H. MacDonald (American, 20th c.), "Wash Day", watercolor on paper, signed lower right, 17 1/4 in. x 23 1/4 in., in a period frame. $700/900
JEAN MacDONALD Foxgloves in the Shade, signed, watercolour and gouache, Jean Gardner Green landscape, watercolour and gouache (2)
WILLIAM ALISTER MACDONALD (BRITISH 1860-1956), VIEW OF TAHITI, WATERCOLOR ON PAPER, CIRCA 1920S, SIGHT SIZE: 5-1/2 X 8-3/4 IN (14 X 22.2 CM)William Alister MacDonald, (British, 1860-1956) View of Tahiti, Watercolor on paper, circa 1920s; apparently in good condition. Framed.* Signed W. Alister MacDonald and located Tahiti l.l. Watercolor on paper, circa 1920s; apparently in good condition. Framed.* Dimensions: Sight size: 5-1/2 x 8-3/4 in (14 x 22.2 cm) Provenance: NM Judd, 1926 (per paper label on verso) M.K. Smith, December 25, 1929
R. MACDONALD SCOTT
WATERCOLOUR
'Elldons from Rhymer's Glen'
signed, titled to label verso
14 1/2" x 18" (36.9cm x 45.8cm)
CHARLES MACDONALD MANLY (1855-1924) CANADIAN
CANTLEY FALLS
WATERCOLOUR, DATED ‘11; TITLED VERSO
Sight 14.00" x 9.30", 35.60 cm x 23.60 cm
BRITISH SCHOOL, (3) WATERCOLOR PORTRAITS British School (19th c.), Portraits of the MacDonald Children, c. 1833-34, watercolors on paper, titled and dated, 4" h x 3 1/2" w, framed and glazed
William Allistair Macdonald (1861-1948)Shipping at Waterloo Bridge signed and dated 1908 watercolour 6" x 9 1/2"
TOM HUTCHINSON PEDDIE (1871-1954)
CAMPBELL VERSUS MACDONALD
Watercolour, signed and dated 1937
SAM BOUGH RSA (1822-1878)
THE FERRY
Watercolour. 13x25cm (5x9 3/4")
Label verso 'From the collection of the late Mr A.G. Macdonald'
CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928)
IVY SEED, WALBERSWICK pencil and watercolour, inscribed, signed and dated lower right IVY SEED/ WALBERSWICK/ 1915/ CRMMMM25.5cm x 18.2cmProvenance: Acquired after the Memorial Exhibition, 1933, by R. W. B. Morris, a partner in Charles Macdonald's legal firm and an executor of Margaret Macdonald Mackintosh's estateThe Fine Art Society, LondonPrivate Collection (1977-present)Exhibited: The Fine Art Society, London, The Flower Drawings of Charles Rennie Mackintosh, May/June 1977Literature: Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quatro, 2017, pp.194-198 and 211-219 Billcliffe R. Mackintosh Watercolours Glasgow Art Gallery, London 1978, p. 38, no. 139Note: By 1914, Mackintosh’s professional fortunes were dwindling and life in Glasgow became unbearably oppressive. Following the completion of the Glasgow School of Art in 1909, Honeyman, Keppie & Mackintosh’s business received very little work, much like their competitors, as the city was grappling with a recession. Mackintosh resigned as partner of the firm in December 1913, supposedly with the intention of setting up his own company, yet sadly nothing came of this. Clearly requiring some rest and recuperation from this drastic turn of events, the Mackintoshes left Glasgow for a summer break to Walberswick in June 1914, but the uncertainty of the First World War and a rather unstable economic climate persuaded them to remain in the village for fifteen months.Like a number of coastal villages across the UK, Walberswick became a hub of artistic creativity in the summer months. Bright blue skies, endless coastal cliffs and colourful fields as far as the horizon brought the likes of Philip Wilson Steer, E. A. Walton and Mary Newbery Sturrock to this charming fishing and boatyard community. Mary Newbery was the daughter of Frances Newbery, Headmaster of the Glasgow School of Art at the time Mackintosh designed its new premises. The two men had formed a very close friendship during their time in Glasgow. Mary was convalescing in Walberswick while the Mackintoshes were staying in the village, close to her family’s villa there. Every day they would venture over to her studio and it is thought that Mackintosh was encouraged by the Newberys to turn to painting during this time, in his search for solace and seclusion.Over the next ten months or so, Mackintosh made over forty botanical watercolour studies using a variety of species: from wild plants such as willow catkins and kingcups to garden favourites fuchsias and petunia, as well as flowers from local fields and hedgerows such as sorrel and chicory. From 1901 Mackintosh had been sketching similar plants and flowers whilst on holiday within Britain, and further afield in Italy and Portugal. These earlier studies are more technical in composition; the background is almost completely abstract as alternating and overlapping perspectives of botanical cross-sections are illustrated. The focus of these sketches was analytical: investigating ways in which certain plant forms could be stylised to create abstract patterns on the page.At Walberswick, the studies are decorative depictions, delicately drawn in a naturalistic manner. It is likely that Mackintosh worked with pressed specimens, perhaps picked on his walks to Sturrock’s studio, giving him an already flattened section to work from. In Ivy Seed, the plant is positioned off-centre as the coloured leaves pointing towards the cartouche draw the eye into the complex structure of the branch itself. Mackintosh was clearly meticulous in his approach: connected stems and foliage are interwoven and overlaid in a beautiful display; there is a careful balance of tension, and delicacy in the delineation of the leaves. The vibrancy of colour, subtly deployed across the page, breathes life into the work and helps capture the decorative beauty of his peaceful new environment.The initials of Margaret Mackintosh appear frequently on many of these watercolours, and it was previously suggested that she contributed to the studies in some way. However, there is no stylistic evidence that correlates with Margaret’s own watercolour techniques. Mary Newbury Sturrock has stated that her initials merely indicate that she was there when the studies were made, thereby highlighting her constant presence in Charles’ life and art.Mackintosh’s time spent studying the coastline and nature in and around Walberswick subsequently led to his arrest in 1915 when he was mistaken for a German spy. After a thorough search of their home led to discoveries of their artistic endeavours in Germany and Austria, Charles and Margaret were forced to leave the area with immediate effect. They eventually settled in London, where his deeply personal connections with nature formed the basis for further watercolours and some innovative textile commissions.The spectacular series of Walberswick studies marks an interesting point in Mackintosh’s career. His intense personal and professional struggles prompted a search for solace in nature: these careful, naturalistic renderings of his surroundings are captivating in their simple beauty, evoking the serenity and contemplation he longed for.
H. J MacDonald, "Mountain Stream": H. J MacDonald, "Mountain Stream" Watercolor/Paper. Signed lower left. Sight Size: 14 x 12 in. Overall Size: in.
WILLIAM B MORRISON 'Dead Trees by Ardluie', watercolour, Jean MacDonald Foxgloves in the shade and Leslie Main Chrysanthemums 1981, watercolour (3)
W. Alister Macdonald (early 20th century), Rome, watercolour, signed, inscribed and dated 1908, 16cm x 25cm.
THOMAS HART BENTON (1889-1975) TEMPERA STUDY AND SKETCHThomas Hart Benton (1889-1975) (Circa 1920-1923)Two significant works from the artist's early, pivotal, Modernist period:1. A mixed media painting on board measuring 13.75 x 9.5 inches.2. A large (53 x 33 inch) sketch on linen in graphite or similar medium, partially embroidered in wool yarns.The smaller study was included in a traveling exhibition titledThomas Hart Benton: Drawing from Life, various museums beginning in 1990 - 1991, and published on page 87 of the associated hardback book Thomas Hart Benton: Drawing from Life. Henry Adams, New York: Abbeville Press, 1990.Around 1922, the year they were married, Tom and Rita Benton teamed up for an unusual artistic collaboration. Not the one where, under Rita's shrewd stewardship, Thomas Hart Benton became one of America's most important artists. Rather, this creative partnership was manifested by the two working together in paint and fiber. It began with Tom creating a preliminary study in tempera and watercolor on a repurposed hardback book cover (perhaps the methods of what Ken Burns referred to as an 'impoverished painter' when describing Benton in this early period, a time when, according to Rita in a Jan 24 1943 KC Star interview, they summered in a rented barn on Martha's Vineyard). He then repeated the composition, with its dynamic central figure, in graphite on a 54 x 36 inch linen panel for Rita to finish in needlework embroidery - which she did in some areas. But it appears the project was set aside for another day while the two embarked on that other collaboration for which they are best known.Around 1960, these two works by Thomas Hart Benton - the painting on board, and its much larger counterpart on linen - were acquired by the Bentons' close friend Ann Constable. Ann was more than just a friend and neighbor. She owned what turned out to be some of the artist's most valuable paintings and, following the artist's death, became an authority on Tom's work. She even represented the estate for a time. When household names from Hollywood came to town looking to acquire a major painting, it was Ann who showed them around the vaults. Rita had always wanted Ann to finish the needlework design. Instead, Ann displayed the works just as they were, side-by-side on the wall of her living room for nearly 40 years.In the early 1990s, Benton Family on South Beach, as the composition came to be known, was selected for the traveling museum exhibition Thomas Hart Benton: Drawing from Life, and published on page 87 of an associated book of the same name by Henry Adams. Of all the things Tom and Rita Benton would accomplish together, few artistic endeavors of this type between the two are known, making this, as Henry Adams described it, ''…clearly quite a unique and personally significant piece from a pivotal moment in Benton's artistic development.''Indeed, the importance of this lot extends beyond its unique genesis. The painting and large corresponding sketch serve as a valuable record of Thomas Hart Benton's early style iterations and artistic evolution from Modernism toward Regionalism. The composition design exhibits the influences of Benton's good friend Stanton Macdonald-Wright (1890-1973) and Synchronism, an art movement Benton experimented with early on; while it also anticipates where the artist was headed stylistically. During this same early period on Martha's Vineyard, other significant works exhibiting Modernist and Abstract influences through similar character studies include The Beach (circa 1920-21) and - more so - People of Chilmark (circa 1921-22) with its similar central muscular lifeguard figure, a mural now in the Hirshorn Museum.In his essay The Mechanics of Form Organization in Painting (Arts Magazine, 1927), Benton discusses the deployment of abstraction in building compositions, and backs it up with illustrations. The principles of diagrams 14 and 15 (re-created here) are, without a doubt, at work in the painting on board and sketch on linen up for bid in this auction lot; while the principles of diagram N2 are manifested quite clearly in The Beach and People of Chilmark.As for the artist creating designs to be finished in fiber and other mediums, Benton is known to have created a number of decorative designs in the 1920s which were then carried out by his mother and Rita. Shortly before her death, Jessie Benton donated a rug to the Martha's Vineyard Museum which was designed by her father but which she believed was made by Benton's mother.More importantly, in the exhibition catalog for Thomas Hart Benton: Mechanics of Form, the authors Surovek Gallery and Lester-Thompson Fine Art (Clay Surovek and Andrew and Kate Thompson) tell how, ''Benton joined a collective of artists, organized by Ralph Pearson, which designed decorative hooked rugs. Through his association with Pearson, and this collective, Benton secured the commission…consisting of a series of mural panels, a folding screen, hooked rugs and furniture for the den of Albert Briggs, an avid sportsman and big game fisherman.'' The most notable and enduring aspect of this commission would be the large, stylized, Modernist Phantasy Series mural panels, steeped in the elements of Synchronism and fully demonstrating the artist's artistic roots; along with an underlying architecture of Abstraction that would be found in so many works to come.The study measures 13.75 x 9.5, the frame is 19 x 15 inches. Sight size for the needlework is 53 x 33.5, the frame measures 58 x 38 inches.Study on Board; Very good untouched condition, no inpainting, damage or repair, with the exception of repair to the extreme lower right corner with reinforcement visible verso. Scattered light soiling and light rubs, stray border graphite markings.Sketch on Linen: Very good original condition, no damage, repair, alteration or touch-up, scattered areas of foxing, light stain upper right.Provenance: Acquired directly from the artist by Ann Constable, The Constable Family Collection.
JEAN MacDONALD Drying the fishing nets, Port William and Iain Boyter, Pittenweem Harbour, watercolour (2)
JAMES EDWARD HERVEY MACDONALD O.S.A. R.C.A. HUMBER RIVER Medium: watercolour 7.5" (height) 18.8cm (height) 5.25" (width) 13.1cm (width)
Two Framed Italian Landscapes, one by Henry P. Spaulding; the other by William Alister Macdonald, each signed lower left, watercolor on paper, sight s: Two Framed Italian Landscapes, one by Henry P. Spaulding; the other by William Alister Macdonald, each signed lower left, watercolor on paper, sight size 10" x 6 1/4" and sight size 14" x 10". Condition All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
A group of original storyboard drawings from "Firefly"
Metro-Goldwyn-Mayer, 1937. Consisting of approximately thirty-five charcoal and pencil on paper drawings depicting numerous scenes from the romantic spy thriller that starred Jeanette MacDonald, Allen Jones, and Warren William; each drawing is intricately rendered with acute attention to period details (as the film takes place in the early 1800s) such as furniture, lighting, wardrobe, buildings, people, animals, foliage, etc. All are accomplished pieces in and of themselves and when viewed together, they virtually recreate the film in its entirety. Also included are two original set design paintings from an unknown production; the first a watercolor on paper (and then mounted to cardboard) depicting a cozy interior of a living room with a blazing fire; a pencilled notation on the verso reads "3/1/39 Paul F. Long" [likely an in-house artist at one of the studios]; the second work is almost identical, though slightly more detailed, and appearing to be the finished version.
15 x 22in and 10 x 13in; and 15 x 18in
William Russell Flint (1880-1969): Somebody's Portrait: William Russell Flint (1880-1969): Somebody's Portrait Watercolor on card, 1935-36, signed 'W Russell Flint' lower right, signed 'W Russell Flint', titled and dated on the reverse, with label from The Fine Art Society Ltd. , London. 13 x 22 in. (sheet), 21 1/2 x 31 1/2 in. (frame). p>Property of Mrs. Robert Ian MacDonald Condition Very pale light- and mat staining. A few pale, scattered foxmarks. Otherwise in good condition. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale.
FRANCES MACDONALD MCNAIR (1873-1921)
DESIGN FOR A PENDANT, CIRCA 1901-02 pencil and watercolour, inscribed in pencil ENAMEL -/ SIDE-/ FRONT-/ BACK-10.5cm x 14cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionExhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M23Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
Stalag Luft III - P.O.W. Diary - Macdonald, William
Wartime log belonging to Pte. William Macdonald from his time in the German prisoner of war camp Stalag Luft III, dated 1944 - 1945, containing several pages of verses, 15 pages of names and home addresses of other prisoners, 25 tipped in photographs, including one of the Stalag VIIIB school tutors, 5 of life in the camp including the cobblers, 28 drawings in pencil and watercolour by various other P.O.W.'s, including F. Perkins, Jas. T. R. Taylor, G.R. "Chips" Carpenter, Flight Lt. A. Cassie, R. Trunole, A.P. Culverwell, Lt. D.A. Woods U.S.A.A.F, Lindsay Grafton Greenaway R.A.A.F, Flight Lt. P.Hood, A. G. Turton, drawings a mixture of comical scenes of camp life, a view of the camp theatre, a double page watercolour showing the famous "Harry " tunnel from Hut 104, a pencil sketch of the D-Day landings, a single sketch of Milag Nord [Merchant Navy camp] and saucy postcard scenes, original cloth, tape repairs to backstrip, a few leaves loose
Note: Stalag Luft III [Permanent Camp for Airman #3] was a German camp for airforce servicemen based in near Zagen in Poland. The camp opened in 1942, with the North compound for British servicemen opened in June 1943.
The position of the camp was selected in an attempt to prevent escape by tunnelling. However, this camp was the location of two of the war's most famous escape attempts, potrayed in film in The Wooden Horse and The Great Escape. It is thought that over 600 prisoners worked on the three tunnels - Tom, Dick & Harry - depicted in The Great Escape. Harry was the only tunnel to be completed, the entrance hidden under a stove in Hut 104. Lindsay Greenaway drew a sketch of the tunnel in MacDonald's log along with the verse "Silently below the surface/ twenty five feet below the floor/ thus the Goons have cause to curse us/ and remember - One-o-Four/ 24-3-43".
Another sketch of MacDonald cobbling in his tartan troos was drawn by Alex Cassie in October 1944. A well known member of the escape team, Cassie worked on the endless list of forged documents required by the escapees. He was portrayed in the film by Donald Pleasance.
John Fery (1859–1934): Moose – Lake MacDonald; Happy New Year: Exclusive on Bidsquare . JOHN FERY (1859–1934). Moose – Lake MacDonald; Happy New Year. watercolor on paper. 6 × 9. 5 inches; 6 × 3. 5 inches. signed lower left; signed lower right. View more information Condition Moose – Lake MacDonald: As viewed through glass. Paper appears to be in good condition. Happy New Year: Paper appears to be in good condition. Colors are slightly faded. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
GRAZING CATTLE BY RIVER
CHARLES MACDONALD MANLY (1855-1924) CANADIAN
WATERCOLOUR
Height: 14.50 " - 36.80 cm
Width: 10.50 " - 26.70 cm
Murray J. MacDonald (Scottish, fl. 1887-1914) "The Pier and Breakwater, Aberdow", 1899, watercolor and gouache on artist's board, signed and dated lower left "Murray MacDonald 1899", titled, dated, signed and inscribed on board verso "To Mrs. J. Baird McN
PORTRAIT BY MURRAY MACDONALD (UNITED KINGDOM, FL. 1889-1910). Watercolor on thick stock, signed and dated 1893 in lower right. Portrait of a cavalier with plumed hat. 18 1/4"h. 14"w., in a gilt frame, 22"h. 18"w.
CHARLES MACDONALD MANLY
A WOMAN AND HER COWS
WATERCOLOUR
Sight 11.50" x 17.50", 29.20 cm x 44.50 cm
Hugh Casson "Beach Scene Florida" Watercolor: Hugh Casson (1910-1999) "Beach Scene Florida, " watercolor on paper, depicting family on the beach, monogrammed lower right: "HC, " exhibited in "Brush and Lens: Watercolors by Hugh Casson and Photographs by Margaret MacDonald March 17- May 3, 1994" organized by The FORBES Magazine Galleries and the American Associates of the Royal Academy Trust" with accompanying pamphlet. Image: 4. 5" H x 6. 375" W; frame: 10. 75" H x 12. 5" W x 1" D. Available payment options on Bidsquare
FRANCES MACDONALD MCNAIR (1873-1921)
DESIGN FOR A BROOCH OR PENDANT, CIRCA 1901-02 pencil and watercolour, inscribed in pencil DESIGN FOR BROOCH IN TURQUOISE AND SILVER-/ OR PENDANT10cm x 10.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionExhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M21Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
STANTON MACDONALD WRIGHT (1890 - 1973): RUSTIC CANYON1952; signed, dated and titled illegibly lower middle; watercolor and pencil on paper; Provenance: de-accessioned from The Museum of Contemporary Art San Diego; 22 1/2 x 28 1/2 inches sight; 26 x 32 inches frame Condition:
Stanton MacDonald-Wright, (1890-1973, Los Angeles, CA) Female in an interior, 1945 Watercolor on paper under Plexiglas Signed and dated lower left: S. Wright '45; annotated in another hand, verso Sight: 17" H x 13.75" W; Sheet: 17.75" H x 14.25" W Notes: The annotation, verso, reads: This painting was a gift to me / from Stanton MacDonald Wright / in 1965 / [illegible name] 2/24/86 Watercolor on paper under Plexiglas Dimensions: Sight: 17" H x 13.75" W; Sheet: 17.75" H x 14.25" W
William Russell Flint (1880-1969): Clarissa Impatient: William Russell Flint (1880-1969): Clarissa Impatient Watercolor on card, 1930, signed 'W Russell Flint' lower left, signed 'W Russell Flint', titled and dated on the reverse, with label from The Fine Art Society, Ltd, London. 10 x 13 1/2 in. (sheet), 19 1/2 x 23 1/2 in. (frame). p>Property of Mrs. Robert Ian MacDonald Condition Mat staining and a few pale, scattered foxmarks. Some pale staining showing upper left. Taped to the mat around the reverse of the sheet edges. Otherwise in good condition. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
William Alister Macdonald 1861-1948- "Taormina"; watercolour, signed inscribed and dated 1908, 16x24.5cm: Mirabella, European School early 20th century- View of a snow capped mountain; oil on board, signed, 15.7x28cm., (2)
FRANCES MACDONALD MCNAIR (1873-1921)
DESIGN FOR JEWELLERY, CIRCA 1901-02 pencil and watercolour, inscribed in pencil - PLEASE PUT ON/ EXTRA RING &/ FASTEN CHAIN TO PENDANT-17.5cm x 10.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionExhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M20Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
JOHN MACDONALD AIKEN RSA RI ARE (1880-1961) Watercolour still life, signed. 15x22"
William Alister Macdonald (1861-1948), Fishing on the Reef, Tahiti, watercolour, inscribed and dated 1923, unframed, 18cm x 29cm.DDS
CHARLES MACDONALD MANLY (CANADIAN, 1855-1924)
PORT PREVILLE SUNSET (NOVA SCOTIA)
WATERCOLOUR; SIGNED AND DATED ‘09 LOWER LEFT; TITLED VERSO AND TO LABELS (Sight, 10.5” x 14.5”)
FRANCES MACDONALD MCNAIR (1873-1921)
DESIGN FOR A PENDANT, CIRCA 1901-02 pencil, watercolour and silver paint16.5cm x 12.5cmProvenance: Mrs C. Armstrong, the artist's nieceThe Fine Art Society, London, 1979Private CollectionExhibited: Doves & Dreams: The Art of Frances Macdonald and J. Herbert McNair, Hunterian Art Gallery Glasgow, 2006 & Walker Art Gallery Liverpool, 2007, M19Note: After completing studies together at the Glasgow School of Art, Frances Macdonald McNair and her sister Margaret established a small studio together, where they often worked in collaboration with each other as well as Herbert McNair and Charles Rennie Mackintosh. Together they became known as ‘The Four’, developing widespread international acclaim for their designs.Frances and Herbert married in 1899 and soon after moved to Liverpool where they both taught design classes at the Art Sheds at the University. It was in these early years that Frances really began to explore her interest in jewellery design. Sadly, very few examples of the jewellery she produced during this time are thought to have survived, however a rare handful of original designs are still known, including these four works, which can be traced directly back through the family.Each is skillfully executed and illustrates a strong sense of creativity and refinement as well as a fascination with stylised forms and decorative linear patterns. It is thought that Frances particularly admired the work of Lily Day, a staff member at the Art Sheds, after attending her evening classes in enamelling. Indeed, these particular designs may also indicate inspiration from C. R. Ashbee, as she sought to delicately balance fine wirework and enamelled details, with her distinctive mystical imagery. After her son Sylvan was born in 1900, motherhood and children became a significant theme in her work, exemplified in Lot 354. This figure appears in several of her works throughout her career, namely in The Spirit of the Rose, a textile design that Frances adapted for this particular pendant.Some of Frances’ designs were exhibited at St George's Hall, Liverpool in 1900 and again in Turin in 1902, yet after the demise of the Art Sheds the McNair’s financial situation was precarious and they moved back to Glasgow in 1908 where she taught classes in embroidery and metalwork at the School of Art. Latterly her focus turned to watercolours, revisiting themes of motherhood, and thus her venture into jewellery-making was relatively short-lived. Nevertheless, her designs had a lasting impact on the work of artists such as Edgar Simpson and Jessie Marion King, and demonstrate her impact on the development of the Art Nouveau aesthetic.
TWO FRAMED ITALIAN LANDSCAPES, ONE BY HENRY P. SPAULDIN...Two Framed Italian Landscapes, one by Henry P. Spaulding; the other by William Alister Macdonald, each signed lower left, watercolor on paper, sight size 10" x 6 1/4" and sight size 14" x 10".
Condition:
All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past.
A collection of pictures including an abstract gouache study in tones of brown, black and white, a charcoal and chalk drawing after Landseer - Dignity and Impudence showing a large and a small dog, signed bottom right A MacDonald, a watercolour still life of a vase of pink summer flowers, signed bottom left J Coulson and dated 93, a small black and white study of a highland bull, inscribed Pinx MacWhirter, also inscribed Leadbether, an oil painting on board, study of a horses head, signed with initials DHR and dated 87, an oriental scroll with painted decoration of mythological creatures, etc
William Russell Flint (1880-1969): The Misty Horizon: William Russell Flint (1880-1969): The Misty Horizon Watercolor on card, 1930, signed 'W Russell Flint' lower right, signed 'W Russell Flint', titled and dated on the reverse, with label from The Fine Art Society Ltd, London. 10 x 13 in. (sheet), 20 x 23 in. (frame). p>Property of Mrs. Robert Ian MacDonald Condition Pale light- and mat staining. A few scattered foxmarks. Taped to the mat around the reverse of the sheet edges. Otherwise in good condition. Not withstanding this report or any discussion concerning condition of a lot, all lots are offered and sold "as is" in accordance with our conditions of sale. Overall Dimensions Unit: Height: 0. 00 Width: 0. 00 Depth: 0. 00 Weight: 0. 00
A * B *The Conjuror, signed with initials, pen and ink drawing produced for the 'London Magazine', 29.5 x 23cm; together with assorted further similar, artists to include: Randolph Caldecott, J Harrison etc, all unframed, approximately ten in total and also including a watercolour - mountain landscape, signed R MacDonald Ross
William Alister Macdonald (British 1861-1948)Tewkesbury showing King John's Bridge signed and titled in pencil watercolour 7 1/4" x 11"
J MacDonald (British, 19th/20th Century)Veiled sunshine, Perthshire, signed, watercolour, 34cm x 66cm
JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A.
OLD HOUSE IN HIGH PARK, ON HILL NEAR RIDOUT ST., watercolour and gouache, signed with initials and dated 1900
5 1/2" x 7 1/2"; 13.8 cm x 18.8 cm
An inscription on the reverse indicates that the house depicted in this work was struck by lightning about 1903.
HELEN J. MACDONALD (AMERICAN. 20TH CENTURY)Fish House Creek. Signed Lower Left. Verso Inscribed in pencil and titled. Watercolor on Paper. Image measures 17.5 x 23.5 inches. Framed behind glass. Overall measures 26.5 x 32.5 in.
JAMES MACDONALD BARNSLEY
ON THE HUDSON RIVER, watercolour, signed and dated 1889
9" x 12"; 22.5 cm x 30 cm
SCOTTISH SCHOOL (19th Century) Portrait of Flora Macdonald, watercolour, various miscellaneous oil watercolour print (9)
CHARLES MACDONALD MANLY (1855-1924) CANADIAN
EVENING: A FORD ON THE CONESTOGA
WATERCOLOUR; SIGNED LOWER LEFT, TITLED TO LABEL VERSO
Sight 7.30" x 10.50", 18.50 cm x 26.70 cm
BRIAN RAWLING "Cock pheasant in his pride", signed and dated '73, watercolour and bodycolour, 8.5" x 14". See illustration Exhibited: "Moor Marsh Mere and Covert The MacDonald Booth Gallery 1973" £100-200
J. Macdonald - Highland scene with stream, watercolour, signed