A few examples of appraisal values for
WARREN MACKENZIE

• Warren MacKenzie (1924 USA) Shino
  Warren MacKenzie (1924 USA) Shino Faceted Vase2002Stoneware;?ht. 15 dia. 8.5 in.MacKenzie is the first American apprentice of the father of studio pottery Bernard Leach. Warren and his wife Alix worked with Leach in England from 1949 to 1952.?? Upon their return they became champions of the Leach style. Since 1952 MacKenzie has taught at the University of Minnesota where he is a Regents' Professor Emeritus. His students have included Randy Johnston Mike Norman Jeff Oestreich Wayne Branum Mark Pharis ?Barbara Diduk Paul Dresang Shirley Johnson Michael and Sandy Simon. More works by this masterful potter can be found in the second session of the auction. Private Collection. Acquired directly from the Artist.
• Warren MacKenzie (1924-2018)
  Warren MacKenzie (1924-2018) Vase, c. 1991 glazed stoneware signed with two impressed chop marks H 14 x W 6 x D 6 inches Property from the Collection of George Irwin, Quincy, Illinois, Sold to Benefit Krannert Art Museum
• Warren MacKenzie (1924 USA) Pair of
  Warren MacKenzie (1924 USA) Pair of Lidded Boxes1981Stoneware; largest ht. 5 dia. 4 in.Shown: Warren?MacKenzie Jane?Hartsook?Gallery Greenwich House Pottery NY 1981.? Daniel Jacobs and Derek Mason Collection
• Warren MacKenzie (1924 USA) Pair of
  Warren MacKenzie (1924 USA) Pair of Tea Bowls2002Stoneware each ht. 3.5 in. Private Collection. Acquired from Peck Gallery Providence RI 2002.
• Warren MacKenzie (1924 USA) Pair of
  Warren MacKenzie (1924 USA) Pair of Matching Tea Bowls2002Stoneware; ht. 3.5 dia. 3.5 in. Private Collection. Acquired from Peck Gallery Providence RI 2002.
• Warren MacKenzie (1924 USA) Set
  Warren MacKenzie (1924 USA) Set of Four Matching Bowlsca 1983Stoneware; each ht. 2.25 dia. 6 in.Shown: Warren?MacKenzie Jane?Hartsook?Gallery Greenwich House Pottery NY 1981.? Daniel Jacobs and Derek Mason Collection
• Warren McKenzie (American b.
  Warren McKenzie (American b. 1924) Glazed stoneware lidded box in a five-sided organic form glased in earth tones of yellow ochre and sand colors with the artist's mark impressed at the bottom edge apprx. 6-1/4"W x 4-1/4"H.
• Warren Bryan Mack (American
  Warren Bryan Mack (American 1896-1952) ''Queen Anne's Lace '' wood engraving showing a field of lacy flowers signed ''Warren Mack'' in pencil LR matted and framed under glass not examined out of frame partial artist biography and printed description verso ss: 10 1/2'' w. x 7 5/8'' l.
• Warren MacKenzie (1924 USA) Incised
  Warren MacKenzie (1924 USA) Incised Footed Bowl?ca 1983Stoneware; ht. 3.75 dia. 5.75 in.Shown: Warren MacKenzie Jane Hartsook Gallery Greenwich House Pottery NY 1981.? Daniel Jacobs and Derek Mason Collection
• MASSIVE WARREN MACKENZIE CHARGER
  MASSIVE WARREN MACKENZIE CHARGER - DOUBLE STAMPEDWarren MacKenzie (American, 1924-2018). Massive studio pottery ceramic charger. Glazed stoneware. Marked with two of MacKenzie's stamps along the foot rim. Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota. Height: 3 1/2 in x diameter: 18 1/2 in. Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• WARREN MACKENZIE WHITE/CLOWN WALLED
  WARREN MACKENZIE WHITE/CLOWN WALLED BOWLWarren MacKenzie (American, 1924-2018). Studio ceramic pottery bowl. Stoneware with a white glaze and brown spots. The artist's original price tag is adhered along the interior of the bowl. Warren MacKenzie was a renowned Minnesota studio potter. A student of Bernard Leach and Shoji Hamada, he is credited with bringing the functional Mingei tradition to the United States, and spreading it through his own art and mentorship of students during his long tenure at the University of Minnesota. Height: 4 1/4 in x diameter: 10 1/4 in. Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.
• Warren MacKenzie (1924 USA) Pair of
  Warren MacKenzie (1924 USA) Pair of Tea Bowls?1981Stoneware; ht.?3.5 wd. 3.75 and ht. 3.5 wd. 3.5 in.?Shown: Warren?MacKenzie Jane?Hartsook?Gallery Greenwich House Pottery NY 1981.? Daniel Jacobs and Derek Mason Collection
• Warren MacKenzie (1924 USA)
  Warren MacKenzie (1924 USA) Teapot with Bamboo Handle?1981Stoneware ht. 4.75 wd. 8 dp. ht. with handle 8.75 in.Shown: Warren?MacKenzie Jane?Hartsook?Gallery Greenwich House Pottery NY 1981.? Daniel Jacobs and Derek Mason Collection
• Warren MacKenzie (1924 USA) Four
  Warren MacKenzie (1924 USA) Four Tea Bowls 1981Stoneware; largest ht. 3.75 dia. 3.75 in.Shown: Warren?MacKenzie Jane?Hartsook?Gallery Greenwich House Pottery NY 1981.? Daniel Jacobs and Derek Mason Collection
• Herbert Wood
  Herbert Wood MackinneyLandscapesigned and dated lower right H W Mackinney 1915watercolour 33cm x 37cm (13" x 14.5")
• 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.
• TWO WATERCOLORS ON PAPER: J.
  TWO WATERCOLORS ON PAPER: J. HAMILTON MACKENZIETWO WATERCOLORS ON PAPER: J. Hamilton MacKenzie (Scotland, 1875-1926) Dutch landscape with children, goats, and a windmill, signed lower right, image measures 10.5" x 8.5"; Margaret Wilson (Scotland, 1864-1912) landscape with figures and a large building in the background, signed lower right, image measures 10.5" x 8.5". In matching wood frames; 20" x 17.5" overall.
• Malcolm James MacKenzie (Canadian
  Malcolm James MacKenzie (Canadian 1932-2002) T.R.C.R. EQUESTRIAN GROUP 1998 modelled to commemorate the 75th anniversary of the Trail Riders of the Canadian Rockies base numbered 13/49 signed and titled in the mould on mahogany base with further title plaque 100" (height) 254cm (height)
• GROUP OF WARREN MACKENZIE STONEWARE
  GROUP OF WARREN MACKENZIE STONEWARE YUNOMI (TEACUPS)GROUP OF WARREN MACKENZIE STONEWARE YUNOMI (TEACUPS), three Warren MacKenzie (1924-2018) studio stoneware yunomi, modern, all impressed WM (3) Provenance: Collection of Nancy and Andrew Ramage
• SYDNEY MORTIMER LAURENCE
  SYDNEY MORTIMER LAURENCE (1865-1940), "MOUNT MCKINLEY," OIL ON CANVAS, 20" H X 16" WSydney Mortimer Laurence, (1865-1940) "Mount McKinley", Oil on canvas Signed lower right: Sydney Laurence; titled on a gallery label affixed to the frame's backboard Oil on canvas Dimensions: 20" H x 16" W Provenance: J. N. Bartfield Galleries, New York, NY
• Attributed to David Maitland
  Attributed to David Maitland Mackenzie (Active c.1820-c.1840) Scottish GRAVES OF COVENANTERS EDINBURGH SCOTLAND Oil on canvas; possibly signed with initials to the side of the tomb stone given to D.W. Mackenzie or Andrew Mackenzie and titled and further inscribed: ?Chapman??Ts 2 May 1884-50? to an old handwritten label to the stretcher 28" (height) 71.1cm (height) 36" (width) 91.4cm (width)
• James Hamilton Mackenzie
  James Hamilton Mackenzie (1875-1926) three pastels French gateway Italian ruins and Hilltop chateau one signed and dated 1906 Unframed;11 x 16in. Estimate ?200-300 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 ?180
• 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.
• Murray MacDonald (Scottish, fl.
  Murray MacDonald (Scottish, fl. 1889-1910) "Near Loch Ard, Looking West, Perthshire". Oil on canvas, signed and dated 1901 at the lower left corner, titled and signed verso, approx. 12-1/2" x 15-1/2", framed in a decorative gilt frame overall approx. 18-3/4" x 25".
• James Hamilton Mackenzie
  James Hamilton Mackenzie (1875-1926) four oils on canvasboard Normandy gateway French Town still life of a candlestick and a ploughing scene Unframed; largest 12 x 16in. Estimate ?300-500 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 ?280
• MACKENZIE, ALEXANDER VOYAGES FROM
  MACKENZIE, ALEXANDER VOYAGES FROM MONTREAL, ON THE RIVER ST. LAURENCE through the Continent of North America. London: T. Cadell, 1801. First edition, 4to, frontispiece portrait, 3 folding maps, contemporary calf, frontispiece offset onto title, errata leaf at end, bookplate of James Graham, rubbed, short split at head of joints, scuffs, and scratches to lower board
• American School miniature portrait,
  American School miniature portrait, gentleman with white tie and black jacket, verso with hair window and typewritten note attributing sitter as "John MacNider, born in Kilmarnoch Scotland, May 24th 1723 wounded at Culloden April 16th 1746, one of Neal MacNeal's colonists. Gross Creek, North Carolina, 1749-married (unknown) Feb. 24 1759-death unknown-buried Durant's Neck Perquimans County, North Carolina", unsigned, 19th century, 2-1/2 x 2-1/8 in.; gold-plated locket style frame; accompanied by a print of a portrait of William Hawkins, North Carolina Governor. Slight water damage at top, mildew under glass; frame with wear to plating. Property of a Descendant of Peter Mallett
• William Lockhart (Scottish
  William Lockhart (Scottish 1846-1900) Lockenziemixed media on paper signed and inscribed at lower left ''Lockenzie Harbour / W. E. Lockhart RSA / 188(5?) '' unframed.William Ewart Lockhart was elected a full member of the Royal Scottish Academy in 1878. He was a popular artist and was commissioned by Queen Victoria to paint ''The Jubilee Celebration in Westminster Abbey June 21 1887 '' which is housed in the Royal Collection.Paper 15.5 x 22 in.Glue remnants to edge of paper; some foxing and toning.
• WALTER MAXWELL MACEWEN (1860 -
  WALTER MAXWELL MACEWEN (1860 - 1943)Walter Maxwell MacEwen (1860 - 1943), oil on canvas, "Dressing", signed 'Mac Ewen' lower left, 24 1/2" x 19". Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
• ROBERT TAIT MCKENZIE (canadian
  ROBERT TAIT MCKENZIE (canadian 1867-1938) "BLIGHTY" - MAQUETTE FOR CANADIAN WAR MEMORIAL Inscribed and dated '© R Tait McKenzie 1916' on side of base, inscribed 'ROMAN BRONZE WORKS NY' on rear of base, bronze with brown patina 15 5/8 in. (39.7cm) (height) The sculpture is affixed to a white painted plinth 45 1/4 in. (114.9cm) provenance: From the collection of Philip Rieff and Alison Douglas Knox, Philadelphia, Pennsylvania. ,000-
• William Erno Mackey, American, b
  William Erno Mackey, American, b 1919, ink and charcoal, "Clothes Line Show, Rittenhouse Square", 11" x 14", unframed Estimate $100-200
• Duncan McNair, British, 20th c,
  Duncan McNair, British, 20th c, o/c, Scottish Highland landscape, 20" x 30", no damage Estimate $200-400
• 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.
• James Hamilton Mackenzie
  James Hamilton Mackenzie (1875-1926) four oil sketches on board Views of Rome and Dutch canal scene one signed Unframed; largest 10 x 7in. Estimate ?300-500 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 ?280
• Robert Walker Macbeth (British
  Robert Walker Macbeth (British 1848-1910) TEDDINGTON LOCK watercolor framed signed & dated: lower right with initials RM 99 sight size: H14'' W20'' Provenance: Pennsylvania private collection.
• 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.