scottish design sale catalogue lyon & turnbull

Scottish Design from 1860 Wednesday 15th June 201133 Broughton PlaceEdinburgh

EDINBURGH

Catalogue: £10

BUYERS’ PREMIUM25% up to £25,00020% thereafter.VAT will be charged on the premiumat the rate imposed by law.*20% VAT chargeable on the lot itself†5% import VAT on the lot§Droit de Suite (artists’ resale rights)applies (see our Terms and Conditionsof Sale and Information for Buyers).

Scottish Design from 1860

Wednesday 15th June 201111am

Sale Number LT322

ViewingSunday 12th June 2011 12 noon - 4pmMonday 13th June 2011 10am - 5pmTuesday 14th June 2011 10am - 5pmMorning of Sale from 9am

SpecialistJohn [email protected]+44 (0)131 557 8844

Silver From GlasgowA SELLING EXHIBITION

Sunday 12th June 2011 12 noon - 4pmMonday 13th June 2011 10am - 5pmTuesday 14th June 2011 10am - 5pmWednesday 15th June 2011 10am - 3pm

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

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Welcome to the first of what we hope will be anannual sale of Scottish Design from 1860. Fromthe Aesthetic and Arts & Crafts Movements,through Art Nouveau and the Glasgow Styleand Celtic Revivalism to the present, Scotlandhas a rich heritage of excellence in craft anddesign. In international terms this heritagearguably reached its zenith at the turn of the19th century when Charles Rennie Mackintoshand his circle became the foremost exponentsof Art Nouveau in Britain, going on to influencethe course of design history internationally. It isalso remarkable however to reflect on the othergreat names produced by this small country.Gothic giants like Bruce James Talbert; theAesthetic designers Daniel Cottier andChristopher Dresser; the Glasgow 'Four' anddesigners George Walton and Jessie M. King;and Edinburgh architect and designer SirRobert Lorimer are just a handful of the manyScottish designers who went on to achieveworldwide recognition.

This rich heritage of excellence in craft anddesign continues today and to celebrate thatcontinuum we are hosting a selling exhibition tocoincide with sale; Silver from Glasgow whichyou can view towards the end of this catalogue.The selling exhibition is curated by AmandaGame and includes work in silver of the higheststandard from designers and makersassociated with the Glasgow School of Art.

1 FA275/5BRUCE JAMES TALBERT(1838-1881)WALNUT AND BURRWALNUT CORNER CABINET,CIRCA 1870with ebonised and specimenwood banding and with giltincised decoration, the uppersection with turned spindlegallery above twin doors, eachwith inset panels carved withsunflowers and enclosing anadjustable shelf, the backwith mirrored panels overbase with two bowed shelves,the whole supported onturned and blocked legs

95cm wide, 189cm high, 58cm deep

Note:Born in Dundee in 1838 Talberttrained initially as a carver and lateras an architect however he becamebest known as a decorator andfurniture designer. He ran a prolificdesign studio employing numerouspupils and buying in work fromfreelance designers. His textiledesigns were produced by Warner’s,Templeton’s, Cowlishaw, Nichol &Co. and Barbour & Miller, carpets byTempleton’s and Brinton & Co.,furniture by Cox & Co., andmetalworks for Coalbrookdale. Hepublished ‘Gothic Forms’ in 1867and ‘Examples of Ancient & ModernFurniture, Metal Work, Tapestries,Decorations & c.’, in 1876. Togetherwith the posthumously published‘Fashionable Furniture’ of 1881,these books reflect the changingfashions of the late 19th century.

£3,000-5,000





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2 EZ836/8DANIEL COTTIER (1838-1891)(MANNER OF)AESTHETIC MOVEMENTPAINTED AND STAINEDGLASS ROUNDEL,1870depicting the head of a man

23cm diameter

£300-500

3 FA275/13JOHN MOYR SMITH (1839-1912) FOR MINTONCHINA WORKSGROUP OF FIVE ‘ANACREON’ PLATES,CIRCA 1877-8‘The Governor’; ‘The Dessert’; ‘The Cup ofHealth’; ‘The Grace’, and ‘The Master of theRevels’, each with impressed and paintedfactory marks (5)

25.5cm across

Literature:Stapleton, Annamarie, ‘John Moyr Smith: A VictorianDesigner’, Richard Dennis 2002, page 56Dictionary of Scottish Architects, 2008

Note:John Moyr Smith was born in Glasgow as John Smith on12 March 1839. He was articled to James Salmonc.1855-59, and attended Glasgow School of Art fromNovember 1857. At this time Moyr Smith became amember of Alexander Thomson’s circle, which includedLeiper, Bruce Talbert, and Daniel Cottier, and begandeveloping an interest in painting and the decorativearts.In 1866 he moved to London as assistant to GeorgeGilbert Scott and from there produced designs forChristopher Dresser, Bruce Talbert and others. Fromabout 1870 he had an extensive commercial practice ofhis own, and as well as producing designs for majormanufacturers like Mintons, also produced decorativeinterior schemes for clients both in the UK and USA.

£400-600



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4 FA276/2ALEXANDER BALLANTINE(1841-1906) FORBALLANTINE ANDGARDINER, EDINBURGHPRELIMINARY DESIGN FORTHE WAUCHOPE WINDOW,ST. GILES CATHEDRAL,EDINBURGH, CIRCA 19ink and watercolour

116cm x 62cm

Note:The memorial window to Major-General Andrew Gilbert WauchopeCB, CMG., LL.D, who died in SouthAfrica in 1899, is by Ballantine andGardiner and depicts the Biblicalstories of King David, and David andJonathan. It is believed the presentlot is preliminary study for thewindow. The tracery design isidentical, insignia of the Order of theBath and the Order of St Michael arematching, the pose of the figures ofDavid and Jonathan are also similar

5 FA565/4JOHN MOYR SMITH (1839-1912) FOR MINTONS LTDGROUP OF SEVEN ‘AESOP’SFABLES’ SERIES TILES,CIRCA 1878printed brown on creamglaze, 15.5cm square; and aGROUP OF FIVE MINTONSTILES, each printed blue onwhite (12)

£200-300

7 FA250/3CHRISTOPHER DRESSER(1834-1904) FOR AULTPOTTERYPAIR OF EARTHENWAREVASES, CIRCA 1895each of squat baluster form,painted with flying birds andbutterflies, impressedfacsimile signature marks tobase (2)

17cm high

£200-300

earthenware part tea service,glazed in cream and paintedwith geometric designs inblue, comprising six cups andseven saucers and eightvarious side plates(damages), all with paintedmonograms (23)

Note:Mary Newbery Sturrock was thedaughter of Francis (Fra) Newbery,who was director of the GlasgowSchool of Art from 1885 to 1917.

£200-300

6 EAC294/2MARY NEWBERY STURROCK(1890-1985)COLLECTION OF CERAMICS,CIRCA 1920to include earthenwareserving bowl with singlehandle, cream glazed andpainted with flowers, 26cmlong; together with aterracotta planter glazed tothe upper half in light greenand with applied flowerheadand roundels, 15.5cm high; an

and a number of the angels arematching. James Ballantine and Sonwere Edinburgh-basedmanufacturers founded by JamesBallantine (1808-1877) and GeorgeAllan as Ballantine & Allan. Theybegan making stained glass in the1830s. In 1843 they won acompetition to design windows forthe new Houses of Parliament,although in the event they onlyprovided some windows for theHouse of Lords. James Ballantinewas the author of a series of bookson the history and techniques ofstained glass manufacture, notably‘A Treatise on Painted Glass’. (1845).His son Alexander Ballantine joinedthe firm, which was then known asBallantine and Son from about 1860until 1892, and then Ballantine andGardiner until 1905, when HerbertGardiner joined as a partner. From1905 Alexander Ballantine wasjoined by his son James Ballantine II(1878-1940), by then the firm wasknown as A. Ballantine & Son.

£1,000-1,500



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8 FA878/7CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATHELECTROPLATED PORT CRADLE,CIRCA 1890silver plate with ebonised handle

16cm long

Note:For a similar example see Gorringes,Lewes, May 11th, 2001, lot 1104.

£200-300

11 YE2011/16CHRISTOPHER DRESSER(1834-1904) FOR HUKIN &HEATHELECTROPLATED DECANTERJUG, CIRCA 1880with square ebony handle andelectroplated mounts, thefacetted body with raised on astar cut foot, stamped marksand registration mark

22cm high

Literature:Whiteway, Michael, ‘ChristopherDresser: 1834-1904’, Milan, 2001, p.99

£300-500

10 FA878/6CHRISTOPHER DRESSER(1834-1904) FOR HUKIN ANDHEATHELECTROPLATED CRUETWITH TWO BOTTLES, 1878silver plate and glass,stamped ‘Designed by Dr CDresser’, stamped marks ‘H& H 1953’, with registrationmark for 1878 (stopperslacking)

20cm high

£400-600

9 YE2011/17CHRISTOPHER DRESSER(1834-1904) FOR HUKIN &HEATHELECTROPLATED SERVINGDISH, CIRCA 1880with loop handle raised ontapered feet, stamped marks‘H&H/ 2523’

27cm across

£200-300

9A FA893/1CHRISTOPHER DRESSER(1834-1904) FORELKINGTONSFOUR PIECEELECTROPLATED TEASERVICE, CIRCA 1865silver plate, comprising a teapot, hot water jug, sucrier andcream jug, stamped marks‘Elkington & Co. 18730’ and‘16578’ (4)

teapot 21.5cm high

Note:This tea service was designed byDresser for Elkingtons around 1865.A hot water jug from this set sold aslot 44 in the auction ‘ChristopherDresser Metalwork: The AndrewMcIntosh Patrick Collection’,Tuesday 19th April, 2005.

£200-300

8ACHRISTOPHER DRESSER(1834-1904) FOR HUKIN &HEATHELECTROPLATED SEVEN-BAR TOAST OR LETTERRACK, CIRCA 1880stamped marks 'H&H/ 2556'

12.5cm high

£800-1,200

8

Peter Wylie Davidson (1870-1963) was an extremely influentialand talented artist craftsman working in Glasgow during thatturn of the century period when the ‘Glasgow Style’ wasreceiving international acclaim. Aside from his own work, heboth taught and collaborated with many of the other wellknown exponents of the style during his time as metalworkinstructor at Glasgow School of Art, from the late 1890s untilhe retired in 1935.

Born in Bridge of Allan, Davidson began a seven yearapprenticeship with silversmiths James Reid & Company inGlasgow at the age of eleven. In 1884, he was enrolled forevening classes at Glasgow School of Art alongside a sixteenyear old Charles Rennie Mackintosh, with whom he would latercollaborate.

In the 1890s, Davidson set up a studio workshop with hisyounger brother William at 93 Hope Street, where he felt hewas “discarding the apron of the workshop and donning theartist’s smock”. The brothers began to produce applied artwares, from jewellery to tea sets and mirrors. An exhibitionheld within their first year was a great success.

In 1892 the technical studios were opened at Glasgow School ofArt and Fra Newbery, the director at the school from1885to1918 persuaded Davidson to become an assistant instructorin the metalwork classes, initially for only one day a week. By1899 however he had become the full time metalwork craftinstructor.

Davidson’s work won silver medal at the Aberdeen Exhibition ofIndustry and Art in 1899. As a member of the Scottish Guild ofHandicraft, he had pieces in their first show in 1902. In thatyear he also exhibited at the Turin and Cork InternationalExhibitions.

By now Davidson was also executing various pieces to thedesigns of his compatriots, notably Charles Rennie Mackintosh,Jessie Marion King and the Newberys. For Mackintosh hecreated the candlesticks for Miss Cranton’s home Hous’hill andwith his brother The Fleming Casket (now in the V&A), bothcirca 1909.

He wrote three books the first of which, Educational Metalcraft(1913), became the standard text for the metalwork, jewelleryand enamelling course at Glasgow School of Art and remainedso even after he retired in 1935.

After leaving the art school, he continued to make objects invarious crafts, becoming more interested in wood carving inparticular as he got older and he continued to exhibit right upuntil his last years.

The following collection of items is being offered by theDavidson family.

12 FA399/3ANCELL STRONACH (1901-1981)PORTRAIT OF PETER WYLIE DAVIDSONoil on canvas, signed and dated 1934

90cm x 79cm

Provenance:Peter Wylie Davidson and by descent

Note:This portrait was presented to Peter Wylie Davidson by Glasgow School of Arton his retiral in 1935. The painter, Ancell Stronach, was an RSA andProfessor of Mural Painting at the Glasgow School of Art until 1939.

£800-1,200

Peter Wylie Davidson

Peter Wylie Davidson (seated with his wife, Christina) being presented withthe portrait on his retirement from Glasgow School of Art in 1935. Margaretde Courcy Lewthwaite Dewar stands behind PWD.



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13 FA399/1PETER WYLIE DAVIDSON(1870-1963)‘SWALLOWS’ LONGCASECLOCK, CIRCA 1902with circular brass dial, therepoussé decorationcomposed of stylised Romannumerals enclosed by a friezeof stylised swallows, thehands decorated with concavediscs, above a pendulum,worked in brass wire andrepoussé panel and depictinga swallow flying throughclouds, the whole supportedon an ebonised stand piercedwith circular aperturesenclosing turquoise beadspacers

119.5cm high, dial,

38.5cm diameter, 43cm square at

base


Note:This clock is one of Peter WylieDavidson’s masterworks andpossibly a collaboration with CharlesRennie Mackintosh; by family reputethe frame was designed byMackintosh and clock’s dial byDavidson. The use of the swallow’sflight motif around the clock face isa distinctive Davidson element seenon his best pieces, as well as aclassic ‘Glasgow Style’ motif. Thependulum depicting a swallow’sflight through wirework clouds is ofthe same design as a well knownset of brooches created by Davidsonfor the women in his family, of whichfive are thought to have been made.One example is dated 1902 and thismay help us attribute this clock to asimilar date. The motif can also beseen in the only jewellery designattributed to Mackintosh, but it isdifficult to say with certainty whoinfluenced who in this case. Itperhaps hints at a synthesis of ideasand further strengthens thepossibility of this being acollaborative project.

£8,000-12,000



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14 FA399/5PETER WYLIE DAVIDSON(1870-1963)BRASS WALL MIRROR,CIRCA 1900the rectangular framerepoussé decorate andpierced with opposingpeacocks and furtherdecorated with inset abaloneshell, enclosing a circularmirrored plate, stampedsignature ‘P. Wylie Davidson’


Literature:Peter Wylie Davidson, ‘EducationalMetalcraft’, 1913, pages 6-7

Note:The pierced technique used in thedecoration of this fine mirror isknown as ‘stitching’.

£1,200-1,800

15 FA399/6PETER WYLIE DAVIDSON(1870-1963)‘SWALLOW’ CHINA CUP,CIRCA 1900painted with a stylisedswallow and tree motif,signed to base ‘P. WylieDavidson’, 9.5cm diameter;SCOTTISH SCHOOL: APAINTED CHINA JAM POT,COVER AND STAND, DATED1930, with allover paintedfloral motifs, initialled ‘C.N.1930’, Total height: 9cm (2)


£100-200

16 FA399/8PETER WYLIE DAVIDSON(1870-1963)‘CADDER CHURCH’watercolour, signed ‘P. WylieDavidson D.A.’, 24.5cm x35cm; PETER WYLIEDAVIDSON (1870-1963), ‘THECUILLINS’, watercolour,signed ‘P. Wylie Davidson’,26.5cm x 35cm; PETERWYLIE DAVIDSON (1870-1963)‘LOCHSIDE’, watercolour,signed ‘P. Wylie Davidson’,22cm x 30cm (3)


£100-200



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17 FA399/11PETER WYLIE DAVIDSON (1870-1963)‘MURIEL’, CIRCA 1920repoussé decorated white metal panel,mounted on board, bears inscription ‘Muriel’,signed with initials ‘P.W.D.’

20.5cm x 12.5cm


Note:This plaque was probably created when Davidson’sdaughter Muriel was a matron at Yorkhill Hospital,Glasgow, in the 1920s

£300-500

19 FA399/7PETER WYLIE DAVIDSON (1870-1963)‘CACTUS’carved wooden sculpture, signed to base‘P. Wylie Davidson/ Ruskin Square/Bishopbriggs’

45cm high


£150-250

18 FA399/9PETER WYLIE DAVIDSON (1870-1963)COPPER KETTLE & COVER, CIRCA 1900of domed form with applied strap handle, thecover with pierced finial

19.5cm high


£150-250

20 FA399/2MARION HENDERSON WILSON (1869-1956)BRASS WALL SCONCE, CIRCA 1910with twin candle arms with circular nozzles anddrip trays, the back plate repoussé decoratedwith the heads of two children within entwinedstylised foliage, bears initials ‘MHW’

69.5cm high, 33.5cm wide


Note:Marion Henderson Wilson, studied at Glasgow School of Artfrom 1884 to 1896 and excelled in the production ofstrikingly crafted metalwork such as this wall sconce.

£1,200-1,800

23 FA399/15MARGARET DE COURCEYLEWTHWAITE DEWAR(1878-1959)EBONISED BOX AND COVER,DATED 1923of cylindrical form decoratedwith line and dot motifs withzig-zag border in gold andbronze paints, signed anddated to base ‘DeC L. Dewar/1923’

11cm high



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22 FA399/4PETER WYLIE DAVIDSON(1870-1963)‘AULD HAWKIE’carved oak figure, signed onthe base ‘P. Wylie DavidsonAge 91’ and to base inscribed‘P. Wylie Davidson Aged 91years’

42cm high


£200-300

21 FA399/10PETER WYLIE DAVIDSON(1870-1963) INTERESTCOLLECTION OF REFERENCEBOOKSmainly relating to metalworking, leather working,enamelling, many inscribed‘P. Wylie Davidson’; alsosundry RGI catalogues, abook prize presented to ‘PeterDavidson’ in 1887 fromGlasgow Townhead School ArtClass, A History of theGlasgow Society of LadyArtists, with inscription fromde Courcey LewthwaiteDewar, and a note bookcontaining PWD’s writings onwatercoulour (approx 30)


£200-300


Note:Margaret de Courcey LewthwaiteDewar had been taught by Davidsonand then taught alongside him atGlasgow School of Art when shewas the instructor in enamellingfrom 1902 to 1928. The pair werelifelong friends who collaborated ona number of works.

£150-250



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24 FA7/1CHARLES RENNIE MACKINTOSH(1868-1928) FOR GUTHRIE &WELLS, GLASGOWOAK PRESS CUPBOARD, CIRCA1894the moulded and projectingcornice above twin doors withfielded panels and with applieddecorative strap hinges, laterhandle (incomplete), over centraldrawer flanked by two shortdrawers, each with patinated steeldrop handles, raised on shortsquare legs

146.5cm wide, 185cm high, 43cm deep

Literature:Billcliffe, Roger ‘Charles RennieMackintosh: The Complete Furniture,Furniture Drawings and Interior Designs’,Moffatt 2009, p. 30, ill. 1894.3

Note:Billcliffe notes a similar example incypress in his catalogue raisonné; left byWilliam Davidson at his death but possiblypreviously owned by Mackintosh alongwith other furniture from his house at 78Southpark Avenue. This example is nowthought to be untraced (see illustration).The current lot is almost identical in formwith strapwork hinges and other fittingsand is the only other known example. Thedoor handle has been replaced,presumably in the 1920s

£3,000-4,000



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25 FA978/1OSCAR PATERSON(1836-1934)STAINED, PAINTED ANDLEADED GLASS PANELS, CIRCA1900originally composed for fourpanels, the design depicting aprocession, with a bull decoratedwith floral garlands, led by twogirls playing cymbals, set in anidyllic landscape

each panel, 77.5cm wide,

upper panels, 94cm high,

lower panels, 196cm high

Literature:Donnelly, Michael ‘Scotland’s StainedGlass’, Edinburgh 1997, pages 68-71

Note:Oscar Patterson was born in Glasgowin1863. He was a fully trainedglassmaker and a tutor in glasstechnology at Gresham College in the1880s. Patterson was a practitioner ofmany pioneering stained glasstechniques and experimented withetching glass with hydrofluoric acid.In 1889 he opened his first studio whichbecame internationally famous for itsdistinctive domestic glass in the 1890sand this magnificent panel is a primeexample of his work at this time.Patterson’s studio produced a largeamount of glass for the Pacific andOrient Shipping Company and theCunard Line. During the 1920s thestudio was kept afloat by a commissionto produce a complete scheme ofstained glass for St Magnus Cathedral.The studio closed in 1931.

£3,000-5,000

26 FA716/4GLASGOW STYLEPAINTED GLASS PANEL, CIRCA1900in the manner of W. J. Neatby,the oval framed panel depictinga village scene with a femalefigure and geese in theforeground

38.5cm x 54cm

£150-200



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27 FA593/1CHARLES RENNIEMACKINTOSH (1868-1928)(ATTRIBUTED TO)OAK DOMINO TABLE,CIRCA 1897the circular planked top abovea lower lobed tier, linked byfour curved and taperingsupports linked by acorresponding circular tierbelow

44cm diameter to top,

77cm diameter, 67cm high

Literature:The Studio, XI, 1897, p. 230.Billcliffe, Roger, ‘Charles RennieMackintosh: The Complete FurnitureDrawings & Interior Designs’,Moffatt 2009, page 44, illus. 1897.7& 8

Note:The design of this table appears tobe an amalgam of scale drawingsproduced by Mackintosh for adomino table circa 1897 and held byGlasgow University (Fig. 1), and atable photographed by the Studiomagazine in the same year (Fig. 2).The measurements of the currentlot are broadly similar to the scaledrawing however there are certaindifferences namely the shape of thelover tier has a more pronouncedlobed shape and the pierced tearshape of the supports does notcontinue under the base tier. Theexample illustrated in the Studio of1897 also demonstrates differencesfrom the drawing including thickerleg supports and angled bracketsunder the circular top (also sharedby this example). It is also not clearif the pierced tear shape continuesunder the base tier.According to Billcliffe theappearance of the example in theStudio rules it out from beingincluded in the Argyle Streetscheme and no images of a dominotable appear in photos of BuchananStreet. It may have been a prototypeor special commission however itremains untraced.

£2,000-3,000

©TheHunterian,UniversityofGlasgow

2011.

Fig. 1 Fig. 2



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28 FA275/12GEORGE WALTON(1867-1933) (MANNER OF)DISPLAY CABINET,CIRCA 1910ebonised wood, the cabinet ofsemi-bowed form withprojecting cornice above twinastragal glazed doors andwith astragal glazed panels tothe sides, enclosing a whiteoverpainted interior withsingle shelf, the whole raisedon square tapering legslinked by stretchers


Literature:Studio Yearbook, 1907

Note:This cabinet is closely based onWalton’s ‘Holland Cabinet’ which ispictured in the Studio magazineyearbook of 1907 and pictures thecabinet along with a ‘Brussels’ chairat Cresham Hall.

£2,000-3,000

29 FA275/19GEORGE WALTON(1867-1933)PAIR OF STAINED BEECHSTOOLS, CIRCA 1900each with square caned seatsabove a plain frieze withtraces of painted florets,raised on ring turned legswith outwardly splayed feet (2)

35cm across, 42cm high

Literature:Moon, Karen, ‘George Walton:Designer and Architect’, Oxford1993, page 81, plate 105

£300-500



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30 EZ362/13EDINBURGH SCHOOLSILKWORK PANEL,CIRCA 1900worked in coloured silks withthe 3/4 length figure of a girlholding flowers, her flowingblue robes with gilt beadedembellishments, framed andglazed

29.5cm x 21.5cm

£300-500

31 FA275/8ANN MCBETH (1875-1948)(MANNER OF)SILKWORK PANEL,CIRCA 1900worked in coloured silks withapplied coloured beads as abutterfly, oval frame, glazed

35.5cm x 45cm

£600-800

32 FA716/3GLASGOW STYLESILKWORK PANEL,CIRCA 1910in two parts, worked incoloured silks with floweringroses and with a frieze ofhearts and flowers, framedand glazed

64cm x 61cm

£200-300

33 FA275/20GEORGE WALTON(1867-1933)OAK ‘CAQUETOIRE’ SIDECHAIR, CIRCA 1895the rushed back supported onswollen cylindrical supportsabove corresponding rushseat on turned and blockedtapering legs linked bystretchers and raised onflattened bun feet

91.5cm high

Literature:Moon, Karen, ‘George Walton:Designer and Architect’, Oxford1993, page 47-48, illus. no. 54

Note:This chair was made for JohnRowntree’s cafe in Scarboroughwhere he developed a new style offurniture based on the Frenchseventeenth century ‘caquetoire’style. This French renaissance stylewas popular in Scotland in thesixteenth century and the stronglinks between the two countriesensured the style flourished wellinto the seventeenth century. Thesechairs would still have been seen inthe more aristocratic homes inScotland in the late 19th century andWalton here has taken the basicform and adapted it with the use ofrushing to lighten the effect of theconstruction.

£400-600



18

Note:This impressive copper sconcerecalls the hallmarks of the ArtNouveau aesthetic in itsdemonstration of stylised line,abstract pattern and naturalimagery, all realised through thesame repoussé technique frequentlyemployed by Glasgow artists at theend of the 19th century. Theconnection between the present lotand that of the Macdonald sisters issuggested by the close resemblancethat the chief design componentsbear to those depicted in a sketchfor a mirror frame from around 1897(illustrated here). Attributed to atleast one of the sisters, this sketchnow forms part of the collection atthe Hunterian Museum and ArtGallery in Glasgow (GLAHA 41951).The incorporation of an enamelledEgyptian eye further enhances theotherworldly mystery of the femalefigures which seem to take form byascending, like plumes of smokefrom the candle sockets. Theimagery is illustrative of the 19thcentury Symbolist Aesthetic, whichsought to replace Victorian historicalreferences in form and pattern with‘exotic symbols such as lines, lilies,[and] birds’, all of which conveyedspecific ideas. The Macdonaldsisters exhibited a similar interest intheir work by including a peacock asa prominent motif in a pair of coppersconces, completed circa 1896 andnow housed in the permanentcollection at the Victoria and AlbertMuseum, London (CIRC.66-1959).While powerfully suggestive in itsown right, the current lot offers afascinating insight into the influenceand effects of the artistic ideas andmannerisms that were integral tothe aesthetic of the Glasgow Style.A copper candlestick by theMacdonald sisters with the sameprovenance as the current lot wassold in these rooms on 10thNovember, 2010, lot 253.

£3,000-5,000

34 FA172/1MANNER OF MARGARETMACDONALD (1865-1933)AND FRANCES MACDONALD(1873-1921)COPPER AND ENAMEL WALLSCONCEwith two candle armssupporting nozzles and broaddrip trays, the circularbackplate repoussé decoratedwith opposed female figurescentred by an appliedenamelled roundel depictingan eye

70.5cm high x 40cm wide

Provenance:Linda Rose Gallagher

Literature:Burkhauser, Jude, ‘The GlasgowStyle’, in Glasgow Girls: Women inArt and Design 1880-1920, p. 100.

©TheHunterian,UniversityofGlasgow

2011.



19

35 FA275/22GLASGOW SCHOOLSTAINED BEECH DRAWINGROOM CABINET, CIRCA 1896the overhanging corniceraised above a fall-front door,fitted with pierced brassstrapwork hinges and withcentral metal panel,repoussé-decorated with astylised female figure withdandelion motif, and openingto reveal an interior fitted witha shelf, all above a lower doorwith corresponding hingesenclosing four drawers, thewhole raised on squaretapered legs

102cm wide, 187cm high,

68cm deep

Provenance:Paul Reeves, London.Collection of Brad Pitt

Literature:Billcliffe, Roger ‘Charles RennieMackintosh: The CompleteFurniture, Furniture Drawings andInterior Designs’, Moffatt 2009, p. 30,ill. 1896.8

Note:This rare and early unrecordedGlasgow School cabinetdemonstrates all the designvocabulary of Charles RennieMackintosh, Herbert McNair and theMacdonald sisters. Its inset ‘SpookSchool’ repoussé plaque speaks toearly studio work by the sisters withits mysterious female figure. Thestrap hinges relate directly to acabinet design by Mackintosh from1896 and the fact that it is of cabinetmaker quality and not commerciallyproduced, make this a compellingobject.

£8,000-12,000



20

38 FA278/2GLASGOW STYLEPAIR OF BRASSCANDLESTICKS, CIRCA 1900each of square tapering formwith spreading bases,repoussé decorated withpanels of Glasgow roses,30.5cm high; also aGLASGOW STYLE BRASSINKWELL, repoussédecorated with Celticknotwork, 8cm high (3)

£400-600

37 FA278/1MARGARET GILMOUR(1860-1942) (STUDIO OF)BRASS WALL SCONCE, CIRCA 1900with twin applied candle arms with turnednozzles and drip trays, the rectangular backplaterepoussé decorated with a classical femalefigure tending a rose bush

77cm tall

£400-600

36 FA716/1MARGARET GILMOUR(1860-1942)BRASS JARDINIERE,CIRCA 1900of square tapered form with broad rim, abovepanelled sides, repousse decorated with panels ofGlasgow roses, the angles with faux rivetdecoration, signed with stamped initials ‘MG’

18.5cm wide, 13cm high

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

£300-500



21

39 FA843/2JESSIE MARION KING(1875-1949)IN THE FORESTpen, ink and wash on vellum,signed

26.5cm x 17cm

£1,500-2,000

41 FA228/2JESSIE MARION KING(1875-1949)‘ALL DAY SHE SAID....’Pen, ink and watercolour withsilver paint on vellum, signed

23.5cm x 14.5cm

£1,000-1,500

40 FA228/1JESSIE MARION KING(1875-1949)‘ALL YEAR ROUND’Pen and coloured inks,inscribed

14cm x 9cm

Provenance:Miss Merle Taylor

Note:This original illustration is the coverfor the book ‘All The Year Round’,published by Collins in 1931

£1,000-1,500

43 FA275/14ERNEST ARCHIBALD TAYLOR(1874-1951)OAK TOILET MIRROR,CIRCA 1900the rectangular plate withturned and tapered uprightsraised on a base with piecedheart decorative motifs, bunfeet

44cm wide, 53cm high

£400-600



22

42 FA862/4WILLIAM WATSON PEPLOE(1869-1933)MOUNTAIN IDYLLpen and ink, signed withinitials ‘W.W.P.’

26cm x 16cm

Note:William Watson Peploe was theelder brother of S. J. Peploe withwhom he painted on Barra beforethe latter moved to Paris in 1910.His work prior to 1918 wasinfluenced by the work of AubreyBeardsley as in the presentexample.

£300-500



23

45 FA400/2SCOTTISH SCHOOLCOPPER WALL MIRROR,CIRCA 1920the rectangular framerepoussé decorated withopposed suns and peacockson a hammered ground andenclosing a bevelled mirrorplate

50.5cm x 40cm

£300-500

44 FA250/1GLASGOW STYLECOPPER WALL MIRROR,CIRCA 1900the projecting cornice abovean arched mirror plate,enclosed by a hammeredframe, repoussé decorated toeach side with tall leafy pantsand to the centre withentwined leaves centred by aturquoise Ruskin roundel

124.5cm wide, 72cm high

£1,200-1,800



24

47 FA275/10GEORGE WALTON (1867-1933)SATIN BIRCH WARDROBE, CIRCA 1900inlaid with chevron banding, the projecting cornice above centralsection with two doors, each with opalescent glass, metal and woodleaded panels above three short and three long drawers, flanked bytwo doors with corresponding panels, all with striped fabric lining, thewhole raised on a plinth, bears makers label verso


Literature:Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, pages 64-70Agius, Pauline, ‘British Furniture 1880-1905’, pub. Suffolk 1978, page 102, pl. 105

£12,000-18,000



25

47 FA275/11GEORGE WALTON (1867-1933)SATIN BIRCH DRESSING CHEST, CIRCA 1898with chevron banding to match the previous lot, the rectangularswing mirror flanked by open shelves inset by oval panels ofopalescent ‘bullseye’ glass and pewter depicting plant forms,and eight jewellery drawers, the base with rectangular topabove an arrangement of eight drawers around a kneehole

159.5cm wide, 72.5cm high, 65cm deep

£8,000-12,000

George Walton was born in Glasgowon 3 June 1867, the youngest oftwelve children. The painter EdwardArthur Walton, born in 1860, was hiselder brother and the flower painterConstance Walton his sister. Hisfather died in 1873 leaving the familyin reduced circumstances andWalton had to leave school agedthirteen to become a clerk with theBritish Linen Bank, but whileworking there he also studied atGlasgow School of Art (as the Schoolof Design had become in 1869).

In 1888 Miss Catherine Cranstoncommissioned Walton to re-designthe interiors of the tea rooms at 114Argyle Street, Glasgow. Walton gaveup banking and opened showroomsentitled George Walton & Co,Ecclesiastical and House Decorators,at 152 Wellington Street. The Waltonfirm quickly expanded intowoodwork, furniture making andstained glass. In 1896 Waltonreceived a further commission fromMiss Cranston, to decorate theBuchanan Street premises. Hiscollaborator was C. R. Mackintosh,for whom Walton made some earlypieces of furniture. In 1897 Waltonmoved to London and, as well asretaining his Glasgow showroom,opened a branch in York.

The following three lots arecharacteristic of the furnitureproduced at Elm Bank, York byWalton & Co. in 1898 for SydneyLeetham. The furniture is inlaid withbold geometric chevron banding, atype of decoration which had beenrevived and popularised by GeorgeJack at Morris & Co., however theuse of this technique at Elm Bankwas altogether bolder and moreexpansive. This bedroom suite alsodemonstrates stained glass detailingderived from plant forms, with metaland wood also inset, relating totechniques being produced byCharles Rennie Mackintosh at thesame time.



26

48 EY798/1GEORGE WALTON(1867-1933)SATIN BIRCH SIDE CABINET,CIRCA 1898decorated with chevron banding,the surmount with opposingmirrored doors centred by twodrawers, above a rectangular topand an arrangement of four shortover two long drawers, each withcut out handles and beatensilvered backplates, the wholeraised on bracket feet, labelaperture to rear (label now lacking)


Literature:Moon, Karen, ‘George Walton, Designerand Architect’, pub. Oxford 1993, pages 64-70Agius, Pauline, ‘British Furniture 1880-1905’, pub. Suffolk 1978, page 102, pl. 105

£1,500-2,000

49 FA275/7GEORGE WALTON(1867-1933) FOR ALEXANDERMORTON & CO (ATTRIBUTED TO)FLATWEAVE FLOOR CARPET,CIRCA 1905woven with a border of stylisedmeandering foliage contained incontinuous green chequer patternwithin a pink field of allover floralsprigs

454cm x 356cm Literature:Moon, Karen, ‘George Walton, Designerand Architect’, pub. Oxford 1993, pages 48,108, and plate 57

Note:The simple pale rose pink and greencolourway and certain design elements tothe border are suggestive of Waltons’preference for a simplified and unfussyaesthetic which increased the impact ofhis furniture and induced ‘a feeling ofrest’.

£400-600



27

50 FA599/1AFTER CHARLES RENNIEMACKINTOSH (1868-1928)PAIR OF WROUGHT IRONFIREPLACE EMBELLISHMENTS,20TH CENTURYeach with tall slender uprightssurmounted by a drip pan withadjacent trellised grille, 119.5cmhigh, 27cm wide; and a SET OFTHREE STEEL FIRE IRONS,comprising an ash shovel, a pairof coal tongs and a poker, 33cmlong (approx.) (5)

£300-500

52 FA878/12GLASGOW STYLETHREE STAINED ANDLEADED GLASS PANELS,CIRCA 1900each depicting a floweringplant form (3)

68cm x 19cm

£250-350

51 FA599/2AFTER CHARLES RENNIE MACKINTOSH(1868-1928) OR PETER WYLIE DAVIDSON(1870-1963)WROUGHT IRON WALL PANEL, 20THCENTURYembossed and wrought steel, depictingswallows flying through clouds


£200-300



28

53 FA400/1JOHN EDNIE (1876-1934)(MANNER OF)PAIR OF BEECH AND PINEART NOUVEAU OAK TALLBACK CHAIRS, CIRCA 1900the slatted backs above drop-in rush seats and squaretapered and inswept legs (2)


Literature:Cooper, Jeremy ‘Victorian &Edwardian Furniture & Interiors’,Thames & Hudson 1987, page 617,plate 614

£600-800

55 FA878/8HENRY T. WYSE (1870-1951) FORSCOTTISH GUILD OF HANDICRAFTS(ATTRIBUTED TO)BEECH HIGH BACKED CHAIR,CIRCA 1900the tall back with central splat andinset roundel raised above leatherupholstered panel seat on squarelegs linked by stretchers

£600-800

54 FA878/1JOHN EDNIE (1876-1934)(MANNER OF)MAHOGANY CHAIR,CIRCA 1900the pierced solid back with two slendersplats raised above an upholstered seaton square supports linked by stretchers

£300-500



29

56 FA275/9HENRY WYSE (1870-1951)(ATTRIBUTED TO) FORSCOTTISH GUILD OFHANDICRAFTSOAK NURSERY DRESSER,CIRCA 1901the upper section withoverhanging cornice and plateracks above a semi-bowedbase with three cupboarddoors, each with strapworkiron hinges, raised on turnedsupports with platformstretcher

153cm wide, 200cm high,

43cm deep

Literature:Magazine of Art 1901 p.562.

Note:A line drawing of this nurserydresser by Society of Artists fromthe Glasgow 1901 exhibition isshown in the Studio magazine in1901.

£2,000-3,000



30

57 FA878/5GLASGOW SCHOOL OF ARTARCHIVE OF STUDENTDESIGNS, CIRCA 1900to include watercolour andgouache designs for stainedglass panels, furniture andfireplaces, textiles andwallpapers, several withlabels listing students andteachers including E.A. Taylor(approx 59 pieces)

£3,000-4,000

58No lot



31

59 FA275/15ERNEST ARCHIBALD TAYLOR(1874-1951) FOR WYLIE &LOCHHEADMAHOGANY DISPLAYCABINET, CIRCA 1900the projecting cornice above afrieze inlaid in pewter withflower heads, above a pair ofglazed doors enclosing fittedshelves, over a single drawerand raised on square taperinglegs linked by a platformstretcher and with slattedsides

107cm wide, 177.5cm high,

46cm deep

£3,000-5,000



32

60 EAA549/5JOHN QUINTON PRINGLE(1864-1925)‘ELSIE’, CIRCA 1897three quarter lengthwatercolour portrait miniatureon ivory

9cm x 7cm

Exhibited:Scottish Arts Council Exhibition‘John Quinton Pringle’, 1981,Case II, c)

Note:This miniature depicts ElsieNewbery, daughter of Fra Newbery,the director of Glasgow School ofArt from 1885 - 1918, and appears tobe an early commission for Pringle.Newbery commissioned Pringle topaint both his daughters Elsie andMary (Newbery Sturrrock) inminiature and such was his

61 FA960/1TALWIN MORRIS (1865-1911)BELT BUCKLE, CIRCA 1900patinated copper and greenglass, of rectangular outline,repoussé decorated withopposed birds on a stylisedfoliate ground, set withcabochon stones andbordered with a rivetdecoration, contained withinfitted leather case (2)

7.5cm x 4cm

Literature:Charles Holme (edit.) ‘ModernDesign in Jewellery and Fans, TheStudio Special Number’, London,1902, plate 42a

£1,500-2,000

admiration of Pringles work he isnoted to have written;“...I have always regarded Pringlewith a peculiar and sustainedpleasure, and have treasured tomyself my thoughts about his workand its accomplishments...My wifeand I with Pringle’s fellow studentsMr and Mrs Charles RennieMackintosh early realised thatsomewhat of a genius was amongus...My wife and I gave him his firstcommission and the resultsachieved by work with our smallestyoungsters on many a Sundaymorning, are among our mostvalued modern possessions...”His connection to Charles RennieMackintosh and his circle waslasting and both Newbery andMackintosh helped him to have hiswork shown at the ViennaSecessionist Exhibition of 1902 andthe Whitechapel Art Gallery inLondon in 1914.

£1,500-2,000



33

62 EZ871/10GEORGE WALTON(1867-1933)WALNUT DISPLAY CABINET,CIRCA 1902with gilt embellishments, thelater projecting cornice withgently curved outlinedecorated to the undersidewith Classical Greekarchitectural mutules, over asingle glazed door withchamfered astragals andcarved and gilded foliatemotifs, flanked by furthercorresponding glazed panelsand enclosing freestandingconcave shelves supported bypegged uprights, the basewith a central drawer withinset copper-backed handle,flanked by drawers with insethorn handles, the wholeraised on square taperinglegs

163cm wide, 196.5cm high,

45cm deep

Literature:Moon, Karen, ‘George Walton,Designer and Architect’, pub. Oxford1993, page 120, plate 157, page 155.

Provenance:The Phillippines, Brasted Chart,Kent

Note:Walton decorated the drawing roomat The Phillippines from 1902 andthe scheme marked a change ofdirection for his work to a moreformal, classical style. The use ofarchitectural detailing on thecornice of this cabinet is reflected inthe wall panelling, as are the gildedembellishments which also adornthe cornice shelf around the room.

£4,000-6,000



34

63 EZ859/7GEORGE WALTON(1867-1933)STAINED AND LEADED GLASSPANEL, CIRCA 1900in two sections, each with insetcopper panel, depicting floweringroses (2)

each panel, 81.5cm x 59cm

Literature:Moon, Karen, ‘George Walton, Designerand Architect’, pub. Oxford 1993, pages96-99, pl. 38 and 132Euler, Laura, ‘The Glasgow Style’,published Pennsylvania 2008, page 174,figure 355

Note:Decorative stained and leaded glasspanels became essential to the interiorschemes carried out by Walton & Co. atthe end of the 19th century. By 1895figure subjects were on the wane, to bereplaced by individual plant motifs,more sympathetic to Walton’s interiors.Striking use of colour on a plainbackground with the addition of copperpanels and simplicity of line werecharacteristic of this new aesthetic,becoming an essential feature of theGlasgow style. The panels offered hereshow similarities to panels in a cupolaproduced by Walton for Drumalis,Larne, Northern Ireland, circa 1896.

£1,500-2,000

64 FA982/2GEORGE WALTON(MANNER OF)SATIN BIRCH EXTENDINGDINING TABLE, CIRCA 1910the rectangular top above apanelled frieze to each side, andcentred by cut-out heartdecoration, the whole raised onsquare legs, two additionalleaves

110cm wide, 74.5cm high, 124cm long

(closed), 234cm long (extended)

£300-500



35

65 FA958/2ERNEST ARCHIBALD TAYLOR(1874-1951) FOR WYLIE &LOCHHEAD, GLASGOWMAHOGANY BEDROOMSUITE, CIRCA 1900comprising a wardrobe, theprojecting cornice above afrieze carved with Glasgowroses in bas relief, above twocentral doors each inset withtwo stained and leaded glasspanels depicting Glasgowroses, over two short over twolong drawers and flanked bymirrored doors raised on aplinth base, 222cm wide,

King worked together on a series ofstained glass panels for the TurinInternational Exhibition of ModernDecorative Art and, by 1907, Taylorwas working as head of furnituredesign at Wragge and Co, marryingKing the following year. The couplethen began concentrating on art,moving to Paris where theyestablished an art school known asthe Shieling atelier.Prior to her marriage, Jessie M Kinghad purchased a house atKirkcudbright, and at the outbreakof World War I she and Taylorreturned there. Here, they becameinvolved in the Kirkcudbright artcommunity, which was seen as the“Scottish St Ives.” Taylor continuedto play a major part in theKirkcudbright art scene until hisdeath in 1951

£1,500-2,000

Note:E.A. Taylor was born in Greenock,Scotland, one of seventeen children.He was initially apprenticed as anengineer and designer in theshipbuilding firm Scott and Co,working there until 1898. He thenbegan studying at the GlasgowSchool of Art, where his fiancé,Jessie Marion King, was also astudent. Taylor began work as aninterior designer, being particularlyinfluenced by the stained glass andfurniture designs of Charles RennieMackintosh.He gained employment with theGlasgow cabinet-makers, Wylie andLochhead, winning great acclaim forhis furniture at the 1901 GlasgowInternational Exhibition. Thisbrought him two majorcommissions, where he madeprominent use of stained glass inhis interiors. In 1902, Taylor and

64cm deep; also a MATCHINGWASHSTAND, with tiledrectangular top above twinpanelled doors withcorresponding carvedGlasgow roses, 121cm wide,77cm high, 56cm deep; aBEDSIDE CABINET, withthree quarter gallery above asingle panelled door onsquare legs linked bystretchers; and a WALLMIRROR, to match (formerlyfrom a dressing table), 67cmwide x 106cm high (4)



36

67 FA275/4SHAPLAND & PETTER, BARNSTAPLEGLASGOW STYLE OVERMANTEL MIRROR, CIRCA 1900of rectangular outline, the bevelled mirror plate enclosed by awhite overpainted frame, with central open shelf flanked byinset enamelled roundels, and with specimen wood and motherof pearl inlaid decoration depicting stylised plant forms

110cm wide, 55cm high

£800-1,200

66 FA275/16ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE &LOCHHEADMAHOGANY HANGING WALL CABINET, CIRCA 1900the projecting cornice above two open shelves, enclosing a pairdoors, each inset with stained and leaded glass panelsdepicting Glasgow roses


£800-1,200



37

68 FA275/18MARION HENDERSON WILSON(1869-1956)BRASS JARDINIERE,CIRCA 1910of rectangular section with broadrim, repoussé decorated withgalleons in full sail and flying birds,raised on bracket feet, signed withinitials ‘MHW’

48.5cm across

Literature:Burkhauser, Jude (edit.), ‘Glasgow Girls:Women in Art and Design’, Edinburgh 1990,page 182

£1,200-1,800

71 FA716/2GLASGOW STYLEPEWTER WALL MIRROR,CIRCA 1900of rectangular form, thebevelled mirror plateenclosed by frame, repoussédecorated with floweringroses and berries

36cm x 28cm

£200-300

69 FA960/7AGNES BANKIER HARVEY(1873-1947) (ATTRIB.)BRASS WALL SCONCE,CIRCA 1900of rectilinear form, repoussédecorated with an Art Nouveaumaiden and stylised poppyheads above drip tray andnozzle

30cm high

Literature:Burkhauser, Jude (edit.), ‘GlasgowGirls: Women in Art and Design’,Edinburgh 1990, page 178, fig 240

£300-500

70 FA400/5SCOTTISH SCHOOLCOPPER MANTEL CLOCK,CIRCA 1910with embossed silvered dial,the tapering body with rivetedangles and plaque bearinginscription ‘Tempus Fugit’

24cm high

£250-350



38

72 FA105/1CHARLES RENNIE MACKINTOSH (1868-1928)WINDSOR STYLE ARMCHAIR, CIRCA 1906the curved top rail above a slatted back on mouldedseat and turned tapering legs united by stretchers,overpainted dark blue over pale green paint

55cm wide, 76cm high, 34.5cm deep

Literature:Billcliffe, Roger ‘Charles Rennie Mackintosh, The completefurniture, furniture drawings and interior designs’, 1st Edition,Guildford, 1979, page 191(ill.) 1906.18

Note:This chair was designed by Mackintosh for the Dutch Kitchen,Argyle Street Tearooms, Glasgow, 1906

£1,800-2,200

73 FA960/3CHARLES RENNIE MACKINTOSH (1868-1928)(OFFICE OF)DESIGN FOR A SIDE TABLE FOR THE DIRECTOR’SROOM, GLASGOW SCHOOL OF ART, 1910pencil, pen and ink, watercolour on oiled linen,showing plan, elevation and section, inscribed “TheGlasgow School of Art. Table in Director’s Room. InCypress. No 457B.” and “4 Blytheswood Square:/Glasgow. March 1910” and with scale indications andnotes.

38.6cm x 35.8cm

Provenance:Herbert Smith Esq.Dr. Thomas Howarth Collection

Literature:Billcliffe, Roger, ‘Charles Rennie Mackintosh: The CompleteFurniture Drawings & Interior Designs’, Moffatt 2009,page 256-7, illus. D1910.2

Note:This drawing is by an office draughtsman working toMackintosh’s sketches.

£200-300



39

74CHARLES RENNIEMACKINTOSH (1868-1928)OAK WRITING DESK, 1909the circular planked top abovelatticed openwork column andplank supports


Provenance:Messrs Coopers Tearooms, Glasgowfrom whom bought by the presentowner in the 1950s

Literature:Billcliffe, Roger ‘Charles RennieMackintosh: The CompleteFurniture, Furniture Drawings andInterior Designs’, Moffatt 2009, p.249-251, illus. 1909.16 and 16A

Note:This table formed the base of awriting table made by Frances Smithfor the Ladies’ Rest Room at MissCranston’s Ingram Street Tearoomin 1909. The Rest Room formed oneof two new adjacent rooms createdby Mackintosh for the Ingram Streettearooms: The Oval Room and theLadies Rest Room. This latter roomwas dark stained and panelled withrecesses for couches and otherfurniture. The fireplace wassurrounded by gold mosaic tiles andopen columns supported themezzanine the Oval Room above.The desk originally had asuperstructure with dividers whichallowed for four people to sit at thedesk at any time and may in anycase have been removable. Althoughthe original layout of the room is notknown, it may be that the circularwriting desk offered here sat in thebow window next to the fireplace atone end of the room.

£15,000-20,000



40

75* LT2011/24CHARLES RENNIE MACKINTOSH (1868-1928)STAINED BIRCH DAY BED, CIRCA 1910the rectangular seat having open arms at either end and with loose squabcushion upholstered in dark grey corduroy, the whole raised on rectangularblock feet with applied panels to the front (replacements and restorations)

214cm long, 49cm high, 76cm deep

Literature:Mackintosh Society Newsletter, 1993Billcliffe, Roger, ‘Charles Rennie Mackintosh: The Complete Furniture Drawings & InteriorDesigns’, Moffatt 2009, page 260, illus. D1910.14A

Note:The original design for this day bed survives in the Glasgow University Collection bearing thetitle ‘Couch in Ladies Common Room’ (Fig. 1). The wood is to be ‘in birch stained dark andwaxed’ and the upholstery of ‘mouse grey corduroy’. The design shows a fixed upholsteredback, but is annotated by Fra Newbery with the comments that ‘ with a seat this width astuffed or even padded back is not necessary at all / cushions can be hung along the wall atthe back (from a little moulding) and movable cushions as many as are needed can be placedon the seat’.Once it had served its time in the Ladies’ Common Room the couch was transferred to theSculpture Room where it served as the model’s couch. In the mid 1960s the couch was brieflyset alight by the heater which warmed the models, and banished to the basement of theSchool were it was saved from being thrown out by George Parsonage, a student at the time.Mr Parsonage used it in the boat shed of the Glasgow Humane Society on the banks of theClyde, where it served as a stand for his rowing sculls.

£2,000-3,000Fig. 1

©Th

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41

76 FA777/1CHARLES RENNIEMACKINTOSH (1868-1928)BEECH HIGH STOOL,CIRCA 1894the circular seat raised abovethree turned legs linked bystretchers


Literature:Billcliffe, Roger, ‘Charles RennieMackintosh: The Complete FurnitureDrawings & Interior Designs’,Moffatt 2009, page 32, illus. D1894-96.1

Note:Made for Queen Margaret MedicalCollege, Glasgow, the treatment ofthe stretchers appear to echo thoseof the domino table designed byMackintosh in1898 for the ArgyleStreet Tea Rooms.

£600-800

77 FA275/6CHARLES RENNIEMACKINTOSH (1868-1928)(MANNER OF)OAK STOOL, CIRCA 1900the square rushed seat abovesquare section supportsenclosing panelled sides withconcave cut out decoration

40cm x 36cm x 35cm

£400-600



42

78 FA872/1CHARLES RENNIEMACKINTOSH (1868-1928)RARE SILVER-PLATEDDESSERT SPOON WITHTRIFID END, CIRCA 1905stamped to the reverse of thestem ‘Miss Cranston’s’

7.25 in. (18.5cm.) long

Literature:Judy Rudoe, ‘Decorative Arts 1850-1950, A Catalogue of the BritishMuseum Collection’, page 211, plate66 for illustration of a matchingdessert spoon

Note:Designed circa 1905 for MissCranston’s tearooms in Glasgow,teaspoons for Miss Cranston’sappear relatively frequently, howeverthe dessert spoons are much moreuncommon.

£300-500

79 FA408/3CHARLES RENNIEMACKINTOSH (1868-1928)FOR MISS CRANSTONSTEAROOMS, GLASGOWELECTROPLATED SPOON,CIRCA 1900with circular bowl and trefoilterminal, makers mark, ‘G&C’

14.5cm long

£200-300

80 FA400/4CHARLES RENNIEMACKINTOSH (1868-1928)FOR MISS CRANSTONSTEAROOMS, GLASGOWELECTROPLATED SPOON,CIRCA 1900with circular bowl and trefoilterminal, makers mark ‘E.B &Co.’

14.5cm long

£200-300



43

82 FA275/1JESSIE MARION KING(1875-1949)SILVER NAPKIN RING, 1902of waisted cylindrical form,pierced with flying bird motifsand a central initial panel,hallmarked Glasgow 1902,maker’s mark for John A.Fetter

4cm high, 4.4cm diameter

£200-300

83 FA872/2JESSIE MARION KING (1875-1949) FOR LIBERTY & COSILVER DRESSING TABLETRINKET DISH, DATED 1907of circular form, embossedwith four flowerheads andgarlands of foliage, maker’smark ‘L & Co.’, hallmarkedBirmingham,1907

3.75 in. (9.5cm.) diameter

Note:A matching dish by Jessie MarionKing with enamel decoration is ondisplay at Kelvingrove Art Gallery &Museum, Glasgow, and a similardish is illustrated in ‘The GlasgowStyle’ by Gerald & Celia Larner,plate 199

£250-350

84 FA960/6JESSIE MARION KING (1875-1949) FOR LIBERTY & COSILVER AND ENAMELMAGNIFYING GLASS, 1906the handle embossed withstylised floral and foliatemotifs, hallmarkedBirmingham 1906, stampedmark ‘5420/ Rd479297’(magnifying lens a laterconversion)

18.5cm long

£100-200

81 FA275/3PETER WYLIE DAVIDSON(1870-1963) AND FRANCESMCNAIR (1873-1921)HIGH SCHOOL OF GLASGOWDUX MEDAL FOR ART, 1911copper alloy, inscribed ‘TheHigh School of Glasgow/Dux:In:Art:/ Session: 1910: 11/Fra H. Newbery/ Donor’

6.5cm x 6.5cm

Literature:Peter Wylie Davidson, ‘EducationalMetalcraft’, London 1913, illus.page 2Pamela Robertson (ed.), ‘Doves &Dreams: The Art of FrancesMacdonald and J. Herbert McNair’,2008, page 117, M32

Note:This collaborative medal is one ofonly three known examples.

£800-1,200



44

85 FA275/2JAMES HERBERT MCNAIR (1868-1955)BOOKPLATE FOR JOHN TURNBULLKNOX, 1896etching, signed and dated in the plate‘J. Herbert McNair Inv. Del./ 1896’ andinscribed ‘Nourished by Middle Earth/breathed on by Heavenly/ Dew,/Flourished a Tree of Worth/ Flourishedand/ Grew/ The Tree of Knowledge’

9cm x 7cm

Literature:The Studio, vol.11, pages 230, illus. page 237Pamela Robertson (ed.), ‘Doves & Dreams: TheArt of Frances Macdonald and J. HerbertMcNair’, 2008, page 101, G21

Note:This bookplate is one of only four knownexamples

£1,000-1,500

86 FA960/2MARGARET MACDONALDMACKINTOSH (1865-1933)COVER OF ‘DEUTSCHEKUNST UND DEKORATION’,MAY 1902printed with pink, purple andblack ink on grey paper,framed

28.5 x 20cm

Literature:Garner, Phillipe (ed.), ‘Encyclopaediaof Decorative Arts 1890-1940’, VanNostrand, New York, 1978, p. 199Hunterian Museum and Art Gallery,Glasgow, ref. GLAHA 41548

Note:Alexander Koch, organiser of theHouse for an Art Lover competition,was editor of ‘Deutsche Kunst undDekoration’. A major articleappeared in the September 1902issue featuring the Mackintoshes’contribution to the Turin exhibition.The cover design by MargaretMacdonald Mackintosh is closelyrelated to her contemporaneousdecorative panels in gesso. Thestraightforward letteringincorporated within the design ismost probably her work.

£1,000-1,500



45

87 FA970/1JESSIE MARION KING(1875-1949) (ILLUS.)ALBUM VON DRESDEN UNDSACHSISCHE SCHWEIZBerlin, [c.1899]. Oblong folio,photographic illustrations,original linen-backed boards,upper cover with colouredillustration by Jessie M. King,minor wear to corners andedges, a little rubbed withlight discolouration, a fewshort marginal tears, minorscattered spotting

£500-700

89 FA717/1JESSIE MARION KING(1875-1949)ALBUM VON BERLINBerlin, 1899. Upper boardonly, appox. 28 by 35cm;[Idem] Album von Berlin.Berlin, c.1900. Boards only,15 by 20cm; [Idem] The bookof bridges. London, 1911. 8vo,plates, original green clothgilt; [Idem] A selection of 13colour plates by King, loose,each approx. 25 by 20cm;[Idem] Musik and gesang.Boards only, approx. 34 by27cm; [Proofs] Three coverproofs for Petite collectiond’histoire naturelle, ink notes,heavy foxing and folds; TheStudio Four plates from TheStudio magazine, eachapprox. 30 by 20cm,highlighted in gold and silver;and 3 books (qty)

£250-350

88 FA275/26JESSIE MARION KING(1875-1949) (ILLUS.)NEUER DEUTSCHERNOVELLENSCHATZBerlin, [no date]. 8vo, 2volumes, original decorativecloth designed by Jessie M.King; [Idem] Rubaiyat ofOmar Khayyam. London, [nodate]. 12mo, original papercovers and endpapersdesigned by Jessie M. King,lower cover loose, upperhinge torn at head; [Idem]Budding life, a book offlowers. London, 1907. 8vo,original silver paper covers,covers chipped at edges; andtwo others (6)

£150-200

90 FA960/5CHARLES RENNIEMACKINTOSH (1868-1928)EXHIBITION CATALOGUE,1952published by the SaltireSociety and Arts Council ofGreat Britain, 1952; andJESSIE MARION KING (1875-1949), THE INTRUDER,London & Glasgow, 1913.12mo, original paper coversdesigned by King; and twoplates (4)

£80-120

91No lot



46

92 FA275/23TALWIN MORRISPRACTICAL COAL MININGLondon: Gresham Publishing,[c.1910]. 8vo, 6 volumes,original decorative cloth giltdesigned by Talwin Morris,rubbed at edges, plus twoextra volumes; Art NouveauBindings Modern electricpractice. London: GreshamPublishing, [c.1910]. 8vo, 6volumes, original decorativecloth gilt, rubbed at edges(12)

£120-180

93 FA275/25TALWIN MORRISQUEEN VICTORIALondon, 1901. 8vo, 4 volumes,original decorative red clothgilt, designed by Morris, somefading to backstrips; [Idem]William Ewart Gladstone...London, 1898. 8vo, 4 volumes,original decorative greencloth gilt, some rubbing;[Idem] Science in modern life.London, 1910. 8vo, 6 volumes,original decorative greencloth gilt, rubbed at edges(14)

£150-200

94 FA408/1TALWIN MORRISWORKSGlasgow & London, 1909.Small 8vo, 12 volumes,uniform in original red calfgilt, t.e.g., some slightrubbing to heads and tails ofbackstrip; and 2 others (14)

£100-150

95 EAC88/2CHARLES RENNIEMACKINTOSH (1868-1928)HOW PHOTOGRAPHY CAMEABOUT, LONDON &GLASGOW: BLACKIE & SON,19268vo, original paper coversdesigned by Charles RennieMackintosh, a fine copy; Theseaman and his craft. London& Glasgow: Blackie & Son,[no date]. 8vo, original papercovers designed by CharlesRennie Mackintosh, a finecopy (2)

Note:Similar items were included in theThe Dr. Thomas Howarth Collection,sold by Christies in 1994.

£100-200

96 FA400/3AFTER CHARLES RENNIEMACKINTOSH (1868-1928)MEISTER DER INNEN-KUNST, FACSIMILE EDITION,1991published Fraser Press,complete with with title pageby Roger Billcliffe, text byHerman Muthesius, AlexKoch, Darmstadt, originalpublisher Plans of groundand first floors Elevations ofWest and East Elevations(titles inverted by Mackintoshin his original drawing) NorthElevation South ElevationPerspective from South EastPerspective from North WestPerspective of the MusicRoom Elevation of MusicRoom Windows Elevations ofEast and West Walls of theMusic Room Perspective ofthe Children’s Play RoomElevation of the Bedroom WallElevation of South Wall of theHall Elevation of South Walland Buffet in the Dining RoomPerspective of the DiningRoom

£100-200



47

97 FA275/17GLASGOW SCHOOLPAIR OF OAK DOORS,CIRCA 1900each with two stained andleaded glass panels depictingstylised flowers, the panelleddoors with embossed brasshandled and copperfingerplates (2)

each door, 214cm high, 76cm wide

£1,000-1,500

98 FA500/5GLASGOW STYLESTAINED WOOD DOOR,CIRCA 1900the overpainted panel doorwith associated brass fittings,inset with three Glasgow Stylestained and leaded glasspanels, each representingstylised linear plant forms

212cm x 87cm

Provenance:Collection of the late Dr DavidLloyd-Jones

£200-300

48

The following collection of Arts and Crafts furniturewas all made in the early 1920s for Liberty & Co’smagnificent Tudor building in Great MarlboroughStreet. The building was designed by Edwin ThomasHall and his son Edwin Stanley Hall at the height ofthe 1920s fashion for the Tudor revival andconstructed from the timbers of two 19th centurymen-of-war battleships. The Liberty board wantedthe new building to demonstrate craft of the highestquality and attention to detail, and to reflect the Artsand Crafts values of “truth to material” which hadplayed such an important part in the foundation ofthe company and the goods that it sold.Engineered around three galleried light wells, theshop was intended to emulate the great atriumspaces of Bon Marche and Printemps in Paris, whilstalso remaining true to the design of the original shopin Regent Street in the series of smaller rooms whichsurrounded these central wells.Under the supervision of the architects a collection offurniture was made for the rooms and galleries to display thetextiles, clothes and luxury goods the shop was so famous for.It is represented by a series of tables, chests and display

cabinets, all made in the sixteenth century style, with peggedconstruction and decorative details complementing the designdetails in the building. The finish is either a dark fumed,

natural, or limed finish, also a characteristic of the woodfinish of the rooms in which they once stood. All thefurniture was made in the firm’s workshops in Highgateand demonstrates the same levels of craftsmanship andattention to detail as the building itself.The tables offered here are the remaining pieces from aselection of historic furniture no longer suitable forcontemporary retailing at Liberty & Co. Long attributedto Sir Robert Lorimer, they are designed in the 16thcentury manner, with substantial oak planked tops,either octagonal or rectangular, raised on spirally flutedlegs with platform stretchers.

Furniture from the Liberty & Co’s Tudor Shop

A view of the textile department showing one of the Lorimer tablesbeing used in situ for display.

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A view of Liberty & Co's new Tudor shop, shortly after completion in 1924.



49

99 FA171/3SIR ROBERT LORIMER (1864-1929)FOR LIBERTY & CO., LONDONLIMED OAK CENTRE TABLE, CIRCA 1924the rectangular moulded top with later insetbrass metre rule, above a deep apron, raisedon spirally fluted turned legs on platformstretchers linked by a stretcher and withmoulded pad feet, stamped mark ‘8208’

152cm long, 75.5cm high, 76cm wide

Note:Furniture from the Liberty & Co’s Tudor Shop

Provenance:Liberty & Co. London

£1,000-1,500

100 FA171/5SIR ROBERT LORIMER (1864-1929)FOR LIBERTY & CO., LONDONFUMED OAK CENTRE TABLE, CIRCA 1924the rectangular moulded top with later insetbrass metre rule, above a deep apron withaperture for single drawer (lacking), raisedon spirally fluted turned legs on platformstretchers linked by a stretcher and withmoulded pad feet, stamped mark ‘8963’,later label ‘857’

152cm long, 76cm high, 74.5cm wide


£1,000-1,500



50

101 FA171/14SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO.,LONDONLIMED OAK CENTRE TABLE,CIRCA 1924the rectangular moulded topwith later inset for brassmetre rule (lacking), above adeep apron with aperture forsingle drawer (lacking), raisedon spirally fluted turned legson platform stretchers linkedby a stretcher and withmoulded pad feet, stampedmark ‘6963’

152cm long, 76cm high, 75cm wide


£1,000-1,500

102 FA171/16SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO.,LONDONFUMED OAK CENTRE TABLE,CIRCA 1924the rectangular moulded topwith later inset brass metrerule, above a deep apron withaperture for single drawer(lacking), raised on spirallyfluted turned legs on platformstretchers linked by astretcher and with mouldedpad feet, bears ivorine label‘Liberty/ London’, later label‘504

152.5cm long, 76cm high,

75cm wide


£1,000-1,500

103 FA171/17SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO.,LONDONFUMED OAK CENTRE TABLE,CIRCA 1924the rectangular moulded top,with inset brass metre rule,above a deep apron withaperture for single drawer(lacking), raised on spirallyfluted turned legs on platformstretchers linked by astretcher and with mouldedpad feet, stamped mark‘6963’, later labels ‘595’ and‘Woollen fabrics’



£1,000-1,500

104 FA171/22SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO.,LONDONSMALL FUMED OAK CENTRETABLE, CIRCA 1924the rectangular moulded topwith later inset brass metrerule, above a deep apron withaperture for single drawer(lacking), raised on spirallyfluted turned legs on platformstretchers linked by astretcher and with mouldedpad feet, stamped mark‘8696’

122cm long, 76cm high,

68.5cm wide


£500-700

105 FA171/23SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO.,LONDONSMALL FUMED OAK CENTRETABLE, CIRCA 1924the rectangular moulded topwith later inset for brassmetre rule (lacking), above adeep apron with aperture forsingle drawer (lacking), raisedon spirally fluted turned legson platform stretchers linkedby a stretcher and withmoulded pad feet, stampedmark ‘6966’, later label‘Scarves’

122cm long, 76cm high,

68.5cm wide


£500-700

106 FA171/26SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO.,LONDONLIMED OAK CENTRE TABLE,CIRCA 1924the rectangular moulded topwith later inset brass metrerule, above a deep apron withaperture for single drawer(lacking), raised on spirallyfluted turned legs on platformstretchers linked by astretcher and with mouldedpad feet, stamped mark‘6963’, later label ‘506’



£1,000-1,500



51

107 FA171/27SIR ROBERT LORIMER (1864-1929)FOR LIBERTY & CO., LONDONFUMED OAK CENTRE TABLE, CIRCA 1924the rectangular moulded top above a deepapron with aperture for single drawer(drawer distressed condition with laterhandle), raised on spirally fluted turned legson platform stretchers linked by a stretcherand with moulded pad feet, stamped mark‘6963’

152cm long, 76.5cm high, 75.5cm wide


£1,000-1,500

108 FA171/38SIR ROBERT LORIMER (1864-1929)FOR LIBERTY & CO., LONDONLIMED OAK CENTRE TABLE, CIRCA 1924the rectangular moulded top with later insetbrass metre rule, above a deep apron withaperture for single drawer, raised on spirallyfluted turned legs on platform stretcherslinked by a stretcher and with moulded padfeet



£1,000-1,500



52

110 FA171/29SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO.,LONDONSMALL FUMED OAK CENTRETABLE, CIRCA 1924the rectangular moulded top,with later inset brass metrerule, above a deep apron withaperture for single drawer(lacking), raised on spirallyfluted turned legs on platformstretchers linked by astretcher and with mouldedpad feet, stamped mark‘6866’

122cm long, 76cm high, 76cm deep


£500-700

113 FA171/46SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO.,LONDONFUMED OAK CENTRE TABLE,CIRCA 1924the octagonal sectional topwith pegged construction,above chamfered frieze onspirally tuned fluted andreeded supports withmoulded collars, linked bycurved and chamferedstretchers on mouldedbracket supports, bearsivorine label, ‘Liberty & Co/Regent St. London’, laterlabel ‘Scarves’

86.5cm diameter, 76cm high


£1,200-1,800

112 FA171/45SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO.,LONDONFUMED OAK CENTRE TABLE,CIRCA 1924the octagonal sectional topwith pegged construction,above chamfered frieze onspirally tuned fluted andreeded supports withmoulded collars, linked bycurved and chamferedstretchers on mouldedbracket supports, bearsivorine label, ‘Liberty/London’, one section lackingunder top, small chip to top



£1,200-1,800

111 FA171/44SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO.,LONDONFUMED OAK CENTRE TABLE,CIRCA 1924the octagonal sectional topwith pegged construction,above chamfered frieze onspirally tuned fluted andreeded supports withmoulded collars, linked bycurved and chamferedstretchers on mouldedbracket supports, bearsivorine label, ‘Liberty/London’, later label‘Scarves/Dept/ Tudor’



Literature:Cooper, Jeremy, ‘Victorian &Edwardian Furniture & Interiors’,Thames & Hudson, 1998, page 616,plate 612 for a similar example

£1,200-1,800

109 FA171/41SIR ROBERT LORIMER (1864-1929)FOR LIBERTY & CO., LONDONLIMED OAK CENTRE TABLE, CIRCA 1924the rectangular moulded top with later insetbrass metre rule, above a deep apron withaperture for single drawer, raised on spirallyfluted turned legs on platform stretcherslinked by a stretcher and with moulded padfeet, stamped mark ‘6963’



£1,000-1,500



114 FA171/47SIR ROBERT LORIMER (1864-1929)FOR LIBERTY & CO., LONDONFUMED OAK CENTRE TABLE, CIRCA 1924the octagonal sectional top with peggedconstruction, above chamfered frieze on spirallytuned fluted and reeded supports with mouldedcollars, linked by curved and chamfered stretcherson moulded bracket supports, later label ‘771’, onepanel lacking under top, crack to one panel on top



£1,000-1,500

115 FA171/48SIR ROBERT LORIMER (1864-1929)FOR LIBERTY & CO., LONDONFUMED OAK CENTRE TABLE, CIRCA 1924the octagonal sectional top with peggedconstruction, above chamfered frieze on spirallytuned fluted and reeded supports with mouldedcollars, linked by curved and chamfered stretcherson moulded bracket supports, bears ivorine label,‘Liberty & Co/ Regent St. London’, damage to top



£800-1,200

116 FA171/49SIR ROBERT LORIMER (1864-1929)FOR LIBERTY & CO., LONDONFUMED OAK CENTRE TABLE, CIRCA 1924the octagonal sectional top with peggedconstruction, above chamfered frieze on spirallytuned fluted and reeded supports with mouldedcollars, linked by curved and chamfered stretcherson moulded bracket supports



£1,000-1,500

53



54

118 FA171/51SIR ROBERT LORIMER (1864-1929)FOR LIBERTY & CO., LONDONFUMED OAK CENTRE TABLE, CIRCA 1924the octagonal sectional top with pegged construction,above chamfered frieze on spirally tuned fluted andreeded supports with moulded collars, linked by curvedand chamfered stretchers on moulded bracket supports,bears ivorine label, ‘Liberty & Co./ Regent St. London’,later label ‘Scarves’, one panel lacking under top, somedamage to central panel on top



£1,000-1,500

119 FA171/63SIR ROBERT LORIMER (1864-1929)FOR LIBERTY & CO., LONDONFUMED OAK CENTRE TABLE, CIRCA 1924the octagonal sectional top with pegged construction,above chamfered frieze on spirally tuned fluted andreeded supports with moulded collars, linked by curvedand chamfered stretchers on moulded bracket supports,two sections lacking under top



£1,000-1,500

117 FA171/50SIR ROBERT LORIMER (1864-1929)FOR LIBERTY & CO., LONDONFUMED OAK CENTRE TABLE, CIRCA 1924the octagonal sectional top with pegged construction,above chamfered frieze on spirally tuned fluted andreeded supports with moulded collars, linked by curvedand chamfered stretchers on moulded bracket supports



£1,000-1,500



55

120 EZ870/5SIR ROBERT LORIMER(1864-1929)OAK AND BURR OAKCENTRE TABLE,EARLY 20TH CENTURYmade by Whytock & Reid,Edinburgh, the square topwith inset angles and burrinlay raised on scrolling cut-out supports linked bycorresponding stretchers

84cm square, 72cm high

Provenance:Sir James Morton, Craigiehall,Edinburgh and by family descent

Literature:Morton, J., ‘Three Generations in aFamily Textile Firm’, London:Routledge & Kegan Paul, 1971,pages 314-5

Note:Craigiehall, a William & Marymansion just outside Edinburgh,was leased for the first time in 1926from the Earl of Rosebery to JamesMorton, the wealthy textile merchantand son of Alexander Morton, for a21 year period. By then, the househad lain empty for more than tenyears and extensive renovationswere carried out. Sir Robert Lorimerwas commissioned for work to thehouse, and a water-turbine wasbuilt beneath the Grotto to provideelectricity to the house and stables,which were renovated asaccommodation for Morton’s textileworkers; a craft studio was alsoestablished. The present lot ‘a finesquare table of Lorimer’s design’stood in the entrance hall.

£2,000-3,000

Other Property

121 FB006/1CELTIC REVIVALCOPPER FIRE SURROUND, CIRCA1920of rectangular outline with bowedcanopy and riveted panels, repoussédecorated with Celtic knots

101.5cm wide, 96.5cm high, 12.5cm deep

£300-500

122 FA878/3SIR ROBERT LORIMER(1864-1929) (MANNER OF) FORWHYTOCK & REID, EDINBURGHSET OF FOUR OAK CHAIRS, CIRCA1930each with ladder backs above drop inseats raised on square chamferedlegs (4)

Note:For chairs with similar construction see TheFine Art Society, Edinburgh, sale Phillips, 26thMay, 1992, lots 294 and 295

£400-600



56

123 FA765/1WHYTOCK & REID,EDINBURGHWALNUT BOOKCASE, 1930sthe arch moulded top carvedwith an acorn and oak leafcarved cornice above glazedand mullioned doors openingto shelves, over two longdrawers and a similarlycarved apron, on squat feet


£1,000-1,500



57

124 FA878/2THOMAS HADDEN (1871-1940)(ATTRIBUTED TO)STEEL COMPANION SET, CIRCA 1920the central supporting column withdomed surmount filled withdecorative scrollwork and suspendingfire irons, raised above correspondingdomed base

83cm high

Literature:Wright, Elizabeth F., ‘Thomas Hadden:Architectural Metalworker’ Journal of theSociety of Antiquaries of Scotland, 1991, p.427

Note:Thomas Hadden was born in Hamilton, Lanarkshire, in1871. He came from a metal-working family and hisfather, grandfather and uncle all worked with iron inand around Haddington, East Lothian. Hadden trainedinitially at Howgate, near Edinburgh, and on thecompletion of his apprenticeship worked in Edinburghfor James Milne & Sons. In 1901, after a short periodin London, he decided to set up in business in EastSilvermills Lane, Edinburgh, in partnership with hisbrother Robert, a woodcarver. From its earliest days,the firm specialized in decorative smithwork,principally, though not exclusively, in collaboration withone of the leading exponents of the movement torevitalize Scottish vernacular traditions, Sir RobertLorimer.The firm of Thomas Hadden ceased production in 1975.

£500-700

125 FA837/28SIR ROBERT LORIMER (1864-1929)(DESIGNER), THOMAS HADDEN (1871-1940)(MAKER)STEEL COMPANION SET, CIRCA 1910comprising a poker, an ash shovel, a pair ofcoal nippers, supported on a stand withgalleried tray

53cm high

Literature:Wright, Elizabeth F., ‘Thomas Hadden: ArchitecturalMetalworker’ Journal of the Society of Antiquaries ofScotland, 1991, p.432, illus. 5 for a similar example.

£700-900

126 EAA562/5THOMAS HADDEN (1871-1940)FOR WHYTOCK & REID, EDINBURGHSET OF FIVE WROUGHT IRON WALL LIGHTS, 1930Seach of bracket form, with elaborate scrollwork centredby a flowering rose (5)

45cm high

Provenance:Whytock & Reid, Edinburgh

£200-300



58

127 FA948/2ALEXANDER RITCHIE(1856-1941)RARE COPPER PAPER KNIFE, CIRCA 1920cast as a Celtic bird, stamped mark verso‘A.R./ IONA’

21cm long

Literature:MacArthur, E. Mairi, ‘Iona Celtic Art’, Iona 2003,page 59, ill. 19a for a similar example

£200-300

128 FA244/2ALEXANDER RITCHIE(1856-1941)BRASS WALL CANDLE SCONCE, CIRCA 1920the backplate repoussé decorated with alongboat and entwined foliate motifs above adrip tray (nozzle lacking)

26cm high

£300-500

129 FA877/1ALEXANDER RITCHIE(1856-1941)SILVER AND ENAMEL BROOCH, 1939of circular form with entwined Celtic knotdecoration, stamped maker’s marks, marksfor Birmingham 1939

3.5cm across

Literature:MacArthur, E. Mairi, ‘Iona Celtic Art’, Iona 2003, page40, ill. 8f for a similar example

£200-300



59

130 FA529/7GEORGE BAIN (1881-1968)FOR QUAYLE & TRANTERLTD., KIDDERMINSTERCELTIC ‘HUNTING’ CARPET,CIRCA 1948the machine woven ivory fieldwith central red octagonalCeltic knotwork medallionsurrounded by huntsmen withdogs, deer, boar and horseswithin red and polychromestrapwork border

366cm x 272cm

Note:George Bain was born in Scrabsterin northern Scotland, and was an artteacher who almost single-handedlyrevived interest in Celtic and Insularart.His book ‘Celtic Art: The Methods ofConstruction’ was published in 1951.Although it had little impact at thetime, on its re-issue in 1971 itintroduced a generation to Celticknotwork, the Pictish stones, theBook of Kells and the Book ofDurrow. As well as describing andillustrating over 200 historicalexamples, his book was notable forgiving detailed instructions oncreating similar interlace, spiral,and trumpet designs, andencouraging their use in craftwork.

£800-1,200



60

131 FA242/1BENNO SCHOTZ (1891-1984)BRONZE FIGURE,DATED 1925bronze, signed and dated inthe bronze ‘B. Schotz, 1925’

Total height, 34.5cm

Note:Benno Schotz emigrated to Glasgowfrom Estonia in 1912, and gained anengineering diploma from the RoyalTechnical College. From 1914-1923he worked in the drawing office ofJohn Brown and Company, aClydebank shipbuilders, whileattending evening classes insculpture at the Glasgow School ofArt.Schotz became a full time sculptorin 1923 and rose to became a fullmember of the Royal ScottishAcademy, head of sculpture at theGlasgow School of Art (a post heheld from 1938 until his retirementin 1961), and eventually Sculptor inOrdinary for Scotland in 1963.

£1,000-1,500

132 YE2011/15OLIVE CARLETON SMYTH(1882-1949)THE PIPES OF PANTempera on Paper, signedwithin contemporary silveredframe

24.5cm x 40.5cm

Note:Olive Carleton Smyth trained atGlasgow School of Art between 1900and 1909 as a fresco decorator andartist. She was an early tutor at theSchool and was recruited by Francis(Fra) Newbery in 1902 while still astudent.Smythe’s work has a theatricalquality, reflecting her interest intheatre, and her influences includedthe Ballets Russes, with its dramaticthemes, colours and costumes.

Literature:Burkhauser, Jude (edit.), ‘GlasgowGirls: Women in Art and Design’,Edinburgh 1990, pages 170-172

£2,000-3,000

133

134 138

136



61

133 FA280/1JOHN MONCRIEFF LTD.,PERTH‘MONART’ GLASS TABLELAMP, CIRCA 1930the mushroom shade withadjustable brass support,raised on a shouldered base,the clear glass with swirlinglemon and white inclusionsand with further green andpink inclusions, bears originalpaper label to base‘VII.P/23.390’

37cm high

Note:‘Monart’ glass was produced inPerth from the 1920s to 1960s. TheMonart name grew from thecollaboration of the Moncrieff andYsart families. Salvador Ysart and hisson Paul came to work at the factoryin 1922 and created vibrant designsthat were supplied to stores such asLiberty’s in London.

£800-1,200

138 FA280/4JOHN MONCRIEFF LTD.,PERTH‘MONART’ GLASS VASE,CIRCA 1930of ovoid form, the clear glasswith swirling lemon and whiteinclusions and with furthergreen and pink inclusions

18cm high

£150-250

139 FA408/5CHRISTOPHER DRESSER(1834-1904) FOR JAMESCOUPER & SONS, GLASGOW‘CLUTHA’ GLASS BOTTLEVASE, CIRCA 1900green glass with bubbleinclusions

20cm high

£200-300

136 FA280/3JOHN MONCRIEFF LTD.,PERTH‘MONART’ GLASS VASE,CIRCA 1930of ovoid form, the clear glasswith swirling lemon and whiteinclusions and with furthergreen and pink inclusions

21cm high

£150-250

137 FA249/2JOHN MONCRIEFF LTD.,PERTH‘MONART’ GLASS TABLELAMP BASE, CIRCA 1930of shouldered form withoriginal brass shade support,the clear glass with swirlinglemon and white inclusionsand with further green andpink inclusions, bears originalpaper label to base

20cm high

£150-250

134 FA280/2JOHN MONCRIEFF LTD.,PERTH‘MONART’ GLASS VASE,CIRCA 1930of flared trumpet form withapplied foot, the clear glasswith swirling lemon and whiteinclusions and with furthergreen and pink inclusions

26cm high

£150-250

135 FA249/1JOHN MONCRIEFF LTD.,PERTH‘MONART’ GLASSPLAFFONIER, CIRCA 1930the circular domed shadewith white mottled inclusions,and with orange inclusions tothe rim, with original fittingsand hanging chains

40cm diameter

£300-500



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141 FA234/1ELIZABETH MARY WATT(1886-1954)STILL LIFE WITH FLOWERSoil on canvas, signed

51.5cm x 42.5cm

£400-600

140 EZ514/8JOSEPHINE MILLER(1890-1975)‘SEASONS OF THE YEAR’ FOURFOLD MAHOGANY SCREEN,CIRCA 1926each fold with upper panelpainted in oils with a scenedepicting the seasons within amoulded frame and with plainpanel below, each panel signedand dated 1926

each fold; 168cm x 52cm

Literature:Burkhauser, Jude (Edit.) ‘GlasgowGirls’, Edinburgh 1993, fig 321, page 237

Note:Josephine Haswell Miller (1890-1975)trained at Glasgow School of Art from1905 to 1914 under Anning Bell. Whilststill a student she executed a mural oncanvas entitled ‘Science’ (1913) still insitu at Possilpark Library, Glasgow. Shealso studied in Paris and in Londonunder Sickert. In 1916 she marriedfellow student A. E. Haswell Miller. Shethen taught etching at the School of Artfrom 1924 to 1932. When her husbandbecame keeper at the Scottish NationalPortrait Gallery they moved toEdinburgh. In 1938 she became the firstwoman to be elected Associate of theRoyal Scottish Academy. Her style is‘unmistakably of her time - clean cutand commanding.’

£2,000-4,000

142 FA244/1ELIZABETH MARY WATT(1886-1954)THE CUILLINSwatercolour, signed and dated1942

25.5cm x 35cm

Note:Elizabeth Mary Watt studied at theGlasgow School of Art 1906-17where she won a diploma and atravelling scholarship to study onthe continent, visiting Paris, Venice,Florence, Geneva and Rome. On herreturn, she taught at the GlasgowHigh School for Girls, and latermade her living as a painter and acommercial pottery painter,producing work in her studio inGlasgow.

£300-500

143 FA235/1ELIZABETH MARY WATT(1886-1954)(ATTRIBUTED TO)CERAMIC BROOCH,CIRCA 1930decorated in colouredenamels with stylised floralmotifs within a brass mount

5cm diameter

£150-250



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145 FA962/15RICHARD AMOUR FORBOUGH POTTERY,EDINBURGHEARTHENWARE OVALJARDINIERE, CIRCA 1930painted with a frieze offruiting cherries andbutterflies, painted andprinted marks ‘R.A./ Bough/47/ Made in Scotland’

26cm across

Note:‘Bough’ pottery was set up inEdinburgh by Elizabeth Amour whohad attended the Glasgow School ofArt from 1908 to 1912. Amourbought blanks from various sourceswhich were decorated by herself andother members of her family andthen glazed. Most pieces aremarked ‘Bough’ and initialled by thedecorator. The present lot isdecorated Elizabeth Amour’sbrother, Richard. Bough pottery wasproduced until 1942.

£150-250

146No lot

144 EY557/9GORDON MACWHIRTER WEBSTER(1908-1987)PAIR OF STAINED, PAINTED ANDLEADED GLASS PANELS, CIRCA1950each with lancet arch outline,bearing inscriptions ‘Bring Me UntoThy Holy Hill’, and ‘Behold I Am AliveFor Evermore’ (2)

Each panel 204cm high, 74cm wide

Provenance:Broomhill Trinity Church, GlasgowLiterature; Donnelly, Michael, ‘Scotland’sStained Glass’, pub. The Stationary Office,1997, page 96.

Note:Gordon McWhirter Webster’s father Alfred A.Webster was a Stained Glass artist between1884 and 1915. On his death his widowcontinued to operate her dead husband’sfirm. In 1929 it finally passed under thedirect management of Alf’s son Gordon whohad been an infant at the time of his father’sdeath. Mrs Webster had managed to keepthe studio solvent by placing the practicalmanagement of the glass shop in the handsof the firm’s former apprentice and assistantDouglas Hamilton. Hamilton trained Gordon,but like him he was for a number of yearsstrongly influenced by his late father’s work.His fine early windows might very well bemistaken for that of his father’s. However bythe mid-1930s he had discovered his ownvoice and some of his work from this periodare very fine indeed

£1,500-2,000

147 FA408/4NEIL MORRIS FOR H.MORRIS & CO. LTD,GLASGOWPLYWOOD ‘TOBY’ CHAIR,1950Swith coated steel legs linkedby stretchers, stamped mark‘Toby Chair/ Morris ofGlasgow’

78.5cm high

£80-120



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148 FA878/11NEIL MORRIS FOR H. MORRIS & CO. LTD,GLASGOWPROTOTYPE ‘NIMBUS’ TABLE, DESIGNED 1947the shaped freeform plywood top, raised ontapered legs, stamped mark to base ‘ProtoNimbus 1XX’


£400-600

150 FA277/4SIR EDUARDO PAOLOZZI(1924-2005)HORSE WITH ANATOMYplaster figure

53.5 cm long

£800-1,200

149 FA878/10NEIL MORRIS FOR H. MORRIS & CO. LTD,GLASGOWRARE TEAK ‘COIN TABLE’, CIRCA 1953the bowed rectangular top inset with coins,raised on tapering legs, bears inset makers labeland plaque inscribed ‘Coin Table/ Designed byNeil Morris/ 1st set of minted coins 1953/restricted issue’

43cm wide, 47cm high, 89cm long

£400-600



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151§ EZ565/23SIOBHAN HEALY(BORN 1976)‘FLORAL’ GLASS CHARGER,CIRCA 2000frosted and clear glass,etched with flowers and withcoloured floral inclusions,etched signature

46.5cm diameter

152 FA630/2NORMAN ORR (1924-1993)ENGRAVED GLASSCOMPORT, DATED 1977of circular form with appliedfoot, etched with a design ofDaniel and the Lion, etchedmark to foot ‘Orr 77’

25.5cm diameter

£150-250

Note:Siobhan Healy has received severalawards such as the CreativeDevelopment award from theScottish Arts Council-CreativeScotland and also the Forth ValleyMakers Award 2010. She specialisesin architectural glass commissionsfor public buildings and alsosculptural artworks for galleries.Previous clients include The ScottishGovernment, The RoyalIncorporation of Architects inScotland (RIAS), The BBC, CraignishCastle, North Lanarkshire Council,East Dumbartonshire Council andClackmannanshire Council. Herwork is in collections in the UK,India, USA and Dubai.

£150-250

153 EZ318/1ALAN JAMES MILLAREBONISED OAK AND MAPLEVENEERED DINING ROOMSUITE, CIRCA 1980comprising: a dining table ofstepped elliptical form,quarter-veneered with burrmaple and raised on swollenturned supports, tapering toturned and blocked feet,127cm wide, 240m long, 74cmhigh; and eight matchingdining chairs, four “female”and four “male” (9)

Note:Designed for the boardroom ofMcGurn, Logan, Duncan & OpferArchitects, Woodside Place,Glasgow, and made by PiersKettlewell cabinetmakers, circa 1985

£500-800

154 EAA270/26MARGERY CLINTON(1931-2005)EARTHENWARE LUSTREBOWL, CIRCA 1970of quatrefoil form, paintedinitials to base and dated‘9.8.85’, 38cm diameter; alsoa MARGERY CLINTON LAMPBASE, also decorated withlustre glazed, initialled, 30cmhigh (2)

Note:Margery Clinton was a specialist inreduction lustre glazes. She studiedpainting at the Glasgow School ofArt from 1949 to 1953 and becameinvolved with ceramics in the 1960s,researching reduction lustre glazesat the Royal College of Art in theearly 1970s.In 1978 she set up a workshop atNewton Port in Scotland and workedthere in partnership with JanWilliamson until 1981, continuingthere until 1995 when she moved thepottery to Dunbar.Her work has been exhibited at theTate, the V&A, Glasgow Art Galleryand Museums and the RoyalMuseum of Scotland.

£200-300



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155 EAA270/27MARGERY CLINTON(1931-2005)THE THREE ESTATES, 1970sthree felt collage hangings,each bearing makers label‘Designed and made byMargery Clinton/ 43Marlborough Avenue/Glasgow W.1/ Scotland’ (3)

171cm high and 78.5, 75.5, and

69cm wide respectively

£400-600



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156 FA382/1TIM STEAD (1952-2000)PINE, MAHOGANY ANDSPECIMEN WOOD DINING ROOMSUITE, LATE 1980scomprising a refectory table, therectangular top with six appliedplace settings, each inlaid in anabstract parquetry withspecimen woods, with centralapplied plate rest, raised ontrestle ends linked by astretcher, 203cm long, 77.5cmhigh, 90cm wide; a PAIR OFMAHOGANY BENCHES, eachwith moulded seats and chevronparquetry inlay, 183cm long; aCARVER ARMCHAIR; aMATCHING SIDE CHAIR; and aFOOTREST (6)

Note:Tim Stead was born in the Cheshirecountryside, surrounded by trees. Hestudied fine art at Trent Polytechnic,where his interest in creating fromwood was developed and in 1975,Stead did postgraduate work at theSchool of Art in Glasgow, where hemet his life partner, Maggy, whocontinues his studio today.Major commissions included CaféGandolfi in Glasgow (1979); TheMemorial Chapel at the Kirk of StNicholas, Aberdeen, created afterthe Piper Alpha disaster; the thronefor the Pope’s visit to Scotland in1983; the Peephole in the GlasgowGallery of Modern Art (1996) and hislast major work, a collaboration,was the Millennium Clock in theRoyal Museum of Scotland inEdinburgh.

He was a founding member of theWoodschool which enablescraftsmen to develop the skillsneeded to make full use of local,native timbers and in 1986 helaunched the “Axes for Trees”project, which involved making onewooden axe head for every day of theyear, and selling them to raisemoney to plant trees. He was also aco-founder of the Borders ForestTrust and played a leading role inthe Millennium Forest project, whichcreated Community Woodlandsthroughout Scotland.

£1,000-1,500



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157 FA983/1TIM STEAD (1952-2000)ELM AND BURR ELMSIDEBOARD, CIRCA 1990with gold fillerembellishment, the freeformtop above two burr wooddrawers and with twocupboard doors below, eachwith pegged hinges andenclosing a shelf


Provenance:Purchased from the artist

£1,500-2,000

158 FA983/4TIM STEAD (1952-2000)ELM AND BURR ELM OCCASIONALTABLE,CIRCA 1990with gold filler embellishment, thefreeform top above crossed supports



£300-500

159 FA983/3TIM STEAD (1952-2000)ELM AND BURR ELM SIDE CABINET,CIRCA 1990with gold filler embellishment, thefreeform top above single cupboarddoor with applied pegged hinges



£300-500



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160 FA983/2TIM STEAD (1952-2000)ELM AND BURR ELM COFFEE TABLE,CIRCA 1990with gold filler embellishment, thefreeform top above twin trestle ends,linked by a stretcher with supportingbracket



£500-700

161 FA984/1SCOTTISH SCHOOLHARDWOOD CHAISELONGUE, CIRCA 1990the carved concave head restand seat, with adjustingratchet, resting on a squaresection frame with broadarmrests and square taperingsupports linked by stretchers

153cm long (approx), 104cm high

(approx.), 61cm wide

£500-700

162 FA984/2SCOTTISH SCHOOLHARDWOOD SIDE CHAIR,CIRCA 1990to match the previous lot, thecarved concave back andseat, raised on squaretapering supports

£200-300

END OF SALE

Silver from GlasgowA SELLING EXHIBITION

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COTLAND has been an important centre for the craft of silversmithingfor over 500 years and Glasgow holds a significant place within that story.

From recent research which suggests that surviving early objects such as theBute Mazer (14th/16th century) were partly fabricated in Glasgow, to the welldocumented role of the immensely wealthy 19th and early 20th century cityas a powerhouse of technological progress and industrial skill whichsupported innovative domestic design, to the post war prominence achievedby Glasgow School of Art as centre for the training and education ofsilversmiths, all reminds us of the central role of Glasgow to the story ofScottish silver.

This exhibition of recent silver tableware has been drawn from the studios ofsix silversmiths, all of whom have studied at Glasgow School of Art. Theselection has been made to illustrate the particular strengths of each studio,both in terms of technique and idea, but collectively works illustratesomething which could be described as indicative of a Glasgow style: elegant,pared down functional objects for everyday use which celebrate the skill andprecision of the engineer as well as the hand and eye of the artist.

Many thanks are due to John Mackie and his team at Lyon & Turnbull forcreating this opportunity to celebrate Scottish design in silver in this way.

Amanda Game, May 2011

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Silver From Glasgow

ELEN MARRIOTT studied at Glasgow School ofArt and is now Course Leader in the Department

of Silversmithing and Jewellery. She specialises infunctional silver hollowware and numerous private andpublic commissions include a pair of candlesticks forthe Bute House silver collection.

2. Sugar Bowl and CreamersilverBowl, 120mm high, 75mm wide, Creamer, 110mm high, 75mm wide£5,500

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1. Cupcake Standsilver and shagreen300mm high, 280mm wide£4,800

NGELA CORK studied at Glasgow School of Art,Bishopsland Educational Trust and the Royal

College of Art London. She has her own studio inLondon working to commission and for exhibition.Her aim is to create visually challenging pieces whichretain their functionality. Her formidable skills honed toexplore the balance of the object and also the spacearound and within it.


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3. Wedge Vasesterling silver, satin finish233mm x 150mm£5,750


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7. Square Tilt Dishsilver, semi-matt finish106mm x 103mm£5,950

6. Small Square Tilt Dishsilver, semi-matt finish63mm x 63mm£1,150

5. Round Tilt Dishsilver semi-matt finish63mm wide£960

4. Pivot Bowlsilver, semi-matt finish260mm x 170mm£7,800

ARION KANE is an award winning silversmith,based in West Kilbride who graduated from

Glasgow School of Art in 1999. All her work ishandraised and the subtle gradations of texture andtone are created through the skilful use of differenthammers. Inspiration is drawn from the natural worldand many pieces are enriched with gold inlay to addwarmth and texture to finished works, intended forpleasure and use.


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8. Navette covered bowlfine silver & gold foil160mm high, 160mm wide£3,600

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9. Edge bowlBritannia silver & gold foil93mm high, 155mm wide£3,200

10. Double stripe beakerBritannia silver & gold foil83mm high, 75mm diameter£720

11. Edge beakerBritannia silver & gold foil100mm high, 65mm diameter£720

12. Pair of candlestickssilver, jasper120mm high, 88mm diameter£1,500 pair

OGER MILLAR studied at Glasgow School of Artunder J. Leslie Auld and then the Royal College of

Art in London. He has been a significant figure indesign education in the field of silversmithing inScotland firstly developing the course at Duncan ofJordanstone College of Art in Dundee then for 20 yearscreating what is widely acknowledged as one of the bestundergraduate training programmes in the UK inGlasgow. He has also developed a successful studio inGlasgow undertaking both commissioned andexhibition work, internationally. He believes that silvershould give pleasure both visually and to handle andthrough these means encourage much use.

13. Pair, ‘Living Silver’ candlestickssilver, stainless steel165mm high, 460mm long£1,200

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16. Pair of candleholderssilver, Corian©75mm high, 95mm wide£650 pair

15. Tea-kettlesilver, Corian©220mm total height, 120mm wide£2,300

14. Cream sugar bowl and jugsilverSugar bowl, 50mm high, 83mm wideJug, 90mm high, 55mm wide£1,400

17. Driftwood Serving SpoonsSterling silver & driftwood 2008Average Lengths 320mm - 400mm£675 each

RANT MCCAIG was born in Edinburgh andstudied at Glasgow School of Art and is currently

completing a Masters Degree at the Royal College of Artin London following a decade of successful studiopractice, combined with teaching, in Edinburgh. Hehas always had a deep fascination with the sea, finding ita constant source of inspiration, from the shape of theboat hulls to the treasures we find along the tide line.

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19. Rocking Jug with Ebonised Oak Wood HandleRocking Jug with Ebonised Oak Wood Floating Handlesilver, distressed re-cycled blackened oak wood, 2008.145mm high, 120mm wide and 135mm high, 110mm wide£3,100 each

18. Drifting Vessel with Driftwood Handlehand raised Britannia silver withdriftwood, 2008150mm high, 100mm wide£3,400

20. Bishopsland Beakerssilver with gold inlay110mm high, 65mm wide£4,800 pair

INDA ROBERTSON was born and bred on the Isleof Bute. She graduated from Glasgow School of Art

in 1997 and th Royal College of Art in 2000. She takesinspiration from the architectural and street landscapeof the city from buildings to drain covers and roadmarkings and feels that the architecture of the cityshould be directly linked to the architecture of thetable.

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21. Limehouse SetCarafe and Set of 6 Shot GlassessilverCarafe, 270mm high, 135mm wideShots, 63mm high, 45mm wide£5,600/set


Wemyss WareTuesday, 16th August, 201133 Broughton Place, Edinburgh EH1 3RR

www.lyonandturnbull .com

WEMYSS WARERARE RABBIT FIGURECIRCA 1900£3,000-5,000

Viewing timesSunday 14th August 12 noon - 4pmMonday 15th August 10am - 5pmMorning of Sale from 9am

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

Further entries are invited untilFriday 1st July

Further entries are invited until Friday 1st July

Scottish Silver & AccessoriesTuesday 16th August, 201133 Broughton Place, Edinburgh EH1 3RR

EnquiriesColin FraserTel: +44 (0)131 557 [email protected]

Trevor KyleTel: +44 (0)131 557 [email protected]

Contemporary Paintings & Works of ArtThursday 25th August, 201133 Broughton Place, Edinburgh


ERIC HOLT(BRITISH b. 1944)CARNIVAL FANTASYSigned and dated1990-91, oil on canvas

91cm x 61cm (36in x 24in)

£2,000-3,000

Viewing timesSunday 21st August12 noon to 4pm

Monday 22nd August toTuesday 23rd August10am - 5pm

Morning of SaleBy appointment only

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

Further entries are inviteduntil 15th July 2011

Decorative Arts:Design from 1860Wednesday, 9th November, 201133 Broughton Place, Edinburgh EH1 3RR


FRENCH ART DECOEBONISED MAHOGANY AND BRASS MOUNTEDWRITING DESK, 1930S£3,000-5,000

Viewing timesSunday 6th November 12 noon - 4pmMonday 7th November 10am - 5pmTuesday 8th November 10am - 5pmMorning of Sale from 9am

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

Further entries are invited untilMonday 3rd October

88

STANDARD TERMS &CONDITIONS OF SALE

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

1. DEFINITIONS

In these Conditions:

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

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

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

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

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

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

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

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

2. BIDDING PROCEDURES AND THEBUYER

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

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

(c) Bidders shall be deemed to act asprincipals.

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

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

3. INCREMENTS

Bidding increments shall be at theauctioneer’s sole discretion.

4. THE PURCHASE PRICE

The buyer shall pay the hammer pricetogether with a premium thereon.Antiques, Jewellery & Silver and Pictures(Not Fine Sales)17.5%.

All other sales (Fine/Special/Collections)25% up to £25,000 / 20% thereafter.VAT will be charged on the premium at therate imposed by law.

5. VALUE ADDED TAX

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

6. PAYMENT

(1) Immediately a lot is sold you will:

(a) pay to us the total amount due in cashor in such other way as is agreed by us.We accept cash, bank transfer (details onrequest), Switch or Debit Cards and Visaor MasterCard (please note there is asurcharge of 1.5% (VAT included) whenusing credit cards). We do not acceptAmerican Express.

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

7. TITLE AND COLLECTION OFPURCHASES

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

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

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

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

8. REMEDIES FOR NON-PAYMENT ORFAILURE TO COLLECT PURCHASES

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

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

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

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

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

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

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

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

(h) to apply any proceeds of sale of otherlots due or in future becoming due to youtowards the settlement of the total amountdue and to exercise a lien (that is a right to

retain possession of) any of your propertyin our possession for any purpose until thedebt due is satisfied.

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

9. THIRD PARTY LIABILITY

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

10. COMMISSION BIDS

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

11. WARRANTY OF TITLE ANDAVAILABILITY

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

12. AGENCY

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

13. TERMS OF SALE

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

14. STANDARD VENDOR FEES ANDCHARGES (Subject to VAT)

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

(2) If a vendor wishes to withdraw a lotconsigned for sale, a withdrawal fee willapply; this will be charged at 15% of themid estimate with any photographycharges incurred and all subject to VAT atthe current rate.

15. DESCRIPTIONS AND CONDITION

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

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

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

16. FORGERIES

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

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

GENERAL

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

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

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

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

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

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

22. Scottish law applies to theinterpretation of these Conditions.

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Local DeliveriesLocal deliveries can bearranged by A&S Pert Re-movals.Telephone 07876 343520.

Packing and ShippingPlease note that we do notpack or ship items. The fol-lowing suggested carrierswill be able to arrangepacking and shipping;please contact them di-rectly to receive a quote.You may wish to contact analternative courier.

Smaller itemsMailboxes Etc44/46 Morningside RoadEdinburgh EH10 4BFTel: +44 (0)131 556 6226Fax: +44 (0)131 652 3673Email:[email protected]

Furniture and larger itemsConstantineConstantine HouseNorth Caldeen RoadCoatbridgeNorth Lanarkshire ML5 4EFTel: +44(0)1236 750055Fax: +44(0)1236 750077E-mail:[email protected]

A Van Man TransportUnit 5, Benridge ParkHolyrood Close, Creek-moorPoole, Dorset BH17 7BDTel: +44 (0)1202 600 012Fax: +44 (0)1202 600 206Email: [email protected]

Fine Art CarriersGallery Support Group37 Cremer StreetLondon E2 8HDTel: +44 (0)20 7729 6692Email:[email protected]

Arrangements for Sold LotsAll bought items will be heldfree of charge at BroughtonPlace until the Friday follow-ing the sale.

Thereafter lots will be re-moved to store in Edinburghand a charge incurred.

Administration fee:£20 + VAT

Storage charges per lot perday are:

Large Items£5 inc. insurance + VAT

Small Items£2.50 inc. insurance + VAT

CateringRefreshments will be avail-able at the saleroom on viewdays and day of sale.

Waverley Station

ParkingMulti-storey car parking isavailable at Greenside Placeand in the St. James Centre;five minutes walk from thesaleroom.

Lyon & Turnbull saleroom

St Andrew Square

© Lyon and Turnbull Ltd. 2011. All rights reserved. No part of thispublication may be reproduced, stored in a retrieval system ortransmitted by any form or by any means without the prior writtenpermission of Lyon and Turnbull Ltd.

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

email. [email protected]

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

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

scottish design sale catalogue lyon & turnbull

Documents

day of sale

conditionsof sale

offeredfor sale

pmmorning of sale

buyers risk

buyers premium25

potential buyers

bidding number