A few examples of appraisal values for
MACKINTOSH

• CHARLES RENNIE MACKINTOSH
  CHARLES RENNIE MACKINTOSH (1868-1928) TEXTILE DESIGN, CIRCA 1920 pencil and watercolour heightened with white, on tracing paper, signed and inscribed C.R. Mackintosh./2 Hans Studio/43 A Glebe Place Chelsea SW3 lower right, on the backing sheet, overmounted17.5cm. x 16cmProvenance: The Fine Art Society, London, 1989Exhibited: The Fine Art Society, London, 1994 Mackintosh and the Glasgow Style, Travelling Exhibition in Japan, September 2000 - February 2001, p. 137, Cat. No. 140.Literature: Billcliffe R. Charles Rennie Mackintosh. Textile Designs, San Francisco 1993, p. 84 ('Ochre, Black and White') and p. 85 ('Cyclamen')Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quarto 2017, pp. 219-225, p. 222, pl. 260Note: In 1916 the Mackintoshes left Walberswick for London where they made their new home in rented lodgings in Chelsea and two adjacent small studios in nearby Glebe Place. The war had ended any idea of Charles setting up an architectural practice either in Glasgow or London, where he lacked the contacts or the money to do so. The series of wildflower studies that Mackintosh produced at Walberswick suggested a new way forward as an artist. In London, he began a series of cut flower watercolours and textile designs. The first of these flower paintings to be exhibited, Anemones, appeared at the ISSPG (The International Society of Sculptors, Painters and Gravers) in May 1916. A piece of fabric made from one of his designs can be seen in the background, suggesting he had begun working for the textile roller printers, William Foxton Ltd and William Sefton & Co. before this date. His early textile designs developed from his later work in Glasgow and from the Viennese designers he had admired before the war. Later, he drew on his intimate knowledge of the natural world, to produce abstracted repeat patterns, as in the current example. A variation of this design also provides the backdrop for Cyclamen, a watercolour of around 1922-23.By 1920 Mackintosh had built an impressive body of work and had become one of the leading textile designers of the period. His diary entry for this year recorded income of £200 from the sale of designs for voiles, chintzes and handkerchiefs. Despite this relative success, fabric designs did not bring him the recognition he needed to attract further work or commissions as his name would not have been associated with the designs at this time. In 1916 Mackintosh did however receive a commission from the engineering and toy model manufacturer W.J Bassett-Lowke for his house at 78 Derngate in Northampton, where he was able to use some of his printed textiles. However, apart from this and a small commission for Miss Cranston in Glasgow no other architectural work was forthcoming and painting remained his alternative career until his death in 1928.
• Charles Rennie Macintosh (Scottish,
  Charles Rennie Macintosh (Scottish, 1868-1928) drafting sketch Black ink and watercolor on linen, design draft block letter titled 'John Cochrane, Esq. The Houshill, Nitshill/ Detail of Table for Card Room', and 'Drawing No.', with hand inscription in blue ink to lower right '4 Blytheswood Sq./Glasgow 1909/ Drawing No. 52', framed. Note: Hous'hill, located in Nitshill was the the home of Catherine Cranston and her husband John Cochrane. Miss Cranston, as she was known, was the owner of a chain of tearooms in Glasgow and a major patron of Macintosh. To much acclaim, he was hired to design interiors for The Willow Tearooms in Sauchiehall Street. In 1904 she commissioned Macintosh to design new furnishing and coordinate redecoration of Hous'hill. Exhibition: 'Charles Rennie Mackintosh', Glasgow Art Gallery and Museum, Nov. 1996 - Oct. 1997. H: 14 3/8, L:16 1/2 in. sight size ,200-1,500 - foxing and staining with some areas of faded ink - rippling to surface with some other creases - frame good condition
• 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.
• 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
• 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.
• SEVEN BOOKS ON CHARLES RENNIE
  SEVEN BOOKS ON CHARLES RENNIE MACKINTOSH Group of seven hardcover and softcover books on Charles Rennie Mackintosh (Scottish 1868-1928,) including Roger Billcliffe, "Charles Rennie Mackintosh: Textile Designs", "Roger Billcliffe, "Mackintosh Watercolours", and Elizabeth Wilhide, "The Mackintosh Style: Design And Decor". Approximate measurements: "Mackintosh Watercolours" h. 12", w. 8. 5", d. 0. 75".
• SCOTTISH, MANNER OF CHARLES
  SCOTTISH, MANNER OF CHARLES RENNIE MACKINTOSH BENCH, CIRCA 1900 stained cypress98.5cm long, 48cm high, 26cm deepProvenance: By repute from Queens Cross Church, Glasgow
• MACKINTOSH, ?, (English, 19/20th
  MACKINTOSH, ?, (English, 19/20th c.): ''Isle of Aran'', OIL/Canvas, 15'' x 19 1/4'', signed, gilded carved frame, 21 1/2'' x 25 1/2''.CONDITION: Evidence of paint flake in left margin from previous repair, needs cleaning, fleck in lower right margin.
• AFTER CHARLES RENNIE MACKINTOSH
  AFTER CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928), GLASGOW INSTITUTE OF THE FINE ARTS, REPRODUCTION PHOTOPRINT POSTER, FRAME: 41 X 18 1/4 IN. (104.1 X 46.4 CM.)After Charles Rennie Mackintosh (Scottish 1868-1928), Glasgow Institute of the Fine Arts, Reproduction Photoprint Poster,, Dimensions: Frame: 41 x 18 1/4 in. (104.1 x 46.4 cm.)
• 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) '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.
• Macnish, R. The Anatomy of
  Macnish, R. The Anatomy of Drunkenness, eighth thousand, Glasgow 1840/Provenance: Spetchley Park
• 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.
• AFTER CHARLES RENNIE MACKINTOSH
  AFTER CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928), FOUR FLORAL COLOR PRINTSAfter Charles Rennie Mackintosh (Scottish 1868-1928), Four Floral Color Prints,,
• IN THE MANNER OF CHARLES RENNIE
  IN THE MANNER OF CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928), ART & CRAFTS ENTRYWAY, WATERCOLOR ON PAPER, UNSIGNED, FRAME: 15 1/2 X 12 1/2 IN. (39.4 X 31.8 CM.)In the Manner of Charles Rennie Mackintosh (Scottish 1868-1928), Art & Crafts Entryway, Watercolor on Paper, Unsigned,, Dimensions: Frame: 15 1/2 x 12 1/2 in. (39.4 x 31.8 cm.)
• 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.
• CHARLES RENNIE MACKINTOSH AND
  CHARLES RENNIE MACKINTOSH AND MARGARET MACDONALD MACKINTOSH INTEREST MEMORIAL EXHIBITION CATALOGUE 1933 McLellan Galleries, Glasgow, 4-27th May 1933, printed by Begg Kennedy & Elder Printers, Glasgow
• CHARLES RENNIE MACKINTOSH AND
  CHARLES RENNIE MACKINTOSH AND MARGARET MACDONALD INTEREST A BOOK OF ELFIN RHYMES BY NORMAN (PSEUD.) with 40 drawings in colour by Carton Moore Park published by Gay and Bird 1900. Inscription in pencil to front endpaper: TO HENRY STEEL DAVIDSON FROM/ MARGARET MACDONALD MACKINTOSH AND/ CHARLES RENNIE MACKINTOSH CHRISTMAS 1900, together with a folded 4-page notepaper headed ‘Windyhill/ Kilmacolm’ containing a handwritten list of “Kitty’s Books” from 1883 to 1928Literature: Davidson, Hamish R. Memories of Charles Rennie Mackintosh,Scottish Art Review, 11, no. 4, 1968, from p. 2.Note: Charles Rennie Mackintosh became acquainted with the Davidson family around 1894/95 and was commissioned in 1900 to design their new home, Windyhill in Kilmacolm. The Davidson’s remained lifelong friends and supporters of Mackintosh and his wife Margaret MacDonald.William and Jean Davidson had three sons, William Cameron (1890–1975); Hamish Reid (1893–1972) and Henry Steel (1896–1915), who was killed in action in France. From 1898 (or earlier) until 1905 (or later) Mackintosh gave Mr and Mrs Davidson and each of their sons, Christmas gifts of books inscribed by Mackintosh until 1899 and, following their marriage, inscribed by Charles and Margaret Mackintosh from 1900.In 1968, looking back more than 60 years, Hamish Reid Davidson refers to some of these books in his Memories of Charles Rennie Mackintosh. Up to 1899, gifts to the boys were from “Uncle Tosh” and from 1900 were inscribed by Charles and Margaret in the form as can be seen in ‘A Book of Elfin Rhymes’. He also says that the joint inscription from 1900 was probably by Margaret rather than Charles as it was less flamboyant than the earlier Uncle Tosh inscriptions.In 1967, Hamish Davidson compiled a list of seven Mackintosh inscribed books then in his possession (but since dispersed), a copy of which is in the Glasgow School of Art collections. This is very incomplete as the books given over the years by the Mackintoshs to the Davidson family must have numbered more than thirty. The list of seven includes only one for 1900 (to Hamish); A Child’s London by Hamish Hendry, published in 1900, with the same illustrator as A Book of Elfin Rhymes, Carton Moore Park; and only one gift to his youngest brother, Henry Steel Davidson for 1902. A Book of Elfin Rhymes is not among the seven on the list, nor are the gifts for 1900 to Mr and Mrs Davidson or William Cameron.Other than the book in this lot, only one other Christmas gift to any member of the Davidson family appears to have survived which has a pasted-in inscription for Christmas 1899 from Mackintosh to Mr and Mrs Davidson. It was donated to the Glasgow School of Art in 2014. With the book in this lot is a folded 4-page notepaper on Windyhill, Kilmacolm letterhead, headed “Kitty’s Books” and with a handwritten list of one book title each year from 1883 to 1928 and concluding with the words “The forty-fifth milestone of our friendship. The End”. How the notepaper and the book are connected is unclear. One possible, but unproven, explanation is that Mrs Davidson kept the Mackintosh-inscribed book after the death in 1915 of her youngest son Henry, and that like the Mackintosh exchange of books, the Davidsons were also in the habit of giving books to friends and the notepaper records one such series of annual gifts.Frederick William Carton Moore Park (1876-1956) was born in Stewarton, Ayrshire. He was a student at the Glasgow School of Art from 1893-97. He exhibited a painting in Vienna at the 1900 Secession Exhibition which also provided Charles and Margaret Mackintosh with their first major European exposure. His early career focused on the illustration of children’s books. In a letter of 24th December 1898 from Mackintosh to the 8 years old Cameron Davidson, he says….”I am sending you this little book of animals which has been illustrated by a young friend of mine in Glasgow…..”. Perhaps this anonymous illustrator is Carton Moore Park and the book An Alphabet of Animals, newly published by Blackie.
• CHARLES RENNIE MACKINTOSH
  CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON’S ARGYLE STREET TEAROOMS CHAIR, 1898 oak, with original drop-in rushed seat48cm wide, 99.5cm high, 43cm deepProvenance: Private Collection, GlasgowLiterature: Billcliffe, R. Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, pp.62 and 63, 1898.45, ‘Chair with curved top rail for the Argyle Street Tea Rooms’ (with later horsehair seat), illustrated.Note: In 1898, early in the career of renowned Scottish architect Charles Rennie Mackintosh (1868-1928), entrepreneur Catherine Cranston - known simply as Miss Cranston - commissioned him to furnish her new rooms at her tearooms on Argyle Street, Glasgow. Miss Cranston was to be an important patron for the young architect, who came to rely on a relatively small number of patrons throughout his career. The commission afforded Mackintosh a new freedom to experiment, whilst leading to further projects, including the Ingram Street Tea Rooms (1900) and the Willow Tea Rooms (1903). The work at Argyle Street followed on from his previous work at Miss Cranston's new Buchanan Street Tea Rooms, which had been conceived two years earlier in 1896, in collaboration with designer George Walton who designed the furnishings. In this new undertaking, however, Mackintosh found himself in a role reversal, being fully in charge of the furnishings whilst Walton was preoccupied with designing the interiors. Walton had just opened his new offices in London and his involvement with new projects in the south probably curtailed his ability to take on the commission of designing all of the furniture for Miss Cranston's new venture. The furniture Mackintosh designed for these new rooms exhibit a new, more robust evolution of his repertoire and established a style for much of his work up to 1900. Combining English Arts & Crafts and Scottish vernacular design, Mackintosh produced furniture in a bold and simple aesthetic which marked him out from his contemporaries. The distinctive furniture he produced was also employed to define and separate the rooms as designed by Walton. Their collaboration suggested that they were ‘moving away from each other’. The rather delicate refinement of Walton’s scheme was not emulated by Mackintosh, and his furniture for the Argyle Street Tea Rooms demonstrates a far more robust manner. All the pieces are made of oak with an emphasis on broad, unmoulded planes, the timber being clear-varnished or, more usually, dark-stained and waxed as in the present example. The use of broad laths to the backs and subtle tapered elements to the top rail and legs enliven the rectangular blocked outline. Used at one end of the Luncheon Room about twenty chairs of the present design appear in contemporary photographs, of which five are known to survive. Mackintosh went on to develop this chair design for a chair at Ingram Street. Related chairs, probably produced as replacements but with design differences including a kidney-shaped handle, were produced later but it is thought not with Mackintosh’s involvement. The Argyle Tea Rooms closed in 1920, and much of the furniture was dispersed.
• WILLOW CHAIR BY MACKINTOSH FOR
  WILLOW CHAIR BY MACKINTOSH FOR CASSINACharles Rennee Mackintosh, Glasgow, U.K. (1868-1928). Tall black glazed oak throne-like chair with semi-circular open work back. Designed by Mackintosh in 1904 for the 'Willow Tea Room' in Glasgow. Seat has hinged door marked on underside and embossed with #3584. Semi-circular cushion on seat. Measures 46.75"H x 37"W x 16.5"D. Seat is 15.5"H x 16"D x 35.5"W.
• 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) '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.
• LOUIS VUITTON RUBBERIZED COTTON
  LOUIS VUITTON RUBBERIZED COTTON MACINTOSHLabel. Khaki pullover Macintosh with side zippers, integral hood, front kangaroo pocket, long sleeve with gathered waist band and cuff. 32 in. center back. Condition Scattered staining, fabric is stiff with overall discoloration. Small tear at proper left shoulder. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
• Robert MacIntosh (British, born
  Robert MacIntosh (British, born 1949) Three Cape Buffalo, signed lower right "Rob MacIntosh ©1989", oil on canvas, 23-5/8 x 36 in.; modern 22 kt. gold leaf and burlwood frame,
• CHARLES RENNIE MACKINTOSH
  CHARLES RENNIE MACKINTOSH (1868-1928) CERTOSA DI PAVIA: A SHEET OF STUDIES OF DETAILS OF AN ENTRANCE GATEWAY pencil, inscribed DETAILS OF ENTRANCE GATEWAY/CERTOSA DI PAVIA with notes31cm × 23.5cmProvenance: The Dr. Thomas Howarth Collection, Christie's, London 17th February 1994, Lot 59Exhibited:Charles Rennie Mackintosh, 1868-1928: A memorial exhibition sponsored by the Art Gallery of Ontario and arranged by Dr. Thomas Howarth, 18 November-31 December 1978, no. 74
• N. McGregor Scottish painting,
  N. McGregor Scottish painting, Highland loch, signed lower left "N. McGregor", oil on canvas, British, late 19th/early 20th century, 16-1/8 x 20 in.; modern gilt wood frame. Patch with related retouch at tear in sky, crackle, cupping, cleavage, flaking, stretcher marks.
• ANN MACBETH (1875-1948) GLASGOW
  ANN MACBETH (1875-1948) GLASGOW SCHOOL COLLAR, CIRCA 1900 padded silk ground, with appliqué of silk, embroidered in silk threads in satin stitch and couching54cm wide, 45cm high, approximate depth 19.5cmExhibited: The Crafts Exhibition, Old Bluecoat School, Liverpool, 1912Literature:The Studio Yearbook, 1908, p. 291, where illustratedNote: An inspiring artist, teacher and women’s rights activist, Ann Macbeth’s embroideries continue to charm and captivate those who set their eyes upon them. Skilfully executed, her work typically features young female figures encased within an array of stylised roundels and openwork banding. However, as a teacher at the School of Art, she continued to uphold Jessie Newbery’s views and encouraged students to explore women’s fashion and artistic dress. This rare surviving example of a collar, very likely worn by her for a portrait taken in 1900, captures the organic essence and vibrancy of the Glasgow style.In an age of rapid change and industrialisation, Glasgow was transforming into a prosperous city; a model of pioneering design and manufacturing, especially within the shipbuilding and textile industries. Whilst the School of Art’s main focus was to foster fresh young designers to strengthen city’s key trades, the director Fra Newbery equally believed in the importance of nurturing individuality amongst his students. A hub of exciting creative experimentation, Ann Macbeth enrolled at the School in 1897 and immersed herself in this stimulating and progressive environment; a space in which women could actively pursue an artistic career and financial independence.By the late nineteenth century, embroidery was enjoying somewhat of a revival, however, the country’s contribution to the medium was largely machine-made. Handcrafted embroideries were limited to Berlin wool work: sold as ready-made printed designs for the consumer to stitch onto with coloured wools. Unimaginative, laborious and completely lacking in originality, embroidery was reduced to a stereotypical domestic craft of no real artistic merit. With Jessie Newbery at the helm of the School’s Embroidery department, she sought to transform such ideas and teach embroidery as a design subject in a variety of forms, including artistic dress.Arguably Jessie Newbery’s most talented student, Ann Macbeth’s striking embroideries were a regular feature in The Studio and the present lot was no exception. Well-received and much admired, it was illustrated in the Magazine’s 1908 edition on page 291. The design of this collar illustrates both Newbery and Macbeth’s interest in producing non-restrictive womenswear of an artistic aesthetic. Far removed from the tight-corseted dresses which shaped bodies into the desired aesthetic under a male gaze, Macbeth advocated designs for free-flowing garments that gave way to a natural waistline. Belts, collars and cuffs were a particular focus for the pair since they offered women several options to accessorise a variety of outfits; a highly economical approach to emerging fashions of the day.As a teacher, taking inspiration from William Morris’ Arts & Crafts ideals, Macbeth encouraged students to be inspired by nature as a source of ideas, a view which is clearly demonstrated in the design of this collar. Filled with friezes of intertwined leaves, petals and stylised rosebuds, Macbeth looks to traditional stitching methods of the past in a bid to achieve an expressive, yet elegant garment; the design of which is entirely original. Whilst Newbery’s earlier pieces take inspiration from the simple and delicate designs of the Renaissance, Macbeth tended to embellish her pieces with elaborate metal clasps and other decorative fastenings. Richly embroidered in brightly coloured threads, her pieces became popular for their practicality as well as their beautiful designs.In 1908, Macbeth succeeded Newbery as Head of the Needlework and Embroidery Department at the School; she also taught bookbinding and ceramic decoration in the years that followed. Both women designers held strong views that art embroidery should be accessible to all classes and often encouraged the use of cheaper materials in their designs, such as hessian and less expensive silk threads. A champion of honest and original designs, executed with a good level of craftsmanship, her students’ work was both stylistically distinctive and of very high quality.It must be said that whilst this design of this collar may appear simple to the eye it is deceptively so, as it demands a remarkable level of skill and creativity from the embroiderer. The arrangement of abstracted plant forms and expressive linear patterns come together in perfect symmetry and sit in harmony with the pastel-coloured silk threads chosen. The complexity of the stitching techniques employed also speak to the unique skills and knowledge of the embroiderer. Each component in the design has been worked with a great deal of silk threads and yet every rose bud and petal appears entirely uniform: the expressive stitching no doubt helps the design achieve a certain feeling of weight and energy which brings the piece to life. A careful balance of practicality and beautiful decoration, this rare collar showcases the enchanting designs of Ann Macbeth which were a significant contribution in the evolution of the iconic Glasgow style.
• Robert Maclagan (1820-1894)/A
  Robert Maclagan (1820-1894)/A Highland Loch Landscape/watercolour, 33cm x 49.5cm
• P.R. McIntosh (American
  P.R. McIntosh (American 1897-1985) mixed media on canvas semi abstract composition with three figures one in fancy dress signed lower center titled ''Tall Hat + Cane'' verso framed ss: 70 3/4'' h. x 51 1/4'' w.
• Paddy MacMiadhachain (b.1929) oil
  Paddy MacMiadhachain (b.1929) oil on board 'Norman Chapel rock and wind tower Purbeck Dorset' signed and dated '84 9 x 9in. Estimate ?350-450 Descriptions provided in both printed and on-line catalogue formats do not include condition reports. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear imperfections or the effects of aging. Interested bidders are strongly encouraged to request a condition report on any lots upon which they intend to bid prior to placing a bid. All transactions are governed by Gorringes Conditions of Sale.Sold for ?480
• MACDUFF EVERTON (b. 1947): TAJ EL
  MACDUFF EVERTON (b. 1947): TAJ EL MOSQUE INDIA C-print 7 3/4 x 19 in. (sight). Provenance: Robert Burge NYC.
• AFTER CHARLES RENNIE MACKINTOSH TWO
  AFTER CHARLES RENNIE MACKINTOSH TWO COPIES OF MEISTER DER INNEN KUNST; HAUS EINES KUNST FREUNDES II facsimile edition, Architectural Heritage Prints, 1990, numbered 300 and 301 of 700 copies in the English Edition(2)54cm x 40cm
• AFTER CHARLES RENNIE MACKINTOSH
  AFTER CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928), THERE IS HOPE, REPRODUCTION ENGRAVING PLATE FRAME: 12 3/4 X 12 3/4 IN. (32.4 X 32.4 CM.)After Charles Rennie Mackintosh (Scottish 1868-1928), There is Hope, Reproduction Engraving Plate, Dimensions: Frame: 12 3/4 x 12 3/4 in. (32.4 x 32.4 cm.)
• MARGARET MACDONALD, FRANCES
  MARGARET MACDONALD, FRANCES MACDONALD, J. HERBERT MCNAIR GLASGOW INSTITUTE OF THE FINE ARTS, 1897 stone lithograph, printed by Imprimerie Chaix and published by G. Boudet for the French periodical Les Affiches Étrangères, France 189729cm x 12cmNote: Examples of the original poster of circa 1895-1896 printed by Carter and Pratt, Glasgow can be seen at the Hunterian Art Gallery, Glasgow and the Kelvingrove Art Gallery & Museum, Glasgow
• CHARLES RENNIE MACKINTOSH
  CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTON'S INGRAM STREET TEAROOMS WRITING TABLE, 1909 oak91cm diameter, 70cm highProvenance: Messrs Coopers Tearooms (Ingram Street Tearooms), Glasgow, from whom purchased by the present owner, circa 1960.Literature: Billcliffe, R., Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings & Interior Designs, Cameron & Hollis 2009, p. 249-251, illus. 1909.16 and 16ANote: This table formed the base of a writing table made by Frances Smith for the Ladies' Rest Room at Miss Cranston's Ingram Street Tearoom in 1909. The Rest Room formed one of two new adjacent rooms created by Mackintosh for the Ingram Street Tea Rooms: The Oval Room and the Ladies Rest Room. This latter room was dark stained and panelled with recesses for couches and other furniture. The fireplace was surrounded by gold mosaic tiles and open columns supported the mezzanine of the Oval Room above. The desk originally had a superstructure with dividers which allowed for four people to sit at the desk at any time and may in any case have been removable. Although the original layout of the room is not known, it may be that the circular writing desk offered here sat in the bow window next to the fireplace at one end of the room.
• David M. MacKenzie painting
  David M. MacKenzie painting (David Maitland MacKenzie, Scottish, 1800-1880), Highland loch with fisherman, signed lower left "D. MacKenzie", oil on canvas, unframed, 9-7/8 x 13-7/8 in. Lined, taped edges, crackle, flaking, grime, retouch in sky and at edges. Private Collection, Knoxville, Tennessee.