. Mackintosh Architectural Drawings, Hunterian exhibition catalogue, 1990; Architectural Jottings, edited by Andrew Young; Charles Rennie Mackintosh Scottish Art Review 1968; The Glasgow Style Glasgow Museums exhibition catalogue 1984; The 1933 memorial Exhibition: A reconstruction, The Fine Art Society catalogue 1983; Charles Rennie Mackintosh at the Hunterian Art Gallery 1991; Glasgow Society of Lady Artists in 1882, exhibition catalogue 1982; Helensburgh and the Glasgow School, exhibition catalogue 1972; Mackintosh Flower Drawings, Hunterian Gallery exhibition catalogue 1993; The Hill HouseSold as seen, not subject to returnProvenance: The Estate of the late Dr James Macaulay
• DOROTHY CARLETON SMYTH
  DOROTHY CARLETON SMYTH (1880-1933) GROUP OF FOUR COSTUME DESIGNS FOR BORIS GODOUNOV, 1912 pen & ink and watercolour, titled TYPES OF POLISH LORDS & LADIES/ BORIS; THE PRETENDER DMITRI/ BORIS; THE NURSE/ BORIS; and THE TSAREWITCH(sic) FEODOR/ BORIS, three signed and dated 1912, one unsigned(4)each approx. 25cm x 22.5cm (frame 39cm x 33.5cm)Note: Dorothy Carleton Smyth attended the Glasgow School of Art from 1895 to 1905 and, while principally excelling in theatre and costume design, was also skilled in the design of stained glass, sculpture, painting and metalwork. She became Principal of Commercial Art at the school in 1914. She was named, in 1933, as Glasgow School of Art's first female director, before her untimely death the same year.
• DOROTHY CARLETON SMYTH
  DOROTHY CARLETON SMYTH (1880-1933) GROUP OF FOUR COSTUME DESIGNS FOR BORIS GODOUNOV, 1912 pen & ink and watercolour, titled TYPE OF BOYARD/ BORIS; PRINCE SHOUISKY/ BORIS; ANDREJ SCHTSHELKALOW (sic)/ BORIS; and THE HOSTESS/ BORIS, each signed and three dated 1912(4)each approx. 25cm x 22.5cm (frame 39cm x 33.5cm)Note: Dorothy Carleton Smyth attended the Glasgow School of Art from 1895 to 1905 and, while principally excelling in theatre and costume design, was also skilled in the design of stained glass, sculpture, painting and metalwork. She became Principal of Commercial Art at the school in 1914. She was named, in 1933, as Glasgow School of Art's first female director, before her untimely death the same year.
• ATTRIBUTED TO ERNEST ARCHIBALD
  ATTRIBUTED TO ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW PAIR OF GLASGOW SCHOOL SIDE CHAIRS, CIRCA 1900 stained beech, with marquetry panels, and later upholstery, 45.5cm wide, 97cm high; together with an OCCASIONAL TABLE, mahogany, with marquetry panels, 28.5cm square, 58.5cm high(3)
• ATTRIBUTED TO TALWIN MORRIS
  ATTRIBUTED TO TALWIN MORRIS (1865-1911) GLASGOW SCHOOL PLANTER, CIRCA 1900 repoussé-decorated brass, 29cm square, 26cm high; together with a GLASGOW SCHOOL PLANTER, in the manner of Margaret Gilmour, repoussé-decorated tin, inset with opposed coloured enamel hearts, 35cm wide, 12.5cm high(2)Note: For panels of a similar design see Lyon & Turnbull, Design since 1860, 20 Apr 2022, lot 322
• ATTRIBUTED TO MARGARET GILMOUR
  ATTRIBUTED TO MARGARET GILMOUR (1860-1942) GLASGOW SCHOOL CANDLE SCONCE, CIRCA 1900 repousse-decorated brass77cm high, 31.5cm wide
• AGNES BANKIER HARVEY (1873-1947)
  AGNES BANKIER HARVEY (1873-1947) GLASGOW SCHOOL WALL SCONCE, CIRCA 1900 repoussé-decorated brass16cm wide, 38cm high, 9cm deep
• SCOTTISH GLASGOW SCHOOL CHARGER,
  SCOTTISH GLASGOW SCHOOL CHARGER, CIRCA 1900 repoussé-decorated brass, set with enamel roundel54cm diameter
• MARGARET GILMOUR (1860-1942)
  MARGARET GILMOUR (1860-1942) GLASGOW SCHOOL JARDINIÈRE, CIRCA 1910 repoussé-decorated brass, signed with monogram MG32cm square, 25cm high
• ALEXANDER PROUDFOOT (1878-1957)
  ALEXANDER PROUDFOOT (1878-1957) BUST OF A MAIDEN, 1927 marble, signed and dated A. PROUDFOOT 192748cm highProvenance: The Glasgow Art ClubNote:Born in Liverpool to Scottish parents, Alexander Proudfoot studied at the Glasgow School of Art under Johan Keller. He was to become head of sculpture at the School from 1912–28 and was a prominent member of the Glasgow Art Club. His work is held at The Scottish National Portrait Gallery, Edinburgh, and Kelvingrove Art Gallery, Glasgow.
• CHARLES RENNIE MACKINTOSH
  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
  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
  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
  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
  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
  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
  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 Paterson PRSW RSA RWS
  James Paterson PRSW RSA RWS (1854-1932)/The Red Barn/sketch of a moorland landscape/signed and dated lower left; inscribed verso/oil on canvas board, 26.75cm x 31.75cm/Note: educated at the Glasgow School of Art in the 1870s, James Paterson became associated with a group of artists who became known as 'The Glasgow Boys', including James Guthrie, John Lavery and William York Macgregor. Sharing a desire to move away from the formality of 19th Century art, they represented the start of modernism in
• GEORGE WALTON, PAIR 'ABINGWOOD'
  GEORGE WALTON, PAIR 'ABINGWOOD' ARMCHAIRS c. 1895, Scotland, mahogany, the triangular back with heart-shaped cutout handle, the wide horseshoe armrests raised on four square legs joined by stretchers, padded striped silk seat, unmarked, an iconic design from the Glasgow School of Arts & Crafts, 33"h x 27"w x 25"d, 20"h (to seat)
• PAIR GLASGOW SCHOOL ART NOUVEAU
  PAIR GLASGOW SCHOOL ART NOUVEAU PATINATED METAL TWO-HANDLE VASES, H: 6 1/2 IN. (16.5 CM.)Pair Glasgow School Art Nouveau Patinated Metal Two-Handle Vases,, Dimensions: H: 6 1/2 in. (16.5 cm.)
• GLASGOW SCHOOL, ARTS AND CRAFTS
  GLASGOW SCHOOL, ARTS AND CRAFTS STYLE HAMMERED COPPER 'POMEGRANATE' FRAME MIRROR FRAME: 22 X 30 1/4 IN. (55.9 X 76.8 CM.)Glasgow School, Arts and Crafts Style Hammered Copper 'Pomegranate' Frame Mirror, Provenance: Christie's Interiors - Style & Spirit (9779), January 30, 2013, Lot: 518 Dimensions: Frame: 22 x 30 1/4 in. (55.9 x 76.8 cm.)