Scottish Design Sale catalogue Lyon & Turnbull by Mike Bascombe

EDINBURGH Scottish Design from 1860

Wednesday 15th June 2011 33 Broughton Place Edinburgh

Scottish Design from 1860 Wednesday 15th June 2011 11am Sale Number LT322

Viewing Sunday 12th June 2011 12 noon - 4pm Monday 13th June 2011 10am - 5pm Tuesday 14th June 2011 10am - 5pm Morning of Sale from 9am Specialist John Mackie john.mackie@lyonandturnbull.com +44 (0)131 557 8844

Silver From Glasgow A SELLING EXHIBITION Sunday 12th June 2011 12 noon - 4pm Monday 13th June 2011 10am - 5pm Tuesday 14th June 2011 10am - 5pm Wednesday 15th June 2011 10am - 3pm

Catalogue: £10 BUYERS’ PREMIUM 25% up to £25,000 20% thereafter. VAT will be charged on the premium at 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 Conditions of Sale and Information for Buyers).

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Scottish Design from 1860 Welcome to the first of what we hope will be an annual sale of Scottish Design from 1860. From the Aesthetic and Arts & Crafts Movements, through Art Nouveau and the Glasgow Style and Celtic Revivalism to the present, Scotland has a rich heritage of excellence in craft and design. In international terms this heritage arguably reached its zenith at the turn of the 19th century when Charles Rennie Mackintosh and his circle became the foremost exponents of Art Nouveau in Britain, going on to influence the course of design history internationally. It is also remarkable however to reflect on the other great names produced by this small country. Gothic giants like Bruce James Talbert; the Aesthetic designers Daniel Cottier and Christopher Dresser; the Glasgow 'Four' and designers George Walton and Jessie M. King; and Edinburgh architect and designer Sir Robert Lorimer are just a handful of the many Scottish designers who went on to achieve worldwide recognition. This rich heritage of excellence in craft and design continues today and to celebrate that continuum we are hosting a selling exhibition to coincide with sale; Silver from Glasgow which you can view towards the end of this catalogue. The selling exhibition is curated by Amanda Game and includes work in silver of the highest standard from designers and makers associated with the Glasgow School of Art.

LY O N & T U R N B U L L Scottish Design from 1850

1 FA275/5 BRUCE JAMES TALBERT (1838-1881) WALNUT AND BURR WALNUT CORNER CABINET, CIRCA 1870 with ebonised and specimen wood banding and with gilt incised decoration, the upper section with turned spindle gallery above twin doors, each with inset panels carved with sunflowers and enclosing an adjustable shelf, the back with mirrored panels over base with two bowed shelves, the whole supported on turned and blocked legs 95cm wide, 189cm high, 58cm deep Note: Born in Dundee in 1838 Talbert trained initially as a carver and later as an architect however he became best known as a decorator and furniture designer. He ran a prolific design studio employing numerous pupils and buying in work from freelance designers. His textile designs were produced by Warner’s, Templeton’s, Cowlishaw, Nichol & Co. and Barbour & Miller, carpets by Templeton’s and Brinton & Co., furniture by Cox & Co., and metalworks for Coalbrookdale. He published ‘Gothic Forms’ in 1867 and ‘Examples of Ancient & Modern Furniture, Metal Work, Tapestries, Decorations & c.’, in 1876. Together with the posthumously published ‘Fashionable Furniture’ of 1881, these books reflect the changing fashions of the late 19th century.

£3,000-5,000

LY O N & T U R N B U L L Scottish Design from 1860

2 EZ836/8 DANIEL COTTIER (1838-1891) (MANNER OF) AESTHETIC MOVEMENT PAINTED AND STAINED GLASS ROUNDEL, 1870 depicting the head of a man 23cm diameter

£300-500

3 FA275/13 JOHN MOYR SMITH (1839-1912) FOR MINTON CHINA WORKS GROUP OF FIVE ‘ANACREON’ PLATES, CIRCA 1877-8 ‘The Governor’; ‘The Dessert’; ‘The Cup of Health’; ‘The Grace’, and ‘The Master of the Revels’, each with impressed and painted factory marks (5) 25.5cm across Literature: Stapleton, Annamarie, ‘John Moyr Smith: A Victorian Designer’, Richard Dennis 2002, page 56 Dictionary of Scottish Architects, 2008 Note: John Moyr Smith was born in Glasgow as John Smith on 12 March 1839. He was articled to James Salmon c.1855-59, and attended Glasgow School of Art from November 1857. At this time Moyr Smith became a member of Alexander Thomson’s circle, which included Leiper, Bruce Talbert, and Daniel Cottier, and began developing an interest in painting and the decorative arts. In 1866 he moved to London as assistant to George Gilbert Scott and from there produced designs for Christopher Dresser, Bruce Talbert and others. From about 1870 he had an extensive commercial practice of his own, and as well as producing designs for major manufacturers like Mintons, also produced decorative interior schemes for clients both in the UK and USA.

£400-600

LY O N & T U R N B U L L Scottish Design from 1860

4 FA276/2 ALEXANDER BALLANTINE (1841-1906) FOR BALLANTINE AND GARDINER, EDINBURGH PRELIMINARY DESIGN FOR THE WAUCHOPE WINDOW, ST. GILES CATHEDRAL, EDINBURGH, CIRCA 19 ink and watercolour 116cm x 62cm Note: The memorial window to MajorGeneral Andrew Gilbert Wauchope CB, CMG., LL.D, who died in South Africa in 1899, is by Ballantine and Gardiner and depicts the Biblical stories of King David, and David and Jonathan. It is believed the present lot is preliminary study for the window. The tracery design is identical, insignia of the Order of the Bath and the Order of St Michael are matching, the pose of the figures of David and Jonathan are also similar

5 FA565/4 JOHN MOYR SMITH (18391912) FOR MINTONS LTD GROUP OF SEVEN ‘AESOP’S FABLES’ SERIES TILES, CIRCA 1878 printed brown on cream glaze, 15.5cm square; and a GROUP OF FIVE MINTONS TILES, each printed blue on white (12) £200-300

and a number of the angels are matching. James Ballantine and Son were Edinburgh-based manufacturers founded by James Ballantine (1808-1877) and George Allan as Ballantine & Allan. They began making stained glass in the 1830s. In 1843 they won a competition to design windows for the new Houses of Parliament, although in the event they only provided some windows for the House of Lords. James Ballantine was the author of a series of books on the history and techniques of stained glass manufacture, notably ‘A Treatise on Painted Glass’. (1845). His son Alexander Ballantine joined the firm, which was then known as Ballantine and Son from about 1860 until 1892, and then Ballantine and Gardiner until 1905, when Herbert Gardiner joined as a partner. From 1905 Alexander Ballantine was joined by his son James Ballantine II (1878-1940), by then the firm was known as A. Ballantine & Son.

£1,000-1,500

6 EAC294/2 MARY NEWBERY STURROCK (1890-1985) COLLECTION OF CERAMICS, CIRCA 1920 to include earthenware serving bowl with single handle, cream glazed and painted with flowers, 26cm long; together with a terracotta planter glazed to the upper half in light green and with applied flowerhead and roundels, 15.5cm high; an

earthenware part tea service, glazed in cream and painted with geometric designs in blue, comprising six cups and seven saucers and eight various side plates (damages), all with painted monograms (23) Note: Mary Newbery Sturrock was the daughter of Francis (Fra) Newbery, who was director of the Glasgow School of Art from 1885 to 1917.

£200-300

7 FA250/3 CHRISTOPHER DRESSER (1834-1904) FOR AULT POTTERY PAIR OF EARTHENWARE VASES, CIRCA 1895 each of squat baluster form, painted with flying birds and butterflies, impressed facsimile signature marks to base (2) 17cm high

£200-300

LY O N & T U R N B U L L Scottish Design from 1860

8 FA878/7 CHRISTOPHER DRESSER (18341904) FOR HUKIN & HEATH ELECTROPLATED PORT CRADLE, CIRCA 1890 silver plate with ebonised handle 16cm long Note: For a similar example see Gorringes, Lewes, May 11th, 2001, lot 1104.

£200-300

12.5cm high

9 YE2011/17 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH ELECTROPLATED SERVING DISH, CIRCA 1880 with loop handle raised on tapered feet, stamped marks ‘H&H/ 2523’

£800-1,200

27cm across

8A CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH ELECTROPLATED SEVENBAR TOAST OR LETTER RACK, CIRCA 1880 stamped marks 'H&H/ 2556'

£200-300

9A FA893/1 CHRISTOPHER DRESSER (1834-1904) FOR ELKINGTONS FOUR PIECE ELECTROPLATED TEA SERVICE, CIRCA 1865 silver plate, comprising a tea pot, hot water jug, sucrier and cream jug, stamped marks ‘Elkington & Co. 18730’ and ‘16578’ (4)

10 FA878/6 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN AND HEATH ELECTROPLATED CRUET WITH TWO BOTTLES, 1878 silver plate and glass, stamped ‘Designed by Dr C Dresser’, stamped marks ‘H & H 1953’, with registration mark for 1878 (stoppers lacking)

11 YE2011/16 CHRISTOPHER DRESSER (1834-1904) FOR HUKIN & HEATH ELECTROPLATED DECANTER JUG, CIRCA 1880 with square ebony handle and electroplated mounts, the facetted body with raised on a star cut foot, stamped marks and registration mark

teapot 21.5cm high

20cm high

Note: This tea service was designed by Dresser for Elkingtons around 1865. A hot water jug from this set sold as lot 44 in the auction ‘Christopher Dresser Metalwork: The Andrew McIntosh Patrick Collection’, Tuesday 19th April, 2005.

£400-600

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

22cm high

£300-500

£200-300

Peter Wylie Davidson Peter Wylie Davidson (1870-1963) was an extremely influential and talented artist craftsman working in Glasgow during that turn of the century period when the ‘Glasgow Style’ was receiving international acclaim. Aside from his own work, he both taught and collaborated with many of the other well known exponents of the style during his time as metalwork instructor at Glasgow School of Art, from the late 1890s until he retired in 1935. Born in Bridge of Allan, Davidson began a seven year apprenticeship with silversmiths James Reid & Company in Glasgow at the age of eleven. In 1884, he was enrolled for evening classes at Glasgow School of Art alongside a sixteen year old Charles Rennie Mackintosh, with whom he would later collaborate. In the 1890s, Davidson set up a studio workshop with his younger brother William at 93 Hope Street, where he felt he was “discarding the apron of the workshop and donning the artist’s smock”. The brothers began to produce applied art wares, from jewellery to tea sets and mirrors. An exhibition held within their first year was a great success. In 1892 the technical studios were opened at Glasgow School of Art and Fra Newbery, the director at the school from1885 to1918 persuaded Davidson to become an assistant instructor in the metalwork classes, initially for only one day a week. By 1899 however he had become the full time metalwork craft instructor. Davidson’s work won silver medal at the Aberdeen Exhibition of Industry and Art in 1899. As a member of the Scottish Guild of Handicraft, he had pieces in their first show in 1902. In that year he also exhibited at the Turin and Cork International Exhibitions. By now Davidson was also executing various pieces to the designs of his compatriots, notably Charles Rennie Mackintosh, Jessie Marion King and the Newberys. For Mackintosh he created the candlesticks for Miss Cranton’s home Hous’hill and with his brother The Fleming Casket (now in the V&A), both circa 1909.

12 FA399/3 ANCELL STRONACH (1901-1981) PORTRAIT OF PETER WYLIE DAVIDSON oil 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 Art on his retiral in 1935. The painter, Ancell Stronach, was an RSA and Professor of Mural Painting at the Glasgow School of Art until 1939.

£800-1,200

He wrote three books the first of which, Educational Metalcraft (1913), became the standard text for the metalwork, jewellery and enamelling course at Glasgow School of Art and remained so even after he retired in 1935. After leaving the art school, he continued to make objects in various crafts, becoming more interested in wood carving in particular as he got older and he continued to exhibit right up until his last years. The following collection of items is being offered by the Davidson family.

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

LY O N & T U R N B U L L Scottish Design from 1860

13 FA399/1 PETER WYLIE DAVIDSON (1870-1963) ‘SWALLOWS’ LONGCASE CLOCK, CIRCA 1902 with circular brass dial, the repoussé decoration composed of stylised Roman numerals enclosed by a frieze of stylised swallows, the hands decorated with concave discs, above a pendulum, worked in brass wire and repoussé panel and depicting a swallow flying through clouds, the whole supported on an ebonised stand pierced with circular apertures enclosing turquoise bead spacers 119.5cm high, dial, 38.5cm diameter, 43cm square at base

Provenance: Peter Wylie Davidson and by descent Note: This clock is one of Peter Wylie Davidson’s masterworks and possibly a collaboration with Charles Rennie Mackintosh; by family repute the frame was designed by Mackintosh and clock’s dial by Davidson. The use of the swallow’s flight motif around the clock face is a distinctive Davidson element seen on his best pieces, as well as a classic ‘Glasgow Style’ motif. The pendulum depicting a swallow’s flight through wirework clouds is of the same design as a well known set of brooches created by Davidson for the women in his family, of which five are thought to have been made. One example is dated 1902 and this may help us attribute this clock to a similar date. The motif can also be seen in the only jewellery design attributed to Mackintosh, but it is difficult to say with certainty who influenced who in this case. It perhaps hints at a synthesis of ideas and further strengthens the possibility of this being a collaborative project.

£8,000-12,000

LY O N & T U R N B U L L Scottish Design from 1860

14 FA399/5 PETER WYLIE DAVIDSON (1870-1963) BRASS WALL MIRROR, CIRCA 1900 the rectangular frame repoussé decorate and pierced with opposing peacocks and further decorated with inset abalone shell, enclosing a circular mirrored plate, stamped signature ‘P. Wylie Davidson’ Provenance: Peter Wylie Davidson and by descent Literature: Peter Wylie Davidson, ‘Educational Metalcraft’, 1913, pages 6-7 Note: The pierced technique used in the decoration of this fine mirror is known as ‘stitching’.

£1,200-1,800

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

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

Provenance: Peter Wylie Davidson and by descent

£100-200

LY O N & T U R N B U L L Scottish Design from 1860

17 FA399/11 PETER WYLIE DAVIDSON (1870-1963) ‘MURIEL’, CIRCA 1920 repoussé decorated white metal panel, mounted on board, bears inscription ‘Muriel’, signed with initials ‘P.W.D.’ 20.5cm x 12.5cm Provenance: Peter Wylie Davidson and by descent Note: This plaque was probably created when Davidson’s daughter Muriel was a matron at Yorkhill Hospital, Glasgow, in the 1920s

£300-500

18 FA399/9 PETER WYLIE DAVIDSON (1870-1963) COPPER KETTLE & COVER, CIRCA 1900 of domed form with applied strap handle, the cover with pierced finial 19.5cm high Provenance: Peter Wylie Davidson and by descent

£150-250

19 FA399/7 PETER WYLIE DAVIDSON (1870-1963) ‘CACTUS’ carved wooden sculpture, signed to base ‘P. Wylie Davidson/ Ruskin Square/ Bishopbriggs’ 45cm high Provenance: Peter Wylie Davidson and by descent

£150-250

LY O N & T U R N B U L L Scottish Design from 1860

20 FA399/2 MARION HENDERSON WILSON (1869-1956) BRASS WALL SCONCE, CIRCA 1910 with twin candle arms with circular nozzles and drip trays, the back plate repoussé decorated with the heads of two children within entwined stylised foliage, bears initials ‘MHW’ 69.5cm high, 33.5cm wide Provenance: Peter Wylie Davidson and by descent Note: Marion Henderson Wilson, studied at Glasgow School of Art from 1884 to 1896 and excelled in the production of strikingly crafted metalwork such as this wall sconce.

£1,200-1,800

21 FA399/10 PETER WYLIE DAVIDSON (1870-1963) INTEREST COLLECTION OF REFERENCE BOOKS mainly relating to metal working, leather working, enamelling, many inscribed ‘P. Wylie Davidson’; also sundry RGI catalogues, a book prize presented to ‘Peter Davidson’ in 1887 from Glasgow Townhead School Art Class, A History of the Glasgow Society of Lady Artists, with inscription from de Courcey Lewthwaite Dewar, and a note book containing PWD’s writings on watercoulour (approx 30) Provenance: Peter Wylie Davidson and by descent

Provenance: Peter Wylie Davidson and by descent

23 FA399/15 MARGARET DE COURCEY LEWTHWAITE DEWAR (1878-1959) EBONISED BOX AND COVER, DATED 1923 of cylindrical form decorated with line and dot motifs with zig-zag border in gold and bronze paints, signed and dated to base ‘DeC L. Dewar/ 1923’

£200-300

11cm high

22 FA399/4 PETER WYLIE DAVIDSON (1870-1963) ‘AULD HAWKIE’ carved oak figure, signed on the base ‘P. Wylie Davidson Age 91’ and to base inscribed ‘P. Wylie Davidson Aged 91 years’ 42cm high

Provenance: Peter Wylie Davidson and by descent Note: Margaret de Courcey Lewthwaite Dewar had been taught by Davidson and then taught alongside him at Glasgow School of Art when she was the instructor in enamelling from 1902 to 1928. The pair were lifelong friends who collaborated on a number of works.

£150-250

LY O N & T U R N B U L L Scottish Design from 1860

24 FA7/1 CHARLES RENNIE MACKINTOSH (1868-1928) FOR GUTHRIE & WELLS, GLASGOW OAK PRESS CUPBOARD, CIRCA 1894 the moulded and projecting cornice above twin doors with fielded panels and with applied decorative strap hinges, later handle (incomplete), over central drawer flanked by two short drawers, each with patinated steel drop handles, raised on short square legs 146.5cm wide, 185cm high, 43cm deep Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs’, Moffatt 2009, p. 30, ill. 1894.3 Note: Billcliffe notes a similar example in cypress in his catalogue raisonné; left by William Davidson at his death but possibly previously owned by Mackintosh along with other furniture from his house at 78 Southpark Avenue. This example is now thought to be untraced (see illustration). The current lot is almost identical in form with strapwork hinges and other fittings and is the only other known example. The door handle has been replaced, presumably in the 1920s

£3,000-4,000

LY O N & T U R N B U L L Scottish Design from 1860

25 FA978/1 OSCAR PATERSON (1836-1934) STAINED, PAINTED AND LEADED GLASS PANELS, CIRCA 1900 originally composed for four panels, the design depicting a procession, with a bull decorated with floral garlands, led by two girls playing cymbals, set in an idyllic landscape each panel, 77.5cm wide, upper panels, 94cm high, lower panels, 196cm high Literature: Donnelly, Michael ‘Scotland’s Stained Glass’, Edinburgh 1997, pages 68-71 Note: Oscar Patterson was born in Glasgow in1863. He was a fully trained glassmaker and a tutor in glass technology at Gresham College in the 1880s. Patterson was a practitioner of many pioneering stained glass techniques and experimented with etching glass with hydrofluoric acid. In 1889 he opened his first studio which became internationally famous for its distinctive domestic glass in the 1890s and this magnificent panel is a prime example of his work at this time. Patterson’s studio produced a large amount of glass for the Pacific and Orient Shipping Company and the Cunard Line. During the 1920s the studio was kept afloat by a commission to produce a complete scheme of stained glass for St Magnus Cathedral. The studio closed in 1931.

£3,000-5,000 26 FA716/4 GLASGOW STYLE PAINTED GLASS PANEL, CIRCA 1900 in the manner of W. J. Neatby, the oval framed panel depicting a village scene with a female figure and geese in the foreground 38.5cm x 54cm

£150-200

LY O N & T U R N B U L L Scottish Design from 1860

27 FA593/1 CHARLES RENNIE MACKINTOSH (1868-1928) (ATTRIBUTED TO) OAK DOMINO TABLE, CIRCA 1897 the circular planked top above a lower lobed tier, linked by four curved and tapering supports linked by a corresponding circular tier below 44cm diameter to top, 77cm diameter, 67cm high

Note: The design of this table appears to be an amalgam of scale drawings produced by Mackintosh for a domino table circa 1897 and held by Glasgow University (Fig. 1), and a table photographed by the Studio magazine in the same year (Fig. 2). The measurements of the current lot are broadly similar to the scale drawing however there are certain differences namely the shape of the lover tier has a more pronounced lobed shape and the pierced tear shape of the supports does not continue under the base tier. The example illustrated in the Studio of 1897 also demonstrates differences from the drawing including thicker leg supports and angled brackets under the circular top (also shared by this example). It is also not clear if the pierced tear shape continues under the base tier. According to Billcliffe the appearance of the example in the Studio rules it out from being included in the Argyle Street scheme and no images of a domino table appear in photos of Buchanan Street. It may have been a prototype or special commission however it remains untraced.

£2,000-3,000

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

Fig. 1

Fig. 2 15

LY O N & T U R N B U L L Scottish Design from 1860

28 FA275/12 GEORGE WALTON (1867-1933) (MANNER OF) DISPLAY CABINET, CIRCA 1910 ebonised wood, the cabinet of semi-bowed form with projecting cornice above twin astragal glazed doors and with astragal glazed panels to the sides, enclosing a white overpainted interior with single shelf, the whole raised on square tapering legs linked by stretchers 92cm wide, 142cm high, 33cm deep Literature: Studio Yearbook, 1907 Note: This cabinet is closely based on Walton’s ‘Holland Cabinet’ which is pictured in the Studio magazine yearbook of 1907 and pictures the cabinet along with a ‘Brussels’ chair at Cresham Hall.

£2,000-3,000

29 FA275/19 GEORGE WALTON (1867-1933) PAIR OF STAINED BEECH STOOLS, CIRCA 1900 each with square caned seats above a plain frieze with traces of painted florets, raised on ring turned legs with outwardly splayed feet (2) 35cm across, 42cm high Literature: Moon, Karen, ‘George Walton: Designer and Architect’, Oxford 1993, page 81, plate 105

£300-500

LY O N & T U R N B U L L Scottish Design from 1860

30 EZ362/13 EDINBURGH SCHOOL SILKWORK PANEL, CIRCA 1900 worked in coloured silks with the 3/4 length figure of a girl holding flowers, her flowing blue robes with gilt beaded embellishments, framed and glazed 29.5cm x 21.5cm

£300-500

35.5cm x 45cm

32 FA716/3 GLASGOW STYLE SILKWORK PANEL, CIRCA 1910 in two parts, worked in coloured silks with flowering roses and with a frieze of hearts and flowers, framed and glazed

£600-800

64cm x 61cm

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

£200-300

33 FA275/20 GEORGE WALTON (1867-1933) OAK ‘CAQUETOIRE’ SIDE CHAIR, CIRCA 1895 the rushed back supported on swollen cylindrical supports above corresponding rush seat on turned and blocked tapering legs linked by stretchers and raised on flattened bun feet 91.5cm high Literature: Moon, Karen, ‘George Walton: Designer and Architect’, Oxford 1993, page 47-48, illus. no. 54

Note: This chair was made for John Rowntree’s cafe in Scarborough where he developed a new style of furniture based on the French seventeenth century ‘caquetoire’ style. This French renaissance style was popular in Scotland in the sixteenth century and the strong links between the two countries ensured the style flourished well into the seventeenth century. These chairs would still have been seen in the more aristocratic homes in Scotland in the late 19th century and Walton here has taken the basic form and adapted it with the use of rushing to lighten the effect of the construction.

£400-600

LY O N & T U R N B U L L Scottish Design from 1860

34 FA172/1 MANNER OF MARGARET MACDONALD (1865-1933) AND FRANCES MACDONALD (1873-1921) COPPER AND ENAMEL WALL SCONCE with two candle arms supporting nozzles and broad drip trays, the circular backplate repoussé decorated with opposed female figures centred by an applied enamelled roundel depicting an eye 70.5cm high x 40cm wide Provenance: Linda Rose Gallagher

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

Note: This impressive copper sconce recalls the hallmarks of the Art Nouveau aesthetic in its demonstration of stylised line, abstract pattern and natural imagery, all realised through the same repoussé technique frequently employed by Glasgow artists at the end of the 19th century. The connection between the present lot and that of the Macdonald sisters is suggested by the close resemblance that the chief design components bear to those depicted in a sketch for a mirror frame from around 1897 (illustrated here). Attributed to at least one of the sisters, this sketch now forms part of the collection at the Hunterian Museum and Art Gallery in Glasgow (GLAHA 41951). The incorporation of an enamelled Egyptian eye further enhances the otherworldly mystery of the female figures which seem to take form by ascending, like plumes of smoke from the candle sockets. The imagery is illustrative of the 19th century Symbolist Aesthetic, which sought to replace Victorian historical references in form and pattern with ‘exotic symbols such as lines, lilies, [and] birds’, all of which conveyed specific ideas. The Macdonald sisters exhibited a similar interest in their work by including a peacock as a prominent motif in a pair of copper sconces, completed circa 1896 and now housed in the permanent collection at the Victoria and Albert Museum, London (CIRC.66-1959). While powerfully suggestive in its own right, the current lot offers a fascinating insight into the influence and effects of the artistic ideas and mannerisms that were integral to the aesthetic of the Glasgow Style. A copper candlestick by the Macdonald sisters with the same provenance as the current lot was sold in these rooms on 10th November, 2010, lot 253.

£3,000-5,000

LY O N & T U R N B U L L Scottish Design from 1860

35 FA275/22 GLASGOW SCHOOL STAINED BEECH DRAWING ROOM CABINET, CIRCA 1896 the overhanging cornice raised above a fall-front door, fitted with pierced brass strapwork hinges and with central metal panel, repoussé-decorated with a stylised female figure with dandelion motif, and opening to reveal an interior fitted with a shelf, all above a lower door with corresponding hinges enclosing four drawers, the whole raised on square tapered legs 102cm wide, 187cm high, 68cm deep Provenance: Paul Reeves, London. Collection of Brad Pitt Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs’, Moffatt 2009, p. 30, ill. 1896.8 Note: This rare and early unrecorded Glasgow School cabinet demonstrates all the design vocabulary of Charles Rennie Mackintosh, Herbert McNair and the Macdonald sisters. Its inset ‘Spook School’ repoussé plaque speaks to early studio work by the sisters with its mysterious female figure. The strap hinges relate directly to a cabinet design by Mackintosh from 1896 and the fact that it is of cabinet maker quality and not commercially produced, make this a compelling object.

£8,000-12,000

LY O N & T U R N B U L L Scottish Design from 1860

36 FA716/1 MARGARET GILMOUR (1860-1942) BRASS JARDINIERE, CIRCA 1900 of square tapered form with broad rim, above panelled sides, repousse decorated with panels of Glasgow roses, the angles with faux rivet decoration, signed with stamped initials ‘MG’ 18.5cm wide, 13cm high Note: Margaret Gilmour and her sister Mary, maintained a studio teaching and producing metalwork at 179 West George Street, Glasgow from 1893 to the early 1940s.

£300-500

37 FA278/1 MARGARET GILMOUR (1860-1942) (STUDIO OF) BRASS WALL SCONCE, CIRCA 1900 with twin applied candle arms with turned nozzles and drip trays, the rectangular backplate repoussé decorated with a classical female figure tending a rose bush 77cm tall

£400-600

38 FA278/2 GLASGOW STYLE PAIR OF BRASS CANDLESTICKS, CIRCA 1900 each of square tapering form with spreading bases, repoussé decorated with panels of Glasgow roses, 30.5cm high; also a GLASGOW STYLE BRASS INKWELL, repoussé decorated with Celtic knotwork, 8cm high (3) £400-600

LY O N & T U R N B U L L Scottish Design from 1860

39 FA843/2 JESSIE MARION KING (1875-1949) IN THE FOREST pen, ink and wash on vellum, signed 26.5cm x 17cm

£1,500-2,000

40 FA228/1 JESSIE 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 cover for the book ‘All The Year Round’, published by Collins in 1931

£1,000-1,500

41 FA228/2 JESSIE MARION KING (1875-1949) ‘ALL DAY SHE SAID....’ Pen, ink and watercolour with silver paint on vellum, signed 23.5cm x 14.5cm

£1,000-1,500

LY O N & T U R N B U L L Scottish Design from 1860

42 FA862/4 WILLIAM WATSON PEPLOE (1869-1933) MOUNTAIN IDYLL pen and ink, signed with initials ‘W.W.P.’ 26cm x 16cm Note: William Watson Peploe was the elder brother of S. J. Peploe with whom he painted on Barra before the latter moved to Paris in 1910. His work prior to 1918 was influenced by the work of Aubrey Beardsley as in the present example.

£300-500

43 FA275/14 ERNEST ARCHIBALD TAYLOR (1874-1951) OAK TOILET MIRROR, CIRCA 1900 the rectangular plate with turned and tapered uprights raised on a base with pieced heart decorative motifs, bun feet 44cm wide, 53cm high

£400-600

LY O N & T U R N B U L L Scottish Design from 1860

44 FA250/1 GLASGOW STYLE COPPER WALL MIRROR, CIRCA 1900 the projecting cornice above an arched mirror plate, enclosed by a hammered frame, repoussé decorated to each side with tall leafy pants and to the centre with entwined leaves centred by a turquoise Ruskin roundel 45 FA400/2 SCOTTISH SCHOOL COPPER WALL MIRROR, CIRCA 1920 the rectangular frame repoussé decorated with opposed suns and peacocks on a hammered ground and enclosing a bevelled mirror plate

124.5cm wide, 72cm high

£1,200-1,800

50.5cm x 40cm

£300-500

LY O N & T U R N B U L L Scottish Design from 1860

47 FA275/10 GEORGE WALTON (1867-1933) SATIN BIRCH WARDROBE, CIRCA 1900 inlaid with chevron banding, the projecting cornice above central section with two doors, each with opalescent glass, metal and wood leaded panels above three short and three long drawers, flanked by two doors with corresponding panels, all with striped fabric lining, the whole raised on a plinth, bears makers label verso 243cm wide, 191cm high, 54cm deep Literature: Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, pages 64-70 Agius, Pauline, ‘British Furniture 1880-1905’, pub. Suffolk 1978, page 102, pl. 105

£12,000-18,000

LY O N & T U R N B U L L Scottish Design from 1860

George Walton was born in Glasgow on 3 June 1867, the youngest of twelve children. The painter Edward Arthur Walton, born in 1860, was his elder brother and the flower painter Constance Walton his sister. His father died in 1873 leaving the family in reduced circumstances and Walton had to leave school aged thirteen to become a clerk with the British Linen Bank, but while working there he also studied at Glasgow School of Art (as the School of Design had become in 1869). In 1888 Miss Catherine Cranston commissioned Walton to re-design the interiors of the tea rooms at 114 Argyle Street, Glasgow. Walton gave up banking and opened showrooms entitled George Walton & Co, Ecclesiastical and House Decorators, at 152 Wellington Street. The Walton firm quickly expanded into woodwork, furniture making and stained glass. In 1896 Walton received a further commission from Miss Cranston, to decorate the Buchanan Street premises. His collaborator was C. R. Mackintosh, for whom Walton made some early pieces of furniture. In 1897 Walton moved to London and, as well as retaining his Glasgow showroom, opened a branch in York. The following three lots are characteristic of the furniture produced at Elm Bank, York by Walton & Co. in 1898 for Sydney Leetham. The furniture is inlaid with bold geometric chevron banding, a type of decoration which had been revived and popularised by George Jack at Morris & Co., however the use of this technique at Elm Bank was altogether bolder and more expansive. This bedroom suite also demonstrates stained glass detailing derived from plant forms, with metal and wood also inset, relating to techniques being produced by Charles Rennie Mackintosh at the same time.

47 FA275/11 GEORGE WALTON (1867-1933) SATIN BIRCH DRESSING CHEST, CIRCA 1898 with chevron banding to match the previous lot, the rectangular swing mirror flanked by open shelves inset by oval panels of opalescent ‘bullseye’ glass and pewter depicting plant forms, and eight jewellery drawers, the base with rectangular top above an arrangement of eight drawers around a kneehole 159.5cm wide, 72.5cm high, 65cm deep

£8,000-12,000

LY O N & T U R N B U L L Scottish Design from 1860

48 EY798/1 GEORGE WALTON (1867-1933) SATIN BIRCH SIDE CABINET, CIRCA 1898 decorated with chevron banding, the surmount with opposing mirrored doors centred by two drawers, above a rectangular top and an arrangement of four short over two long drawers, each with cut out handles and beaten silvered backplates, the whole raised on bracket feet, label aperture to rear (label now lacking) 114cm wide, 172cm high, 60cm deep Literature: Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, pages 6470 Agius, Pauline, ‘British Furniture 18801905’, pub. Suffolk 1978, page 102, pl. 105

£1,500-2,000

49 FA275/7 GEORGE WALTON (1867-1933) FOR ALEXANDER MORTON & CO (ATTRIBUTED TO) FLATWEAVE FLOOR CARPET, CIRCA 1905 woven with a border of stylised meandering foliage contained in continuous green chequer pattern within a pink field of allover floral sprigs 454cm x 356cm Literature: Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, pages 48, 108, and plate 57 Note: The simple pale rose pink and green colourway and certain design elements to the border are suggestive of Waltons’ preference for a simplified and unfussy aesthetic which increased the impact of his furniture and induced ‘a feeling of rest’.

£400-600

LY O N & T U R N B U L L Scottish Design from 1860

50 FA599/1 AFTER CHARLES RENNIE MACKINTOSH (1868-1928) PAIR OF WROUGHT IRON FIREPLACE EMBELLISHMENTS, 20TH CENTURY each with tall slender uprights surmounted by a drip pan with adjacent trellised grille, 119.5cm high, 27cm wide; and a SET OF THREE STEEL FIRE IRONS, comprising an ash shovel, a pair of coal tongs and a poker, 33cm long (approx.) (5) £300-500

51 FA599/2 AFTER CHARLES RENNIE MACKINTOSH (1868-1928) OR PETER WYLIE DAVIDSON (1870-1963) WROUGHT IRON WALL PANEL, 20TH CENTURY embossed and wrought steel, depicting swallows flying through clouds 90cm across, 55cm high

£200-300

52 FA878/12 GLASGOW STYLE THREE STAINED AND LEADED GLASS PANELS, CIRCA 1900 each depicting a flowering plant form (3) 68cm x 19cm

£250-350

LY O N & T U R N B U L L Scottish Design from 1860

53 FA400/1 JOHN EDNIE (1876-1934) (MANNER OF) PAIR OF BEECH AND PINE ART NOUVEAU OAK TALL BACK CHAIRS, CIRCA 1900 the slatted backs above dropin rush seats and square tapered and inswept legs (2) 45cm wide, 134cm high, 47cm deep Literature: Cooper, Jeremy ‘Victorian & Edwardian Furniture & Interiors’, Thames & Hudson 1987, page 617, plate 614

£600-800

54 FA878/1 JOHN EDNIE (1876-1934) (MANNER OF) MAHOGANY CHAIR, CIRCA 1900 the pierced solid back with two slender splats raised above an upholstered seat on square supports linked by stretchers £300-500

55 FA878/8 HENRY T. WYSE (1870-1951) FOR SCOTTISH GUILD OF HANDICRAFTS (ATTRIBUTED TO) BEECH HIGH BACKED CHAIR, CIRCA 1900 the tall back with central splat and inset roundel raised above leather upholstered panel seat on square legs linked by stretchers £600-800

LY O N & T U R N B U L L Scottish Design from 1860

56 FA275/9 HENRY WYSE (1870-1951) (ATTRIBUTED TO) FOR SCOTTISH GUILD OF HANDICRAFTS OAK NURSERY DRESSER, CIRCA 1901 the upper section with overhanging cornice and plate racks above a semi-bowed base with three cupboard doors, each with strapwork iron hinges, raised on turned supports with platform stretcher 153cm wide, 200cm high, 43cm deep Literature: Magazine of Art 1901 p.562. Note: A line drawing of this nursery dresser by Society of Artists from the Glasgow 1901 exhibition is shown in the Studio magazine in 1901.

ÂŁ2,000-3,000

LY O N & T U R N B U L L Scottish Design from 1860

57 FA878/5 GLASGOW SCHOOL OF ART ARCHIVE OF STUDENT DESIGNS, CIRCA 1900 to include watercolour and gouache designs for stained glass panels, furniture and fireplaces, textiles and wallpapers, several with labels listing students and teachers including E.A. Taylor (approx 59 pieces) ÂŁ3,000-4,000 58 No lot

LY O N & T U R N B U L L Scottish Design from 1860

59 FA275/15 ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD MAHOGANY DISPLAY CABINET, CIRCA 1900 the projecting cornice above a frieze inlaid in pewter with flower heads, above a pair of glazed doors enclosing fitted shelves, over a single drawer and raised on square tapering legs linked by a platform stretcher and with slatted sides 107cm wide, 177.5cm high, 46cm deep

ÂŁ3,000-5,000

LY O N & T U R N B U L L Scottish Design from 1860

60 EAA549/5 JOHN QUINTON PRINGLE (1864-1925) ‘ELSIE’, CIRCA 1897 three quarter length watercolour portrait miniature on ivory 9cm x 7cm Exhibited: Scottish Arts Council Exhibition ‘John Quinton Pringle’, 1981, Case II, c) Note: This miniature depicts Elsie Newbery, daughter of Fra Newbery, the director of Glasgow School of Art from 1885 - 1918, and appears to be an early commission for Pringle. Newbery commissioned Pringle to paint both his daughters Elsie and Mary (Newbery Sturrrock) in miniature and such was his

admiration of Pringles work he is noted to have written; “...I have always regarded Pringle with a peculiar and sustained pleasure, and have treasured to myself my thoughts about his work and its accomplishments...My wife and I with Pringle’s fellow students Mr and Mrs Charles Rennie Mackintosh early realised that somewhat of a genius was among us...My wife and I gave him his first commission and the results achieved by work with our smallest youngsters on many a Sunday morning, are among our most valued modern possessions...” His connection to Charles Rennie Mackintosh and his circle was lasting and both Newbery and Mackintosh helped him to have his work shown at the Vienna Secessionist Exhibition of 1902 and the Whitechapel Art Gallery in London in 1914.

£1,500-2,000

61 FA960/1 TALWIN MORRIS (1865-1911) BELT BUCKLE, CIRCA 1900 patinated copper and green glass, of rectangular outline, repoussé decorated with opposed birds on a stylised foliate ground, set with cabochon stones and bordered with a rivet decoration, contained within fitted leather case (2) 7.5cm x 4cm Literature: Charles Holme (edit.) ‘Modern Design in Jewellery and Fans, The Studio Special Number’, London, 1902, plate 42a

£1,500-2,000

LY O N & T U R N B U L L Scottish Design from 1860

62 EZ871/10 GEORGE WALTON (1867-1933) WALNUT DISPLAY CABINET, CIRCA 1902 with gilt embellishments, the later projecting cornice with gently curved outline decorated to the underside with Classical Greek architectural mutules, over a single glazed door with chamfered astragals and carved and gilded foliate motifs, flanked by further corresponding glazed panels and enclosing freestanding concave shelves supported by pegged uprights, the base with a central drawer with inset copper-backed handle, flanked by drawers with inset horn handles, the whole raised on square tapering legs 163cm wide, 196.5cm high, 45cm deep Literature: Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, page 120, plate 157, page 155. Provenance: The Phillippines, Brasted Chart, Kent Note: Walton decorated the drawing room at The Phillippines from 1902 and the scheme marked a change of direction for his work to a more formal, classical style. The use of architectural detailing on the cornice of this cabinet is reflected in the wall panelling, as are the gilded embellishments which also adorn the cornice shelf around the room.

£4,000-6,000

LY O N & T U R N B U L L Scottish Design from 1860

63 EZ859/7 GEORGE WALTON (1867-1933) STAINED AND LEADED GLASS PANEL, CIRCA 1900 in two sections, each with inset copper panel, depicting flowering roses (2) each panel, 81.5cm x 59cm Literature: Moon, Karen, ‘George Walton, Designer and Architect’, pub. Oxford 1993, pages 96-99, pl. 38 and 132 Euler, Laura, ‘The Glasgow Style’, published Pennsylvania 2008, page 174, figure 355 Note: Decorative stained and leaded glass panels became essential to the interior schemes carried out by Walton & Co. at the end of the 19th century. By 1895 figure subjects were on the wane, to be replaced by individual plant motifs, more sympathetic to Walton’s interiors. Striking use of colour on a plain background with the addition of copper panels and simplicity of line were characteristic of this new aesthetic, becoming an essential feature of the Glasgow style. The panels offered here show similarities to panels in a cupola produced by Walton for Drumalis, Larne, Northern Ireland, circa 1896.

£1,500-2,000

64 FA982/2 GEORGE WALTON (MANNER OF) SATIN BIRCH EXTENDING DINING TABLE, CIRCA 1910 the rectangular top above a panelled frieze to each side, and centred by cut-out heart decoration, the whole raised on square legs, two additional leaves 110cm wide, 74.5cm high, 124cm long (closed), 234cm long (extended)

£300-500

LY O N & T U R N B U L L Scottish Design from 1860

65 FA958/2 ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD, GLASGOW MAHOGANY BEDROOM SUITE, CIRCA 1900 comprising a wardrobe, the projecting cornice above a frieze carved with Glasgow roses in bas relief, above two central doors each inset with two stained and leaded glass panels depicting Glasgow roses, over two short over two long drawers and flanked by mirrored doors raised on a plinth base, 222cm wide,

64cm deep; also a MATCHING WASHSTAND, with tiled rectangular top above twin panelled doors with corresponding carved Glasgow roses, 121cm wide, 77cm high, 56cm deep; a BEDSIDE CABINET, with three quarter gallery above a single panelled door on square legs linked by stretchers; and a WALL MIRROR, to match (formerly from a dressing table), 67cm wide x 106cm high (4)

Note: E.A. Taylor was born in Greenock, Scotland, one of seventeen children. He was initially apprenticed as an engineer and designer in the shipbuilding firm Scott and Co, working there until 1898. He then began studying at the Glasgow School of Art, where his fiancé, Jessie Marion King, was also a student. Taylor began work as an interior designer, being particularly influenced by the stained glass and furniture designs of Charles Rennie Mackintosh. He gained employment with the Glasgow cabinet-makers, Wylie and Lochhead, winning great acclaim for his furniture at the 1901 Glasgow International Exhibition. This brought him two major commissions, where he made prominent use of stained glass in his interiors. In 1902, Taylor and

King worked together on a series of stained glass panels for the Turin International Exhibition of Modern Decorative Art and, by 1907, Taylor was working as head of furniture design at Wragge and Co, marrying King the following year. The couple then began concentrating on art, moving to Paris where they established an art school known as the Shieling atelier. Prior to her marriage, Jessie M King had purchased a house at Kirkcudbright, and at the outbreak of World War I she and Taylor returned there. Here, they became involved in the Kirkcudbright art community, which was seen as the “Scottish St Ives.” Taylor continued to play a major part in the Kirkcudbright art scene until his death in 1951

£1,500-2,000

LY O N & T U R N B U L L Scottish Design from 1860

66 FA275/16 ERNEST ARCHIBALD TAYLOR (1874-1951) FOR WYLIE & LOCHHEAD MAHOGANY HANGING WALL CABINET, CIRCA 1900 the projecting cornice above two open shelves, enclosing a pair doors, each inset with stained and leaded glass panels depicting Glasgow roses 146cm wide, 38cm high, 25cm deep

£800-1,200

67 FA275/4 SHAPLAND & PETTER, BARNSTAPLE GLASGOW STYLE OVERMANTEL MIRROR, CIRCA 1900 of rectangular outline, the bevelled mirror plate enclosed by a white overpainted frame, with central open shelf flanked by inset enamelled roundels, and with specimen wood and mother of pearl inlaid decoration depicting stylised plant forms 110cm wide, 55cm high

£800-1,200

LY O N & T U R N B U L L Scottish Design from 1860

68 FA275/18 MARION HENDERSON WILSON (1869-1956) BRASS JARDINIERE, CIRCA 1910 of rectangular section with broad rim, repoussé decorated with galleons in full sail and flying birds, raised on bracket feet, signed with initials ‘MHW’ 48.5cm across Literature: Burkhauser, Jude (edit.), ‘Glasgow Girls: Women in Art and Design’, Edinburgh 1990, page 182

£1,200-1,800

69 FA960/7 AGNES BANKIER HARVEY (1873-1947) (ATTRIB.) BRASS WALL SCONCE, CIRCA 1900 of rectilinear form, repoussé decorated with an Art Nouveau maiden and stylised poppy heads above drip tray and nozzle 30cm high Literature: Burkhauser, Jude (edit.), ‘Glasgow Girls: Women in Art and Design’, Edinburgh 1990, page 178, fig 240

£300-500

70 FA400/5 SCOTTISH SCHOOL COPPER MANTEL CLOCK, CIRCA 1910 with embossed silvered dial, the tapering body with riveted angles and plaque bearing inscription ‘Tempus Fugit’ 24cm high

£250-350

71 FA716/2 GLASGOW STYLE PEWTER WALL MIRROR, CIRCA 1900 of rectangular form, the bevelled mirror plate enclosed by frame, repoussé decorated with flowering roses and berries 36cm x 28cm

£200-300

LY O N & T U R N B U L L Scottish Design from 1860

72 FA105/1 CHARLES RENNIE MACKINTOSH (1868-1928) WINDSOR STYLE ARMCHAIR, CIRCA 1906 the curved top rail above a slatted back on moulded seat 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 complete furniture, 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 FA960/3 CHARLES RENNIE MACKINTOSH (1868-1928) (OFFICE OF) DESIGN FOR A SIDE TABLE FOR THE DIRECTOR’S ROOM, GLASGOW SCHOOL OF ART, 1910 pencil, pen and ink, watercolour on oiled linen, showing plan, elevation and section, inscribed “The Glasgow School of Art. Table in Director’s Room. In Cypress. No 457B.” and “4 Blytheswood Square:/ Glasgow. March 1910” and with scale indications and notes. 38.6cm x 35.8cm Provenance: Herbert Smith Esq. Dr. Thomas Howarth Collection Literature: Billcliffe, Roger, ‘Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs’, Moffatt 2009, page 256-7, illus. D1910.2 Note: This drawing is by an office draughtsman working to Mackintosh’s sketches.

£200-300

LY O N & T U R N B U L L Scottish Design from 1860

74 CHARLES RENNIE MACKINTOSH (1868-1928) OAK WRITING DESK, 1909 the circular planked top above latticed openwork column and plank supports 91cm diameter, 70cm high Provenance: Messrs Coopers Tearooms, Glasgow from whom bought by the present owner in the 1950s Literature: Billcliffe, Roger ‘Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs’, Moffatt 2009, p. 249-251, illus. 1909.16 and 16A Note: This table formed the base of a writing table made by Frances Smith for the Ladies’ Rest Room at Miss Cranston’s Ingram Street Tearoom in 1909. The Rest Room formed one of two new adjacent rooms created by Mackintosh for the Ingram Street tearooms: The Oval Room and the Ladies Rest Room. This latter room was dark stained and panelled with recesses for couches and other furniture. The fireplace was surrounded by gold mosaic tiles and open columns supported the mezzanine the Oval Room above. The desk originally had a superstructure with dividers which allowed for four people to sit at the desk at any time and may in any case have been removable. Although the original layout of the room is not known, it may be that the circular writing desk offered here sat in the bow window next to the fireplace at one end of the room.

£15,000-20,000

LY O N & T U R N B U L L Scottish Design from 1860

75* LT2011/24 CHARLES RENNIE MACKINTOSH (1868-1928) STAINED BIRCH DAY BED, CIRCA 1910 the rectangular seat having open arms at either end and with loose squab cushion upholstered in dark grey corduroy, the whole raised on rectangular block feet with applied panels to the front (replacements and restorations) 214cm long, 49cm high, 76cm deep

Note: The original design for this day bed survives in the Glasgow University Collection bearing the title ‘Couch in Ladies Common Room’ (Fig. 1). The wood is to be ‘in birch stained dark and waxed’ and the upholstery of ‘mouse grey corduroy’. The design shows a fixed upholstered back, but is annotated by Fra Newbery with the comments that ‘ with a seat this width a stuffed or even padded back is not necessary at all / cushions can be hung along the wall at the back (from a little moulding) and movable cushions as many as are needed can be placed on the seat’. Once it had served its time in the Ladies’ Common Room the couch was transferred to the Sculpture Room where it served as the model’s couch. In the mid 1960s the couch was briefly set alight by the heater which warmed the models, and banished to the basement of the School 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 the Clyde, where it served as a stand for his rowing sculls.

£2,000-3,000

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

Fig. 1

LY O N & T U R N B U L L Scottish Design from 1860

76 FA777/1 CHARLES RENNIE MACKINTOSH (1868-1928) BEECH HIGH STOOL, CIRCA 1894 the circular seat raised above three turned legs linked by stretchers 28cm diameter, 68cm high Literature: Billcliffe, Roger, ‘Charles Rennie Mackintosh: The Complete Furniture Drawings & Interior Designs’, Moffatt 2009, page 32, illus. D189496.1 Note: Made for Queen Margaret Medical College, Glasgow, the treatment of the stretchers appear to echo those of the domino table designed by Mackintosh in1898 for the Argyle Street Tea Rooms.

£600-800

77 FA275/6 CHARLES RENNIE MACKINTOSH (1868-1928) (MANNER OF) OAK STOOL, CIRCA 1900 the square rushed seat above square section supports enclosing panelled sides with concave cut out decoration 40cm x 36cm x 35cm

£400-600

LY O N & T U R N B U L L Scottish Design from 1860

78 FA872/1 CHARLES RENNIE MACKINTOSH (1868-1928) RARE SILVER-PLATED DESSERT SPOON WITH TRIFID END, CIRCA 1905 stamped to the reverse of the stem ‘Miss Cranston’s’ 7.25 in. (18.5cm.) long Literature: Judy Rudoe, ‘Decorative Arts 18501950, A Catalogue of the British Museum Collection’, page 211, plate 66 for illustration of a matching dessert spoon Note: Designed circa 1905 for Miss Cranston’s tearooms in Glasgow, teaspoons for Miss Cranston’s appear relatively frequently, however the dessert spoons are much more uncommon.

£300-500

80 FA400/4 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTONS TEAROOMS, GLASGOW ELECTROPLATED SPOON, CIRCA 1900 with circular bowl and trefoil terminal, makers mark ‘E.B & Co.’ 14.5cm long

£200-300

79 FA408/3 CHARLES RENNIE MACKINTOSH (1868-1928) FOR MISS CRANSTONS TEAROOMS, GLASGOW ELECTROPLATED SPOON, CIRCA 1900 with circular bowl and trefoil terminal, makers mark, ‘G&C’ 14.5cm long

£200-300

LY O N & T U R N B U L L Scottish Design from 1860

81 FA275/3 PETER WYLIE DAVIDSON (1870-1963) AND FRANCES MCNAIR (1873-1921) HIGH SCHOOL OF GLASGOW DUX MEDAL FOR ART, 1911 copper alloy, inscribed ‘The High School of Glasgow/ Dux:In:Art:/ Session: 1910: 11/ Fra H. Newbery/ Donor’ 6.5cm x 6.5cm

Literature: Peter Wylie Davidson, ‘Educational Metalcraft’, London 1913, illus. page 2 Pamela Robertson (ed.), ‘Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair’, 2008, page 117, M32 Note: This collaborative medal is one of only three known examples.

£800-1,200

82 FA275/1 JESSIE MARION KING (1875-1949) SILVER NAPKIN RING, 1902 of waisted cylindrical form, pierced with flying bird motifs and a central initial panel, hallmarked Glasgow 1902, maker’s mark for John A. Fetter 4cm high, 4.4cm diameter

£200-300

83 FA872/2 JESSIE MARION KING (18751949) FOR LIBERTY & CO SILVER DRESSING TABLE TRINKET DISH, DATED 1907 of circular form, embossed with four flowerheads and garlands of foliage, maker’s mark ‘L & Co.’, hallmarked Birmingham,1907 3.75 in. (9.5cm.) diameter Note: A matching dish by Jessie Marion King with enamel decoration is on display at Kelvingrove Art Gallery & Museum, Glasgow, and a similar dish is illustrated in ‘The Glasgow Style’ by Gerald & Celia Larner, plate 199

84 FA960/6 JESSIE MARION KING (18751949) FOR LIBERTY & CO SILVER AND ENAMEL MAGNIFYING GLASS, 1906 the handle embossed with stylised floral and foliate motifs, hallmarked Birmingham 1906, stamped mark ‘5420/ Rd479297’ (magnifying lens a later conversion) 18.5cm long

£100-200

£250-350 43

LY O N & T U R N B U L L Scottish Design from 1860

85 FA275/2 JAMES HERBERT MCNAIR (18681955) BOOKPLATE FOR JOHN TURNBULL KNOX, 1896 etching, signed and dated in the plate ‘J. Herbert McNair Inv. Del./ 1896’ and inscribed ‘Nourished by Middle Earth/ breathed on by Heavenly/ Dew,/ Flourished a Tree of Worth/ Flourished and/ Grew/ The Tree of Knowledge’ 9cm x 7cm Literature: The Studio, vol.11, pages 230, illus. page 237 Pamela Robertson (ed.), ‘Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair’, 2008, page 101, G21 Note: This bookplate is one of only four known examples

£1,000-1,500

86 FA960/2 MARGARET MACDONALD MACKINTOSH (1865-1933) COVER OF ‘DEUTSCHE KUNST UND DEKORATION’, MAY 1902 printed with pink, purple and black ink on grey paper, framed 28.5 x 20cm Literature: Garner, Phillipe (ed.), ‘Encyclopaedia of Decorative Arts 1890-1940’, Van Nostrand, New York, 1978, p. 199 Hunterian Museum and Art Gallery, Glasgow, ref. GLAHA 41548

Note: Alexander Koch, organiser of the House for an Art Lover competition, was editor of ‘Deutsche Kunst und Dekoration’. A major article appeared in the September 1902 issue featuring the Mackintoshes’ contribution to the Turin exhibition. The cover design by Margaret Macdonald Mackintosh is closely related to her contemporaneous decorative panels in gesso. The straightforward lettering incorporated within the design is most probably her work.

£1,000-1,500

LY O N & T U R N B U L L Scottish Design from 1860

87 FA970/1 JESSIE MARION KING (1875-1949) (ILLUS.) ALBUM VON DRESDEN UND SACHSISCHE SCHWEIZ Berlin, [c.1899]. Oblong folio, photographic illustrations, original linen-backed boards, upper cover with coloured illustration by Jessie M. King, minor wear to corners and edges, a little rubbed with light discolouration, a few short marginal tears, minor scattered spotting £500-700

88 FA275/26 JESSIE MARION KING (1875-1949) (ILLUS.) NEUER DEUTSCHER NOVELLENSCHATZ Berlin, [no date]. 8vo, 2 volumes, original decorative cloth designed by Jessie M. King; [Idem] Rubaiyat of Omar Khayyam. London, [no date]. 12mo, original paper covers and endpapers designed by Jessie M. King, lower cover loose, upper hinge torn at head; [Idem] Budding life, a book of flowers. London, 1907. 8vo, original silver paper covers, covers chipped at edges; and two others (6) £150-200

89 FA717/1 JESSIE MARION KING (1875-1949) ALBUM VON BERLIN Berlin, 1899. Upper board only, appox. 28 by 35cm; [Idem] Album von Berlin. Berlin, c.1900. Boards only, 15 by 20cm; [Idem] The book of bridges. London, 1911. 8vo, plates, original green cloth gilt; [Idem] A selection of 13 colour plates by King, loose, each approx. 25 by 20cm; [Idem] Musik and gesang. Boards only, approx. 34 by 27cm; [Proofs] Three cover proofs for Petite collection d’histoire naturelle, ink notes, heavy foxing and folds; The Studio Four plates from The Studio magazine, each approx. 30 by 20cm, highlighted in gold and silver; and 3 books (qty)

90 FA960/5 CHARLES RENNIE MACKINTOSH (1868-1928) EXHIBITION CATALOGUE, 1952 published by the Saltire Society and Arts Council of Great Britain, 1952; and JESSIE MARION KING (18751949), THE INTRUDER, London & Glasgow, 1913. 12mo, original paper covers designed by King; and two plates (4) £80-120 91 No lot

£250-350

LY O N & T U R N B U L L Scottish Design from 1860

92 FA275/23 TALWIN MORRIS PRACTICAL COAL MINING London: Gresham Publishing, [c.1910]. 8vo, 6 volumes, original decorative cloth gilt designed by Talwin Morris, rubbed at edges, plus two extra volumes; Art Nouveau Bindings Modern electric practice. London: Gresham Publishing, [c.1910]. 8vo, 6 volumes, original decorative cloth gilt, rubbed at edges (12) £120-180

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

95 EAC88/2 CHARLES RENNIE MACKINTOSH (1868-1928) HOW PHOTOGRAPHY CAME ABOUT, LONDON & GLASGOW: BLACKIE & SON, 1926 8vo, original paper covers designed by Charles Rennie Mackintosh, a fine copy; The seaman and his craft. London & Glasgow: Blackie & Son, [no date]. 8vo, original paper covers designed by Charles Rennie Mackintosh, a fine copy (2)

£150-200

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

94 FA408/1 TALWIN MORRIS WORKS Glasgow & London, 1909. Small 8vo, 12 volumes, uniform in original red calf gilt, t.e.g., some slight rubbing to heads and tails of backstrip; and 2 others (14) £100-150

£100-200

96 FA400/3 AFTER CHARLES RENNIE MACKINTOSH (1868-1928) MEISTER DER INNENKUNST, FACSIMILE EDITION, 1991 published Fraser Press, complete with with title page by Roger Billcliffe, text by Herman Muthesius, Alex Koch, Darmstadt, original publisher Plans of ground and first floors Elevations of West and East Elevations (titles inverted by Mackintosh in his original drawing) North Elevation South Elevation Perspective from South East Perspective from North West Perspective of the Music Room Elevation of Music Room Windows Elevations of East and West Walls of the Music Room Perspective of the Children’s Play Room Elevation of the Bedroom Wall Elevation of South Wall of the Hall Elevation of South Wall and Buffet in the Dining Room Perspective of the Dining Room £100-200

LY O N & T U R N B U L L Scottish Design from 1860

97 FA275/17 GLASGOW SCHOOL PAIR OF OAK DOORS, CIRCA 1900 each with two stained and leaded glass panels depicting stylised flowers, the panelled doors with embossed brass handled and copper fingerplates (2) each door, 214cm high, 76cm wide

£1,000-1,500

98 FA500/5 GLASGOW STYLE STAINED WOOD DOOR, CIRCA 1900 the overpainted panel door with associated brass fittings, inset with three Glasgow Style stained and leaded glass panels, each representing stylised linear plant forms 212cm x 87cm Provenance: Collection of the late Dr David Lloyd-Jones

£200-300

The following collection of Arts and Crafts furniture was all made in the early 1920s for Liberty & Co’s magnificent Tudor building in Great Marlborough Street. The building was designed by Edwin Thomas Hall and his son Edwin Stanley Hall at the height of the 1920s fashion for the Tudor revival and constructed from the timbers of two 19th century men-of-war battleships. The Liberty board wanted the new building to demonstrate craft of the highest quality and attention to detail, and to reflect the Arts and Crafts values of “truth to material” which had played such an important part in the foundation of the company and the goods that it sold. Engineered around three galleried light wells, the shop was intended to emulate the great atrium spaces of Bon Marche and Printemps in Paris, whilst also remaining true to the design of the original shop in Regent Street in the series of smaller rooms which A view of Liberty & Co's new Tudor shop, shortly after completion in 1924. surrounded these central wells. Under the supervision of the architects a collection of furniture was made for the rooms and galleries to display the cabinets, all made in the sixteenth century style, with pegged textiles, clothes and luxury goods the shop was so famous for. construction and decorative details complementing the design It is represented by a series of tables, chests and display details in the building. The finish is either a dark fumed, natural, or limed finish, also a characteristic of the wood finish of the rooms in which they once stood. All the furniture was made in the firm’s workshops in Highgate and demonstrates the same levels of craftsmanship and attention to detail as the building itself. The tables offered here are the remaining pieces from a selection of historic furniture no longer suitable for contemporary retailing at Liberty & Co. Long attributed to Sir Robert Lorimer, they are designed in the 16th century manner, with substantial oak planked tops, either octagonal or rectangular, raised on spirally fluted legs with platform stretchers.

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

Furniture from the Liberty & Co’s Tudor Shop

LY O N & T U R N B U L L Scottish Design from 1860

99 FA171/3 SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON LIMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset brass metre rule, above a deep apron, raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded 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 FA171/5 SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset brass metre rule, above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark ‘8963’, later label ‘857’ 152cm long, 76cm high, 74.5cm wide Provenance: Liberty & Co. London

£1,000-1,500

LY O N & T U R N B U L L Scottish Design from 1860

101 FA171/14 SIR ROBERT LORIMER (18641929) FOR LIBERTY & CO., LONDON LIMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset for brass metre rule (lacking), above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark ‘6963’ 152cm long, 76cm high, 75cm wide Provenance: Liberty & Co. London

£1,000-1,500

103 FA171/17 SIR ROBERT LORIMER (18641929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top, with inset brass metre rule, above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark ‘6963’, later labels ‘595’ and ‘Woollen fabrics’

105 FA171/23 SIR ROBERT LORIMER (18641929) FOR LIBERTY & CO., LONDON SMALL FUMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset for brass metre rule (lacking), above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark ‘6966’, later label ‘Scarves’

152cm long, 76cm high, 75cm wide

122cm long, 76cm high,

Provenance: Liberty & Co. London

68.5cm wide

£1,000-1,500

Provenance: Liberty & Co. London

£500-700

102 FA171/16 SIR ROBERT LORIMER (18641929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset brass metre rule, above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, bears ivorine label ‘Liberty/ London’, later label ‘504

104 FA171/22 SIR ROBERT LORIMER (18641929) FOR LIBERTY & CO., LONDON SMALL FUMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset brass metre rule, above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark ‘8696’

152.5cm long, 76cm high,

122cm long, 76cm high,

106 FA171/26 SIR ROBERT LORIMER (18641929) FOR LIBERTY & CO., LONDON LIMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset brass metre rule, above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark ‘6963’, later label ‘506’

75cm wide

68.5cm wide

152cm long, 76cm high, 75cm wide

Provenance: Liberty & Co. London

£1,000-1,500

£500-700

£1,000-1,500

LY O N & T U R N B U L L Scottish Design from 1860

107 FA171/27 SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top above a deep apron with aperture for single drawer (drawer distressed condition with later handle), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark ‘6963’ 152cm long, 76.5cm high, 75.5cm wide Provenance: Liberty & Co. London

£1,000-1,500

108 FA171/38 SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON LIMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset brass metre rule, above a deep apron with aperture for single drawer, raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet 152cm long, 76cm high, 75cm wide Provenance: Liberty & Co. London

£1,000-1,500

LY O N & T U R N B U L L Scottish Design from 1860

109 FA171/41 SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON LIMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top with later inset brass metre rule, above a deep apron with aperture for single drawer, raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark ‘6963’ 152cm long, 76cm high, 75cm wide Provenance: Liberty & Co. London

£1,000-1,500

110 FA171/29 SIR ROBERT LORIMER (18641929) FOR LIBERTY & CO., LONDON SMALL FUMED OAK CENTRE TABLE, CIRCA 1924 the rectangular moulded top, with later inset brass metre rule, above a deep apron with aperture for single drawer (lacking), raised on spirally fluted turned legs on platform stretchers linked by a stretcher and with moulded pad feet, stamped mark ‘6866’ 122cm long, 76cm high, 76cm deep Provenance: Liberty & Co. London

£500-700

111 FA171/44 SIR ROBERT LORIMER (18641929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the octagonal sectional top with pegged construction, above chamfered frieze on spirally tuned fluted and reeded supports with moulded collars, linked by curved and chamfered stretchers on moulded bracket supports, bears ivorine label, ‘Liberty/ London’, later label ‘Scarves/Dept/ Tudor’

112 FA171/45 SIR ROBERT LORIMER (18641929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the octagonal sectional top with pegged construction, above chamfered frieze on spirally tuned fluted and reeded supports with moulded collars, linked by curved and chamfered stretchers on moulded bracket supports, bears ivorine label, ‘Liberty/ London’, one section lacking under top, small chip to top

113 FA171/46 SIR ROBERT LORIMER (18641929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the octagonal sectional top with pegged construction, above chamfered frieze on spirally tuned fluted and reeded supports with moulded collars, linked by curved and chamfered stretchers on moulded bracket supports, bears ivorine label, ‘Liberty & Co/ Regent St. London’, later label ‘Scarves’

86.5cm diameter, 76cm high

Provenance: Liberty & Co. London

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

£1,200-1,800

LY O N & T U R N B U L L Scottish Design from 1860

114 FA171/47 SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the octagonal sectional top with pegged construction, above chamfered frieze on spirally tuned fluted and reeded supports with moulded collars, linked by curved and chamfered stretchers on moulded bracket supports, later label ‘771’, one panel lacking under top, crack to one panel on top 86.5cm diameter, 76cm high Provenance: Liberty & Co. London

£1,000-1,500

115 FA171/48 SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the octagonal sectional top with pegged construction, above chamfered frieze on spirally tuned fluted and reeded supports with moulded collars, linked by curved and chamfered stretchers on moulded bracket supports, bears ivorine label, ‘Liberty & Co/ Regent St. London’, damage to top 86.5cm diameter, 76cm high Provenance: Liberty & Co. London

£800-1,200

116 FA171/49 SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the octagonal sectional top with pegged construction, above chamfered frieze on spirally tuned fluted and reeded supports with moulded collars, linked by curved and chamfered stretchers on moulded bracket supports 86.5cm diameter, 76cm high Provenance: Liberty & Co. London

£1,000-1,500

LY O N & T U R N B U L L Scottish Design from 1860

117 FA171/50 SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the octagonal sectional top with pegged construction, above chamfered frieze on spirally tuned fluted and reeded supports with moulded collars, linked by curved and chamfered stretchers on moulded bracket supports 86.5cm diameter, 76cm high Provenance: Liberty & Co. London

£1,000-1,500

118 FA171/51 SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the octagonal sectional top with pegged construction, above chamfered frieze on spirally tuned fluted and reeded supports with moulded collars, linked by curved and chamfered stretchers on moulded bracket supports, bears ivorine label, ‘Liberty & Co./ Regent St. London’, later label ‘Scarves’, one panel lacking under top, some damage to central panel on top 86.5cm diameter, 76cm high Provenance: Liberty & Co. London

£1,000-1,500

119 FA171/63 SIR ROBERT LORIMER (1864-1929) FOR LIBERTY & CO., LONDON FUMED OAK CENTRE TABLE, CIRCA 1924 the octagonal sectional top with pegged construction, above chamfered frieze on spirally tuned fluted and reeded supports with moulded collars, linked by curved and chamfered stretchers on moulded bracket supports, two sections lacking under top 86.5cm diameter, 76cm high Provenance: Liberty & Co. London

£1,000-1,500

LY O N & T U R N B U L L Scottish Design from 1860

Other Property 120 EZ870/5 SIR ROBERT LORIMER (1864-1929) OAK AND BURR OAK CENTRE TABLE, EARLY 20TH CENTURY made by Whytock & Reid, Edinburgh, the square top with inset angles and burr inlay raised on scrolling cutout supports linked by corresponding stretchers 84cm square, 72cm high Provenance: Sir James Morton, Craigiehall, Edinburgh and by family descent Literature: Morton, J., ‘Three Generations in a Family Textile Firm’, London: Routledge & Kegan Paul, 1971, pages 314-5

Note: Craigiehall, a William & Mary mansion just outside Edinburgh, was leased for the first time in 1926 from the Earl of Rosebery to James Morton, the wealthy textile merchant and son of Alexander Morton, for a 21 year period. By then, the house had lain empty for more than ten years and extensive renovations were carried out. Sir Robert Lorimer was commissioned for work to the house, and a water-turbine was built beneath the Grotto to provide electricity to the house and stables, which were renovated as accommodation for Morton’s textile workers; a craft studio was also established. The present lot ‘a fine square table of Lorimer’s design’ stood in the entrance hall.

£2,000-3,000

121 FB006/1 CELTIC REVIVAL COPPER FIRE SURROUND, CIRCA 1920 of rectangular outline with bowed canopy and riveted panels, repoussé decorated with Celtic knots 101.5cm wide, 96.5cm high, 12.5cm deep

£300-500 122 FA878/3 SIR ROBERT LORIMER (1864-1929) (MANNER OF) FOR WHYTOCK & REID, EDINBURGH SET OF FOUR OAK CHAIRS, CIRCA 1930 each with ladder backs above drop in seats raised on square chamfered legs (4) Note: For chairs with similar construction see The Fine Art Society, Edinburgh, sale Phillips, 26th May, 1992, lots 294 and 295

£400-600 55

LY O N & T U R N B U L L Scottish Design from 1860

123 FA765/1 WHYTOCK & REID, EDINBURGH WALNUT BOOKCASE, 1930s the arch moulded top carved with an acorn and oak leaf carved cornice above glazed and mullioned doors opening to shelves, over two long drawers and a similarly carved apron, on squat feet 98cm wide, 215cm high, 47cm deep

ÂŁ1,000-1,500

LY O N & T U R N B U L L Scottish Design from 1860

124 FA878/2 THOMAS HADDEN (1871-1940) (ATTRIBUTED TO) STEEL COMPANION SET, CIRCA 1920 the central supporting column with domed surmount filled with decorative scrollwork and suspending fire irons, raised above corresponding domed base 83cm high Literature: Wright, Elizabeth F., ‘Thomas Hadden: Architectural Metalworker’ Journal of the Society of Antiquaries of Scotland, 1991, p.427

Note: Thomas Hadden was born in Hamilton, Lanarkshire, in 1871. He came from a metal-working family and his father, grandfather and uncle all worked with iron in and around Haddington, East Lothian. Hadden trained initially at Howgate, near Edinburgh, and on the completion of his apprenticeship worked in Edinburgh for James Milne & Sons. In 1901, after a short period in London, he decided to set up in business in East Silvermills Lane, Edinburgh, in partnership with his brother Robert, a woodcarver. From its earliest days, the firm specialized in decorative smithwork, principally, though not exclusively, in collaboration with one of the leading exponents of the movement to revitalize Scottish vernacular traditions, Sir Robert Lorimer. The firm of Thomas Hadden ceased production in 1975.

£500-700

125 FA837/28 SIR ROBERT LORIMER (1864-1929) (DESIGNER), THOMAS HADDEN (1871-1940) (MAKER) STEEL COMPANION SET, CIRCA 1910 comprising a poker, an ash shovel, a pair of coal nippers, supported on a stand with galleried tray 53cm high Literature: Wright, Elizabeth F., ‘Thomas Hadden: Architectural Metalworker’ Journal of the Society of Antiquaries of Scotland, 1991, p.432, illus. 5 for a similar example.

£700-900

126 EAA562/5 THOMAS HADDEN (1871-1940) FOR WHYTOCK & REID, EDINBURGH SET OF FIVE WROUGHT IRON WALL LIGHTS, 1930S each of bracket form, with elaborate scrollwork centred by a flowering rose (5) 45cm high Provenance: Whytock & Reid, Edinburgh

£200-300

LY O N & T U R N B U L L Scottish Design from 1860

127 FA948/2 ALEXANDER RITCHIE (1856-1941) RARE COPPER PAPER KNIFE, CIRCA 1920 cast 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 FA244/2 ALEXANDER RITCHIE (1856-1941) BRASS WALL CANDLE SCONCE, CIRCA 1920 the backplate repoussé decorated with a longboat and entwined foliate motifs above a drip tray (nozzle lacking) 26cm high

£300-500

129 FA877/1 ALEXANDER RITCHIE (1856-1941) SILVER AND ENAMEL BROOCH, 1939 of circular form with entwined Celtic knot decoration, stamped maker’s marks, marks for Birmingham 1939 3.5cm across Literature: MacArthur, E. Mairi, ‘Iona Celtic Art’, Iona 2003, page 40, ill. 8f for a similar example

£200-300 58

LY O N & T U R N B U L L Scottish Design from 1860

130 FA529/7 GEORGE BAIN (1881-1968) FOR QUAYLE & TRANTER LTD., KIDDERMINSTER CELTIC ‘HUNTING’ CARPET, CIRCA 1948 the machine woven ivory field with central red octagonal Celtic knotwork medallion surrounded by huntsmen with dogs, deer, boar and horses within red and polychrome strapwork border 366cm x 272cm Note: George Bain was born in Scrabster in northern Scotland, and was an art teacher who almost single-handedly revived interest in Celtic and Insular art. His book ‘Celtic Art: The Methods of Construction’ was published in 1951. Although it had little impact at the time, on its re-issue in 1971 it introduced a generation to Celtic knotwork, the Pictish stones, the Book of Kells and the Book of Durrow. As well as describing and illustrating over 200 historical examples, his book was notable for giving detailed instructions on creating similar interlace, spiral, and trumpet designs, and encouraging their use in craftwork.

£800-1,200

LY O N & T U R N B U L L Scottish Design from 1860

131 FA242/1 BENNO SCHOTZ (1891-1984) BRONZE FIGURE, DATED 1925 bronze, signed and dated in the bronze ‘B. Schotz, 1925’ Total height, 34.5cm Note: Benno Schotz emigrated to Glasgow from Estonia in 1912, and gained an engineering diploma from the Royal Technical College. From 1914-1923 he worked in the drawing office of John Brown and Company, a Clydebank shipbuilders, while attending evening classes in sculpture at the Glasgow School of Art. Schotz became a full time sculptor in 1923 and rose to became a full member of the Royal Scottish Academy, head of sculpture at the Glasgow School of Art (a post he held from 1938 until his retirement in 1961), and eventually Sculptor in Ordinary for Scotland in 1963.

£1,000-1,500

132 YE2011/15 OLIVE CARLETON SMYTH (1882-1949) THE PIPES OF PAN Tempera on Paper, signed within contemporary silvered frame 24.5cm x 40.5cm Note: Olive Carleton Smyth trained at Glasgow School of Art between 1900 and 1909 as a fresco decorator and artist. She was an early tutor at the School and was recruited by Francis (Fra) Newbery in 1902 while still a student. Smythe’s work has a theatrical quality, reflecting her interest in theatre, and her influences included the Ballets Russes, with its dramatic themes, colours and costumes. Literature: Burkhauser, Jude (edit.), ‘Glasgow Girls: Women in Art and Design’, Edinburgh 1990, pages 170-172

£2,000-3,000

LY O N & T U R N B U L L Scottish Design from 1860

134

138

136

133

133 FA280/1 JOHN MONCRIEFF LTD., PERTH ‘MONART’ GLASS TABLE LAMP, CIRCA 1930 the mushroom shade with adjustable brass support, raised on a shouldered base, the clear glass with swirling lemon and white inclusions and with further green and pink inclusions, bears original paper label to base ‘VII.P/23.390’ 37cm high Note: ‘Monart’ glass was produced in Perth from the 1920s to 1960s. The Monart name grew from the collaboration of the Moncrieff and Ysart families. Salvador Ysart and his son Paul came to work at the factory in 1922 and created vibrant designs that were supplied to stores such as Liberty’s in London.

£800-1,200

134 FA280/2 JOHN MONCRIEFF LTD., PERTH ‘MONART’ GLASS VASE, CIRCA 1930 of flared trumpet form with applied foot, the clear glass with swirling lemon and white inclusions and with further green and pink inclusions

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

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

21cm high

18cm high

26cm high

£150-250

£150-250 139 FA408/5 CHRISTOPHER DRESSER (1834-1904) FOR JAMES COUPER & SONS, GLASGOW ‘CLUTHA’ GLASS BOTTLE VASE, CIRCA 1900 green glass with bubble inclusions

40cm diameter

137 FA249/2 JOHN MONCRIEFF LTD., PERTH ‘MONART’ GLASS TABLE LAMP BASE, CIRCA 1930 of shouldered form with original brass shade support, the clear glass with swirling lemon and white inclusions and with further green and pink inclusions, bears original paper label to base

£300-500

20cm high

£150-250 135 FA249/1 JOHN MONCRIEFF LTD., PERTH ‘MONART’ GLASS PLAFFONIER, CIRCA 1930 the circular domed shade with white mottled inclusions, and with orange inclusions to the rim, with original fittings and hanging chains

20cm high

£200-300

£150-250

LY O N & T U R N B U L L Scottish Design from 1860

140 EZ514/8 JOSEPHINE MILLER (1890-1975) ‘SEASONS OF THE YEAR’ FOUR FOLD MAHOGANY SCREEN, CIRCA 1926 each fold with upper panel painted in oils with a scene depicting the seasons within a moulded frame and with plain panel below, each panel signed and dated 1926 each fold; 168cm x 52cm Literature: Burkhauser, Jude (Edit.) ‘Glasgow Girls’, Edinburgh 1993, fig 321, page 237 Note: Josephine Haswell Miller (1890-1975) trained at Glasgow School of Art from 1905 to 1914 under Anning Bell. Whilst still a student she executed a mural on canvas entitled ‘Science’ (1913) still in situ at Possilpark Library, Glasgow. She also studied in Paris and in London under Sickert. In 1916 she married fellow student A. E. Haswell Miller. She then taught etching at the School of Art from 1924 to 1932. When her husband became keeper at the Scottish National Portrait Gallery they moved to Edinburgh. In 1938 she became the first woman to be elected Associate of the Royal Scottish Academy. Her style is ‘unmistakably of her time - clean cut and commanding.’

£2,000-4,000

141 FA234/1 ELIZABETH MARY WATT (1886-1954) STILL LIFE WITH FLOWERS oil on canvas, signed 51.5cm x 42.5cm

142 FA244/1 ELIZABETH MARY WATT (1886-1954) THE CUILLINS watercolour, signed and dated 1942

£400-600

25.5cm x 35cm

Note: Elizabeth Mary Watt studied at the Glasgow School of Art 1906-17 where she won a diploma and a travelling scholarship to study on the continent, visiting Paris, Venice, Florence, Geneva and Rome. On her return, she taught at the Glasgow High School for Girls, and later made her living as a painter and a commercial pottery painter, producing work in her studio in Glasgow.

£300-500

143 FA235/1 ELIZABETH MARY WATT (1886-1954) (ATTRIBUTED TO) CERAMIC BROOCH, CIRCA 1930 decorated in coloured enamels with stylised floral motifs within a brass mount 5cm diameter

£150-250

LY O N & T U R N B U L L Scottish Design from 1860

144 EY557/9 GORDON MACWHIRTER WEBSTER (1908-1987) PAIR OF STAINED, PAINTED AND LEADED GLASS PANELS, CIRCA 1950 each with lancet arch outline, bearing inscriptions ‘Bring Me Unto Thy Holy Hill’, and ‘Behold I Am Alive For Evermore’ (2) Each panel 204cm high, 74cm wide Provenance: Broomhill Trinity Church, Glasgow Literature; Donnelly, Michael, ‘Scotland’s Stained Glass’, pub. The Stationary Office, 1997, page 96. Note: Gordon McWhirter Webster’s father Alfred A. Webster was a Stained Glass artist between 1884 and 1915. On his death his widow continued to operate her dead husband’s firm. In 1929 it finally passed under the direct management of Alf’s son Gordon who had been an infant at the time of his father’s death. Mrs Webster had managed to keep the studio solvent by placing the practical management of the glass shop in the hands of the firm’s former apprentice and assistant Douglas Hamilton. Hamilton trained Gordon, but like him he was for a number of years strongly influenced by his late father’s work. His fine early windows might very well be mistaken for that of his father’s. However by the mid-1930s he had discovered his own voice and some of his work from this period are very fine indeed

£1,500-2,000 145 FA962/15 RICHARD AMOUR FOR BOUGH POTTERY, EDINBURGH EARTHENWARE OVAL JARDINIERE, CIRCA 1930 painted with a frieze of fruiting cherries and butterflies, painted and printed marks ‘R.A./ Bough/ 47/ Made in Scotland’ 26cm across

Note: ‘Bough’ pottery was set up in Edinburgh by Elizabeth Amour who had attended the Glasgow School of Art from 1908 to 1912. Amour bought blanks from various sources which were decorated by herself and other members of her family and then glazed. Most pieces are marked ‘Bough’ and initialled by the decorator. The present lot is decorated Elizabeth Amour’s brother, Richard. Bough pottery was produced until 1942.

£150-250

147 FA408/4 NEIL MORRIS FOR H. MORRIS & CO. LTD, GLASGOW PLYWOOD ‘TOBY’ CHAIR, 1950S with coated steel legs linked by stretchers, stamped mark ‘Toby Chair/ Morris of Glasgow’ 78.5cm high

£80-120

146 No lot 63

LY O N & T U R N B U L L Scottish Design from 1860

148 FA878/11 NEIL MORRIS FOR H. MORRIS & CO. LTD, GLASGOW PROTOTYPE ‘NIMBUS’ TABLE, DESIGNED 1947 the shaped freeform plywood top, raised on tapered legs, stamped mark to base ‘Proto Nimbus 1XX’ 129cm across, 48cm high

£400-600

149 FA878/10 NEIL MORRIS FOR H. MORRIS & CO. LTD, GLASGOW RARE TEAK ‘COIN TABLE’, CIRCA 1953 the bowed rectangular top inset with coins, raised on tapering legs, bears inset makers label and plaque inscribed ‘Coin Table/ Designed by Neil Morris/ 1st set of minted coins 1953/ restricted issue’ 43cm wide, 47cm high, 89cm long

£400-600

150 FA277/4 SIR EDUARDO PAOLOZZI (1924-2005) HORSE WITH ANATOMY plaster figure 53.5 cm long

£800-1,200

LY O N & T U R N B U L L Scottish Design from 1850

151§ EZ565/23 SIOBHAN HEALY (BORN 1976) ‘FLORAL’ GLASS CHARGER, CIRCA 2000 frosted and clear glass, etched with flowers and with coloured floral inclusions, etched signature 46.5cm diameter

Note: Siobhan Healy has received several awards such as the Creative Development award from the Scottish Arts Council-Creative Scotland and also the Forth Valley Makers Award 2010. She specialises in architectural glass commissions for public buildings and also sculptural artworks for galleries. Previous clients include The Scottish Government, The Royal Incorporation of Architects in Scotland (RIAS), The BBC, Craignish Castle, North Lanarkshire Council, East Dumbartonshire Council and Clackmannanshire Council. Her work is in collections in the UK, India, USA and Dubai.

£150-250

152 FA630/2 NORMAN ORR (1924-1993) ENGRAVED GLASS COMPORT, DATED 1977 of circular form with applied foot, etched with a design of Daniel and the Lion, etched mark to foot ‘Orr 77’ 25.5cm diameter

£150-250

153 EZ318/1 ALAN JAMES MILLAR EBONISED OAK AND MAPLE VENEERED DINING ROOM SUITE, CIRCA 1980 comprising: a dining table of stepped elliptical form, quarter-veneered with burr maple and raised on swollen turned supports, tapering to turned and blocked feet, 127cm wide, 240m long, 74cm high; and eight matching dining chairs, four “female” and four “male” (9) Note: Designed for the boardroom of McGurn, Logan, Duncan & Opfer Architects, Woodside Place, Glasgow, and made by Piers Kettlewell cabinetmakers, circa 1985

154 EAA270/26 MARGERY CLINTON (1931-2005) EARTHENWARE LUSTRE BOWL, CIRCA 1970 of quatrefoil form, painted initials to base and dated ‘9.8.85’, 38cm diameter; also a MARGERY CLINTON LAMP BASE, also decorated with lustre glazed, initialled, 30cm high (2)

Note: Margery Clinton was a specialist in reduction lustre glazes. She studied painting at the Glasgow School of Art from 1949 to 1953 and became involved with ceramics in the 1960s, researching reduction lustre glazes at the Royal College of Art in the early 1970s. In 1978 she set up a workshop at Newton Port in Scotland and worked there in partnership with Jan Williamson until 1981, continuing there until 1995 when she moved the pottery to Dunbar. Her work has been exhibited at the Tate, the V&A, Glasgow Art Gallery and Museums and the Royal Museum of Scotland.

£200-300

£500-800

LY O N & T U R N B U L L Scottish Design from 1850

155 EAA270/27 MARGERY CLINTON (1931-2005) THE THREE ESTATES, 1970s three felt collage hangings, each bearing makers label ‘Designed and made by Margery Clinton/ 43 Marlborough Avenue/ Glasgow W.1/ Scotland’ (3) 171cm high and 78.5, 75.5, and 69cm wide respectively

£400-600

LY O N & T U R N B U L L Scottish Design from 1850

156 FA382/1 TIM STEAD (1952-2000) PINE, MAHOGANY AND SPECIMEN WOOD DINING ROOM SUITE, LATE 1980s comprising a refectory table, the rectangular top with six applied place settings, each inlaid in an abstract parquetry with specimen woods, with central applied plate rest, raised on trestle ends linked by a stretcher, 203cm long, 77.5cm high, 90cm wide; a PAIR OF MAHOGANY BENCHES, each with moulded seats and chevron parquetry inlay, 183cm long; a CARVER ARMCHAIR; a MATCHING SIDE CHAIR; and a FOOTREST (6)

Note: Tim Stead was born in the Cheshire countryside, surrounded by trees. He studied fine art at Trent Polytechnic, where his interest in creating from wood was developed and in 1975, Stead did postgraduate work at the School of Art in Glasgow, where he met his life partner, Maggy, who continues his studio today. Major commissions included Café Gandolfi in Glasgow (1979); The Memorial Chapel at the Kirk of St Nicholas, Aberdeen, created after the Piper Alpha disaster; the throne for the Pope’s visit to Scotland in 1983; the Peephole in the Glasgow Gallery of Modern Art (1996) and his last major work, a collaboration, was the Millennium Clock in the Royal Museum of Scotland in Edinburgh.

He was a founding member of the Woodschool which enables craftsmen to develop the skills needed to make full use of local, native timbers and in 1986 he launched the “Axes for Trees” project, which involved making one wooden axe head for every day of the year, and selling them to raise money to plant trees. He was also a co-founder of the Borders Forest Trust and played a leading role in the Millennium Forest project, which created Community Woodlands throughout Scotland.

£1,000-1,500

LY O N & T U R N B U L L Scottish Design from 1850

157 FA983/1 TIM STEAD (1952-2000) ELM AND BURR ELM SIDEBOARD, CIRCA 1990 with gold filler embellishment, the freeform top above two burr wood drawers and with two cupboard doors below, each with pegged hinges and enclosing a shelf 128cm wide, 93cm high, 48cm deep Provenance: Purchased from the artist

£1,500-2,000

158 FA983/4 TIM STEAD (1952-2000) ELM AND BURR ELM OCCASIONAL TABLE, CIRCA 1990 with gold filler embellishment, the freeform top above crossed supports 63cm long, 48cm high, 41cm wide Provenance: Purchased from the artist

£300-500

159 FA983/3 TIM STEAD (1952-2000) ELM AND BURR ELM SIDE CABINET, CIRCA 1990 with gold filler embellishment, the freeform top above single cupboard door with applied pegged hinges 49cm wide, 52cm high, 45cm deep Provenance: Purchased from the artist

£300-500

LY O N & T U R N B U L L Scottish Design from 1850

160 FA983/2 TIM STEAD (1952-2000) ELM AND BURR ELM COFFEE TABLE, CIRCA 1990 with gold filler embellishment, the freeform top above twin trestle ends, linked by a stretcher with supporting bracket 103cm long, 38cm high, 62cm wide Provenance: Purchased from the artist

£500-700

161 FA984/1 SCOTTISH SCHOOL HARDWOOD CHAISE LONGUE, CIRCA 1990 the carved concave head rest and seat, with adjusting ratchet, resting on a square section frame with broad armrests and square tapering supports linked by stretchers 153cm long (approx), 104cm high (approx.), 61cm wide

£500-700 162 FA984/2 SCOTTISH SCHOOL HARDWOOD SIDE CHAIR, CIRCA 1990 to match the previous lot, the carved concave back and seat, raised on square tapering supports £200-300

END OF SALE

Silver from Glasgow A SELLING EXHIBITION

Silver From Glasgow

COTLAND has been an important centre for the craft of silversmithing for over 500 years and Glasgow holds a significant place within that story. From recent research which suggests that surviving early objects such as the Bute Mazer (14th/16th century) were partly fabricated in Glasgow, to the well documented role of the immensely wealthy 19th and early 20th century city as a powerhouse of technological progress and industrial skill which supported innovative domestic design, to the post war prominence achieved by Glasgow School of Art as centre for the training and education of silversmiths, all reminds us of the central role of Glasgow to the story of Scottish silver. This exhibition of recent silver tableware has been drawn from the studios of six silversmiths, all of whom have studied at Glasgow School of Art. The selection has been made to illustrate the particular strengths of each studio, both in terms of technique and idea, but collectively works illustrate something which could be described as indicative of a Glasgow style: elegant, pared down functional objects for everyday use which celebrate the skill and precision 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 for creating this opportunity to celebrate Scottish design in silver in this way. Amanda Game, May 2011

Silver From Glasgow A SELLING EXHIBITION

ELEN MARRIOTT studied at Glasgow School of Art and is now Course Leader in the Department of Silversmithing and Jewellery. She specialises in functional silver hollowware and numerous private and public commissions include a pair of candlesticks for the Bute House silver collection.

1. Cupcake Stand silver and shagreen 300mm high, 280mm wide ÂŁ4,800

2. Sugar Bowl and Creamer silver Bowl, 120mm high, 75mm wide, Creamer, 110mm high, 75mm wide ÂŁ5,500 73

Silver From Glasgow A SELLING EXHIBITION

NGELA CORK studied at Glasgow School of Art, Bishopsland Educational Trust and the Royal College of Art London. She has her own studio in London working to commission and for exhibition. Her aim is to create visually challenging pieces which retain their functionality. Her formidable skills honed to explore the balance of the object and also the space around and within it.

3. Wedge Vase sterling silver, satin finish 233mm x 150mm ÂŁ5,750

Silver From Glasgow A SELLING EXHIBITION

4. Pivot Bowl silver, semi-matt finish 260mm x 170mm £7,800

5. Round Tilt Dish silver semi-matt finish 63mm wide £960

6. Small Square Tilt Dish silver, semi-matt finish 63mm x 63mm £1,150

7. Square Tilt Dish silver, semi-matt finish 106mm x 103mm £5,950 75

Silver From Glasgow A SELLING EXHIBITION

ARION KANE is an award winning silversmith, based in West Kilbride who graduated from Glasgow School of Art in 1999. All her work is handraised and the subtle gradations of texture and tone are created through the skilful use of different hammers. Inspiration is drawn from the natural world and many pieces are enriched with gold inlay to add warmth and texture to finished works, intended for pleasure and use.

8. Navette covered bowl fine silver & gold foil 160mm high, 160mm wide ÂŁ3,600 76

Silver From Glasgow A SELLING EXHIBITION

9. Edge bowl Britannia silver & gold foil 93mm high, 155mm wide £3,200

10. Double stripe beaker Britannia silver & gold foil 83mm high, 75mm diameter £720

11. Edge beaker Britannia silver & gold foil 100mm high, 65mm diameter £720 77

Silver From Glasgow A SELLING EXHIBITION

OGER MILLAR studied at Glasgow School of Art under J. Leslie Auld and then the Royal College of Art in London. He has been a significant figure in design education in the field of silversmithing in Scotland firstly developing the course at Duncan of Jordanstone College of Art in Dundee then for 20 years creating what is widely acknowledged as one of the best undergraduate training programmes in the UK in Glasgow. He has also developed a successful studio in Glasgow undertaking both commissioned and exhibition work, internationally. He believes that silver should give pleasure both visually and to handle and through these means encourage much use.

12. Pair of candlesticks silver, jasper 120mm high, 88mm diameter £1,500 pair

13. Pair, ‘Living Silver’ candlesticks silver, stainless steel 165mm high, 460mm long £1,200

Silver From Glasgow A SELLING EXHIBITION

14. Cream sugar bowl and jug silver Sugar bowl, 50mm high, 83mm wide Jug, 90mm high, 55mm wide £1,400

Silver From Glasgow A SELLING EXHIBITION

RANT MCCAIG was born in Edinburgh and studied at Glasgow School of Art and is currently completing a Masters Degree at the Royal College of Art in London following a decade of successful studio practice, combined with teaching, in Edinburgh. He has always had a deep fascination with the sea, finding it a constant source of inspiration, from the shape of the boat hulls to the treasures we find along the tide line.

17. Driftwood Serving Spoons Sterling silver & driftwood 2008 Average Lengths 320mm - 400mm ÂŁ675 each

Silver From Glasgow A SELLING EXHIBITION

18. Drifting Vessel with Driftwood Handle hand raised Britannia silver with driftwood, 2008 150mm high, 100mm wide £3,400

19. Rocking Jug with Ebonised Oak Wood Handle Rocking Jug with Ebonised Oak Wood Floating Handle silver, distressed re-cycled blackened oak wood, 2008. 145mm high, 120mm wide and 135mm high, 110mm wide £3,100 each

Silver From Glasgow A SELLING EXHIBITION

INDA ROBERTSON was born and bred on the Isle of Bute. She graduated from Glasgow School of Art in 1997 and th Royal College of Art in 2000. She takes inspiration from the architectural and street landscape of the city from buildings to drain covers and road markings and feels that the architecture of the city should be directly linked to the architecture of the table.

20. Bishopsland Beakers silver with gold inlay 110mm high, 65mm wide ÂŁ4,800 pair

Silver From Glasgow A SELLING EXHIBITION

21. Limehouse Set Carafe and Set of 6 Shot Glasses silver Carafe, 270mm high, 135mm wide Shots, 63mm high, 45mm wide ÂŁ5,600/set

Wemyss Ware Tuesday, 16th August, 2011 33 Broughton Place, Edinburgh EH1 3RR

Viewing times Sunday 14th August 12 noon - 4pm Monday 15th August 10am - 5pm Morning of Sale from 9am

Enquiries John Mackie Tel: +44 (0)131 557 8844 john.mackie@lyonandturnbull.com

Further entries are invited until Friday 1st July

WEMYSS WARE RARE RABBIT FIGURE CIRCA 1900 ÂŁ3,000-5,000

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Scottish Silver & Accessories Tuesday 16th August, 2011 33 Broughton Place, Edinburgh EH1 3RR Enquiries Colin Fraser Tel: +44 (0)131 557 8844 colin.fraser@lyonandturnbull.com Trevor Kyle Tel: +44 (0)131 557 8844 trevor.kyle@lyonandturnbull.com

Further entries are invited until Friday 1st July

Contemporary Paintings & Works of Art Thursday 25th August, 2011 33 Broughton Place, Edinburgh ERIC HOLT (BRITISH b. 1944) CARNIVAL FANTASY Signed and dated 1990-91, oil on canvas 91cm x 61cm (36in x 24in)

ÂŁ2,000-3,000

Viewing times Sunday 21st August 12 noon to 4pm Monday 22nd August to Tuesday 23rd August 10am - 5pm Morning of Sale By appointment only

Enquiries Nick Curnow Tel: +44 (0)131 557 8844 nick.curnow@lyonandturnbull.com

Further entries are invited until 15th July 2011

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Decorative Arts: Design from 1860 Wednesday, 9th November, 2011 33 Broughton Place, Edinburgh EH1 3RR

Viewing times Sunday 6th November 12 noon - 4pm Monday 7th November 10am - 5pm Tuesday 8th November 10am - 5pm Morning of Sale from 9am FRENCH ART DECO EBONISED MAHOGANY AND BRASS MOUNTED WRITING DESK, 1930S ÂŁ3,000-5,000

Enquiries John Mackie Tel: +44 (0)131 557 8844 john.mackie@lyonandturnbull.com

Further entries are invited until Monday 3rd October

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STANDARD TERMS & CONDITIONS OF SALE Lyon & Turnbull carries on business with bidders, buyers and all those present in the auction room prior to, or in connection, with a sale on the following General Conditions and on such other terms, conditions and notices as may be referred to herein. 1. DEFINITIONS In these Conditions: (a) “Auctioneer” means the firm of Lyon & Turnbull or its authorised auctioneer, as appropriate; (b) “deliberate forgery” means an imitation made with the intention of deceiving as to authorship, origin, date, age, period, culture or source but which is unequivocally described in the catalogue as being the work of a particular creator and which, at the date of the sale, had a value materially less than it would have had if it had been in accordance with the description; (c) “hammer price” means the level of bidding reached (at or above any reserve) when the auctioneer brings down the hammer; (d) “terms of consignment” means the stipulated terms and rates of commission on which Lyon & Turnbull accepts instructions from sellers or their agents; (e) “total amount due” means the hammer price in respect of the lot sold together with any premium, Value Added Tax chargeable and any additional charges payable by a defaulting buyer under these Conditions; (f) “sale proceeds” means the net amount due to the seller, being the hammer price of the lot sold less commission at the stated rate, Value Added Tax chargeable and any other amounts due to us by the seller in whatever capacity and however arising;

Value Added Tax on the hammer price is imposed by law on all items affixed with an asterisk (*) or dagger (†). Value Added Tax is charged at the appropriate rate prevailing by law at the date of sale and is payable by buyers of relevant lots.

9. THIRD PARTY LIABILITY

(a) pay to us the total amount due in cash or in such other way as is agreed by us. We accept cash, bank transfer (details on request), Switch or Debit Cards and Visa or MasterCard (please note there is a surcharge of 1.5% (VAT included) when using credit cards). We do not accept American Express.

All members of the public on our premises are there at their own risk and must note the lay-out of the accommodation and security arrangements. Accordingly neither the auctioneer nor our employees or agents shall incur liability for death or personal injury (except as required by law by reason of our negligence) or similarly for the safety of the property of persons visiting prior to or at a sale.

(2) any payments by you to us may be applied by us towards any sums owing from you to us on any account whatever without regard to any directions of you or your agent, whether express or implied. 7. TITLE AND COLLECTION OF PURCHASES (1) The ownership of any lots purchased shall not pass to you until you have made payment in full to us of the total amount due. (2) You shall at your own risk and expense take away any lots that you have purchased and paid for not later than four working days following the day of the auction or upon the clearance of any cheque used for payment after which you shall be responsible for any removal, storage and other associated charges. (3) No purchase can be claimed or removed until it has been paid for. (4) It is the buyer’s responsibility to ascertain collection procedures, particularly if the sale is not being held at our main saleroom and the potential storage charges for lots not collected by the appropriate time.

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

(1) If any lot is not paid for in full and taken away in accordance with these Conditions or if there is any other breach of these Conditions, we, as agent for the seller and on their behalf, shall at our absolute discretion and without prejudice to any other rights we may have, be entitled to exercise one or more of the following rights and remedies:

(b) the maker of the highest bid accepted by the auctioneer conducting the sale shall be the buyer at the hammer price and any dispute about a bid, which must be raised before the next lot is offered, shall be settled at the auctioneer’s absolute discretion. (c) Bidders shall be deemed to act as principals. (d) Once made, no bid may be withdrawn. (e) Our right to bid on behalf of the seller is expressly reserved up to the amount of any reserve and the right to refuse any bid is also reserved. 3. INCREMENTS Bidding increments shall be at the auctioneer’s sole discretion. 4. THE PURCHASE PRICE The buyer shall pay the hammer price together 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 the rate imposed by law.

(2) We shall, as agent for the seller and on their behalf pursue these rights and remedies only as far as is reasonable to make appropriate recovery in respect of breach of these Conditions

(1) Immediately a lot is sold you will:

8. REMEDIES FOR NON-PAYMENT OR FAILURE TO COLLECT PURCHASES

(a) Bidders are required to register their particulars before bidding and to satisfy any security arrangements before entering the auction room to view or bid;

retain possession of) any of your property in our possession for any purpose until the debt due is satisfied.

6. PAYMENT

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

2. BIDDING PROCEDURES AND THE BUYER

5. VALUE ADDED TAX

(a) to proceed against you for damages for breach of contract; (b) to rescind the sale of that lot and/or any other lots sold by us to you; (c) to resell the lot (by auction or private treaty) in which case you shall be responsible for any resulting deficiency in the total amount due (after crediting any part payment and adding any resale costs). Any surplus so arising shall belong to the seller; (d) to remove, store and insure the lot at your expense and, in the case of storage, either at our premises or elsewhere; (e) to charge interest at a rate of 1.5% per month above the current base rate on the total amount due, to the extent it remains unpaid for more than four working days after the sale; (f) to retain that or any other lot sold to you until you pay the total amount due; (g) to reject or ignore bids from you or your agent at future auctions or to impose conditions before any such bids shall be accepted; (h) to apply any proceeds of sale of other lots due or in future becoming due to you towards the settlement of the total amount due and to exercise a lien (that is a right to

10. COMMISSION BIDS While prospective buyers are strongly advised to attend the auction and are always responsible for any decision to bid for a particular lot and shall be assumed to have carefully inspected and satisfied themselves as to its condition we shall if so instructed clearly and in writing execute bids on their behalf. Neither the auctioneer or our employees or agents shall be responsible for any failure to do so. Where two or more commission bids at the same level are recorded we reserve the right in our absolute discretion to prefer the first bid so made. 11. WARRANTY OF TITLE AND AVAILABILITY The seller warrants to the auctioneer and to you that the seller is the true owner of the property consigned or is properly authorised by the true owner to consign it for sale and is able to transfer good and marketable title to the property free from any third party claims.

origin, date, age, provenance, condition or estimated selling price involve matters of opinion. We undertake that any such opinion shall be honestly and reasonably held and accept liability for opinions given negligently or fraudulently. Subject to the foregoing neither we the auctioneer or our employees or agents or the seller accept liability for the correctness of such opinions and all conditions and warranties, whether relating to description, condition or quality of lots, express, implied or statutory, are hereby excluded. This Condition is subject to the next following Condition concerning deliberate forgeries and applies save as provided for in paragraph 6 “information to buyers”. (2) Private treaty sales made under these Conditions are deemed to be sales by auction for purposes of consumer legislation. 16. FORGERIES Notwithstanding the preceding Condition, any Lot which proves to be a deliberate forgery (as defined) may be returned to us by you within 21 days of the auction provided it is in the same condition as when bought, and is accompanied by particulars identifying it from the relevant catalogue description and a written statement of defects. If we are satisfied from the evidence presented that the lot is a deliberate forgery we shall refund the money paid by you for the lot including any buyer’s premium provided that (1) if the catalogue description reflected the accepted view of scholars and experts as at the date of sale or (2) you personally are not able to transfer a good and marketable title to us, you shall have no rights under this condition. The right of return provided by this Condition is additional to any right or remedy provided by law or by these Conditions of Sale.

12. AGENCY

GENERAL

The auctioneer normally acts as agent only and disclaims any responsibility for default by sellers or buyers.

17. We shall have the right at our discretion, to refuse admission to our premises or attendance at our auctions by any person.

13. TERMS OF SALE The seller acknowledges that lots are sold subject to the stipulations of these Conditions in their entirety and on the Terms of Consignment as notified to the consignor at the time of the entry of the lot. 14. STANDARD VENDOR FEES AND CHARGES (Subject to VAT) (1) Commission: 15% of the first £3000 and 10% thereafter is charged on the selling price of each lot (subject to a minimum charge of £30). Loss and damage warranty: 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 lot consigned for sale, a withdrawal fee will apply; this will be charged at 15% of the mid estimate with any photography charges incurred and all subject to VAT at the current rate. 15. DESCRIPTIONS AND CONDITION (1) While we seek to describe lots accurately, it may be impractical for us to carry out exhaustive due diligence on each lot. Prospective buyers are given ample opportunities to view and inspect before any sale and they (and any independent experts on their behalf) must satisfy themselves as to the accuracy of any description applied to a lot. Prospective buyers also bid on the understanding that, inevitably, representations or statements by us as to authorship, genuineness,

18 (1) Any right to compensation for losses liabilities and expenses incurred in respect of and as a result of any breach of these Conditions and any exclusions provided by them shall be available to the seller and/or the auctioneer as appropriate. (2). Such rights and exclusions shall extend to and be deemed to be for the benefit of employees and agents of the seller and/or the auctioneer who may themselves enforce them. 19. Any notice to any buyer, seller, bidder or viewer may be given by first class mail in which case it shall be deemed to have been received by the addressee 48 hours after posting. 20. Special terms may be used in catalogue descriptions of particular classes of items (Books, Jewellery, paintings, guns, firearms etc) in which case the descriptions must be interpreted in accordance with any glossary or guidance notes appearing in the catalogue. These notices and terms will also form part of our terms and conditions of sales. 21. Any indulgence extended to bidders buyers or sellers by us notwithstanding the strict terms of these Conditions or of the Terms of Consignment shall affect the position at the relevant time only and in respect of that particular concession only; in all other respects these Conditions shall be construed as having full force and effect. 22. Scottish law applies to the interpretation of these Conditions.

Waverley Station

Parking Multi-storey car parking is available at Greenside Place and in the St. James Centre; five minutes walk from the saleroom. WA ITH LE

ITH

Smaller items Mailboxes Etc 44/46 Morningside Road Edinburgh EH10 4BF Tel: +44 (0)131 556 6226 Fax: +44 (0)131 652 3673 Email: edinburgh@mbescotland.com

Packing and Shipping Please note that we do not pack or ship items. The following suggested carriers will be able to arrange packing and shipping; please contact them directly to receive a quote. You may wish to contact an alternative courier.

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Local Deliveries Local deliveries can be arranged by A&S Pert Removals. Telephone 07876 343520.

Lyon & Turnbull saleroom

St Andrew Square

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Furniture and larger items Constantine Constantine House North Caldeen Road Coatbridge North Lanarkshire ML5 4EF Tel: +44(0)1236 750055 Fax: +44(0)1236 750077 E-mail: enquiries@constantinemoving.com A Van Man Transport Unit 5, Benridge Park Holyrood Close, Creekmoor Poole, Dorset BH17 7BD Tel: +44 (0)1202 600 012 Fax: +44 (0)1202 600 206 Email: office@avmt.co.uk Fine Art Carriers Gallery Support Group 37 Cremer Street London E2 8HD Tel: +44 (0)20 7729 6692 Email: info@gallerysupportgroup.com

Arrangements for Sold Lots All bought items will be held free of charge at Broughton Place until the Friday following the sale. Thereafter lots will be removed to store in Edinburgh and a charge incurred. Administration fee: £20 + VAT Storage charges per lot per day are: Large Items £5 inc. insurance + VAT Small Items £2.50 inc. insurance + VAT Catering Refreshments will be available at the saleroom on view days and day of sale.

© Lyon and Turnbull Ltd. 2011. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted by any form or by any means without the prior written permission of Lyon and Turnbull Ltd.

33 Broughton Place, Edinburgh EH1 3RR Tel +44 (0)131 557 8844 Fax +44 (0)131 557 8668 email. info@lyonandturnbull.com www.lyonandturnbull.com

182 Bath Street, Glasgow G2 4HG Tel +44 (0)141 333 1992 Fax +44 (0)141 332 8240

78 Pall Mall, London SW1Y 5ES Tel +44 (0)20 7930 9115 Fax +44 (0)20 7930 7274