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Click here to subscribeAfter Pietro Mattioli (1501-1577) five hand coloured woodblock botanical prints by Wolfgang Mayerpick, circa 1568, in glazed gilt and painted frames, 41cm x 32cm Condition report: Not examined out of the frames and therefore impossible to determine if they are stuck down or not. The colours are generally good and apart from some age related staining/discolouration to the paper they are in good condition.
A Fine Quality and Large Brussels Point De Gaze Needle Lace Fan of unusual design, with a bird in flight approaching a palm tree. The resin or perhaps ''blonde tortoiseshell'' monture is plain other than gentle shaping at the head. The deep leaf has been produced by a very competent lace maker, incorporating unusual motifs. From the left, deep seed pods, such as seen on poppies, are accompanied by leaves. In the next section, a bird approaches a leaning palm tree, certainly a botanical specimen that would appear to have a trunk. From the centre to the far right, three sprays of flowers more usually seen on this type of lace. The upper border is resplendent with intricate fillings and many more flowers. Lace the original off-white colour. Guard length 13 inches or 33cm.. Very good. Lace crisp.
Cathy Tabbakh Stripes, Enamel and Monstera, 2020 Ink and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Cathy Tabbakh is a French contemporary artist working in both France and the UK. Her work collides imaginary forms with existing landscapes through the use of both architectural and botanical elements. Her compositions incorporate a hint of surrealism and a saturated colour palette to punctuate emotive mood and shadows. Tabbakh's bathroom series and recent still-lives show her desire to surround herself with green spaces combined with her love for contemporary interior design. Cathy exhibits regularly and works with international art advisors and curators. In 2017, Tabbakh had her first solo show at L'Espace André Malraux in région Lyonnaise where she is from originally. In 2018, she was included in a group show at theprintspace, London. That same year, Tabbakh collaborated with Art on a Postcard, a charity organisation raising funds for the Hepatitis C foundation, which took place at The Other Art Fair, in Victoria House in London. In 2019, Tabbakh took part in another charity auction which raised funds for Reprive, a charity focussing on Human rights protections. This partnership continues via Planar Editions, an online design store selling prints in benefit for Reprieve, of which Tabbakh's work is included. In London, she has been included in Delphian Gallery's summer exhibition in 2019, also in a group show last summer with Bowes-Parris Gallery at Blue Shop Cottage. During lockdown, she was included in the "Lockdown Editions", a print release by Delphian Gallery to help artists during the pandemic. She will be returning to Art on a Postcard for their October auction in London. Tabbakh also has an online presence via Bowes - Parris Gallery in London, and The Curators, an art platform based in NYC selling and promoting emerging artists. Cathy will also be showcasing works with Maison Contemporain next month, a Parisian platform. She will also be returning at The Other Art Fair in a group show curated by Aida Wilde next March. Condition Report: Condition Report Disclaimer
Cathy Tabbakh Gracious Monstera Bouquet, 2020 Ink and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Cathy Tabbakh is a French contemporary artist working in both France and the UK. Her work collides imaginary forms with existing landscapes through the use of both architectural and botanical elements. Her compositions incorporate a hint of surrealism and a saturated colour palette to punctuate emotive mood and shadows. Tabbakh's bathroom series and recent still-lives show her desire to surround herself with green spaces combined with her love for contemporary interior design. Cathy exhibits regularly and works with international art advisors and curators. In 2017, Tabbakh had her first solo show at L'Espace André Malraux in région Lyonnaise where she is from originally. In 2018, she was included in a group show at theprintspace, London. That same year, Tabbakh collaborated with Art on a Postcard, a charity organisation raising funds for the Hepatitis C foundation, which took place at The Other Art Fair, in Victoria House in London. In 2019, Tabbakh took part in another charity auction which raised funds for Reprive, a charity focussing on Human rights protections. This partnership continues via Planar Editions, an online design store selling prints in benefit for Reprieve, of which Tabbakh's work is included. In London, she has been included in Delphian Gallery's summer exhibition in 2019, also in a group show last summer with Bowes-Parris Gallery at Blue Shop Cottage. During lockdown, she was included in the "Lockdown Editions", a print release by Delphian Gallery to help artists during the pandemic. She will be returning to Art on a Postcard for their October auction in London. Tabbakh also has an online presence via Bowes - Parris Gallery in London, and The Curators, an art platform based in NYC selling and promoting emerging artists. Cathy will also be showcasing works with Maison Contemporain next month, a Parisian platform. She will also be returning at The Other Art Fair in a group show curated by Aida Wilde next March.
Cathy Tabbakh Tormented Shadow, 2020 Ink and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Cathy Tabbakh is a French contemporary artist working in both France and the UK. Her work collides imaginary forms with existing landscapes through the use of both architectural and botanical elements. Her compositions incorporate a hint of surrealism and a saturated colour palette to punctuate emotive mood and shadows. Tabbakh's bathroom series and recent still-lives show her desire to surround herself with green spaces combined with her love for contemporary interior design. Cathy exhibits regularly and works with international art advisors and curators. In 2017, Tabbakh had her first solo show at L'Espace André Malraux in région Lyonnaise where she is from originally. In 2018, she was included in a group show at theprintspace, London. That same year, Tabbakh collaborated with Art on a Postcard, a charity organisation raising funds for the Hepatitis C foundation, which took place at The Other Art Fair, in Victoria House in London. In 2019, Tabbakh took part in another charity auction which raised funds for Reprive, a charity focussing on Human rights protections. This partnership continues via Planar Editions, an online design store selling prints in benefit for Reprieve, of which Tabbakh's work is included. In London, she has been included in Delphian Gallery's summer exhibition in 2019, also in a group show last summer with Bowes-Parris Gallery at Blue Shop Cottage. During lockdown, she was included in the "Lockdown Editions", a print release by Delphian Gallery to help artists during the pandemic. She will be returning to Art on a Postcard for their October auction in London. Tabbakh also has an online presence via Bowes - Parris Gallery in London, and The Curators, an art platform based in NYC selling and promoting emerging artists. Cathy will also be showcasing works with Maison Contemporain next month, a Parisian platform. She will also be returning at The Other Art Fair in a group show curated by Aida Wilde next March.
Botany.- Atkinson (Maria, of Gosforth House, Newcastle, fl. 1769) Botanical drawing book, 28 drawings of flowering plants (1 hand-coloured), tissue guards, on 28pp. excluding blanks, slightly browned, one or two botanical drawings loosely inserted, original marbled wrappers, slightly rubbed and faded, lacks spine, sm. 4to, 1769.⁂ Compiled by a country house lady in the 18th century, probably as botanical specimens, conceivably as designs for wallpapers.
Levant.- Tournefort (Joseph Pitton de) A Voyage into the Levant..., 2 vol., first English edition, folding engraved map by Senex (not present in the French edition) and 152 engraved plates and maps, a few folding, some foxing or browning, light water-staining (mostly marginal), bookplate of M.H.Bloxam, contemporary panelled calf, rubbed, rebacked preserving old spines, joints and spine ends a little worn, [Nissen ZBI 4156; cf.Atabey 959-961 & Blackmer 1318, other editions], 4to, D.Browne, A.Bell [etc.], 1718.⁂ Tournefort's botanical expedition to the Levant, covering Crete, Constantinople, Turkey, the Black Sea, Armenia, Persia, Georgia and Smyrna, published a year after the original French edition.
PAIR OF DERBY TWIN-HANDLED PORCELAIN CHESTNUT BASKETS EARLY 19TH CENTURY of oval form with pierced lattice sides and twist handles, decorated with cherries and insects, painted purple marks; together with a COALPORT PORCELAIN BOTANICAL DISH, of square form, decorated with a central floral spray within a gilt and yellow inner border, 21cm wide(24cm wide)
AUßERGEWÖHNLICH UMFANGREICHES SERVICE 'FLORA DANICA'. AUßERGEWÖHNLICH UMFANGREICHES SERVICE 'FLORA DANICA'. Royal Copenhagen. Meister/Entwerfer: Modell J.C. Bayer. Technik: Porzellan, farbig und gold staffiert. Beschreibung: Insgesamt 157 Teile bestehend aus: 1 Presentoir (Ø 33,5cm), 1 Terrine (H. 32,5), 1 Deckelschüssel (H. 17cm/Ø 23,5cm), 2 runden Platten (Ø 33cm), 1 Platte mit eingezogenen Seiten (23x29,85cm), 1 ovalen Platte (44,5x34cm), 1 ovalen Platte (32x40,5cm), 1 ovalen Schale (24,5x19cm), 2 Schüsseln (21,5x21,5x7cm), 1 Sauciere (23x18x14,5cm), 1 Zuckerdose (Ø 8cm), 12 Suppentassen (Ø 13cm) + 12 UT (Ø 17cm), 12 Tellern mit durchbrochenem Rand (Ø 23cm), 12 Tellern mit durchbrochenem Rand (Ø 25,5cm), 12 Tellern (Ø 25,5cm), 12 Tellern (Ø 17cm), 8 tiefen Tellern (Ø 22cm), 12 Tellern (Ø 19,5cm), 6 Cremetassen (H.8cm) + 6 UT (10x10cm), 8 Kaffeetassen (H. 7cm) + 8 UT (Ø 13,5cm), 12 Mokkatassen (H. 6cm) + 12 UT (Ø 12cm). Marke: Manufakturmarke, div. Jahreszeichen, alle Teile, ausgenommen die Untertassen, mit lateinischer Pflanzenbezeichnung. Flora Danica (lat. Dänische Pflanzenwelt) ist der Name eines botanischen Atlasses, der 1753 von Christian Oeder, dem Direktor des Botanischen Gartens in Kopenhagen, begonnen wurde. Es dauerte 122 Jahre bis die gesamte Flora des dänischen Staates in der Art eines Herbariums erfasst - und die umfassende Enzyklopädie fertig gestellt wurde. 1790 bestellte der dänische Kronprinz und spätere König Friedrich der VI. ein umfangreiches Speiseservice bei der königlichen Porzellanmanufaktur in Kopenhagen das nicht nur den Namen, sondern auch die Motive der 'Flora Danica' tragen sollte. Gedacht war es als Geschenk für die russische Zarin Katharina II., die jedoch bereits 1796, vor der Fertigstellung des Services im Jahr 1802, verstarb. Somit seiner ursprünglichen Bestimmung beraubt, wurde das Service vom Dänischen Hof behalten, wo Teile davon bis Heute zu Staatsbanketten in Schloss Christiansborg gedeckt werden. Erläuterungen zum Katalog Royal Copenhagen Dänemark Porzellan 20. Jahrhundert Flora Danica AUßERGEWÖHNLICH UMFANGREICHES SERVICE 'FLORA DANICA'. LARGE PORCELAIN SERVICE 'FLORA DANICA'. Royal Copenhagen. Maker/Designer: Model J.C. Bayer.. Technique: Porcelain, enriched in colours and gold. Description: 157 pieces consisting of: 1 Presentoir (Ø 33,5cm), 1 tureen (h. 32,5), 1 lidded bowl (h. 17cm/Ø 23,5cm), 2 round dishes (Ø 33cm), 1 dish with curved sides (23x29,85cm), 1 oval dish (44,5x34cm), 1 oval dish (32x40,5cm), 1 oval bowl (24,5x19cm), 2 bowls (21,5x21,5x7cm), 1 sauce boat (23x18x14,5cm), 1 sugar bowl (Ø 8cm), 12 soup bowls (Ø 13cm) + 12 saucers (Ø 17cm), 12 plates with pierced rim (Ø 23cm), 12 plates with pierced rim (Ø 25,5cm), 12 plates (Ø 25,5cm), 12 plates (Ø 17cm), 8 deep plates (Ø 22cm), 12 plates (Ø 19,5cm), 6 cream cups (h.8 cm) + 6 saucers (10x10cm), 8 coffee cups (h. 7cm) + 8 saucers (Ø 13,5cm), 12 mocha cups (h. 6cm) + 12 saucers (Ø 12cm) . Mark: Manufacture mark, various year marks, all parts except the saucers, inscribed with Latin plant names. Flora Danica (lat. Danish flora) is the name of a botanical atlas that was started in 1753 by Christian Oeder, director of the Botanical Garden in Copenhagen. It took 122 years until the entire flora of the Danish state was recorded in the manner of a herbarium - and the extensive encyclopedia was completed. In 1790, the Danish Crown Prince and later King Frederick VI ordered an extensive dinner service from the Royal Porcelain Manufactory in Copenhagen, which was to bear not only the name but also the motifs of 'Flora Danica'. It was intended as a gift for the Russian Tsarina Catherine II, who died in 1796, before the service was completed in 1802. Thus deprived of its original purpose, the service was kept by the Danish Court, where parts of it are still used for state banquets at Christiansborg Castle. Explanations to the Catalogue Royal Copenhagen Denmark Porcelain 20th century Flora Danica
SEVEN PAINTINGS, comprising an abstract oil on canvas signed M Xavier RAJ, signed, 100cm x 80cm, watercolours by Robert W Tantau - an Australian landscape, two Maureen Ribbins Botanical Studies, study of ornamental flowers, initialled SB?, portrait of a female, indistinctly signed and a view through a window, indistinctly signed (7)
Oil on Canvas, Signed lower right, titled verso. Impressionist outdoor landscape. Kent R. Wallis is active and lives in Utah and is known for floral, botanical landscape painting. He is currently a member of the Society of American Impressionists, as well as the Society of Plein Air Painters of America.Overall size: about 26 x 22 in.Sight size: 19 1/4 x 15 1/4 in.Please note that all sales are final. No refunds will be given under any circumstances. Location PLATFORM
A LATE 19TH CENTURY NATURAL PEARL, CONCH PEARL AND DIAMOND BROOCHRealistically designed as an oak leaf, the leaves pavé-set with old brilliant and single-cut diamonds, the three acorns (a conch pearl, white pearl and a golden pearl) in rose-cut diamond cups, mounted in silver and gold, diamonds approximately 7.95 carats, later pin fitting, length 7.9cm, fitted case by Harvey and Gore, 4 Burlington Gardens, London, WFootnotes:Accompanied by a report from GCS stating that the conch pearl is natural, the white pearl is natural, freshwater and the golden pearl is natural, saltwater. For further information, please contact the department.This brooch is a beautiful example of 19th century botanical naturalism in high jewellery. The oak represents strength of love.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Eighteen Chinese rice or pith pictures, five framed, the others in a typical rectangular folio. Mostly floral or botanical subjects; the folio 39 x 26 cm but the pictures and frames variously sized [18]Provenance: The Property of a Lady. From A Private UK Collection. Thought to have been acquired in Japan about 1867 by a British Officer from the 9th Regiment of Foot [later The Norfolk Regiment] who were serving in Japan as the Guard to the British Legation. Please note that this is a group lot where condition varies from picture to picture. Areas of damage, deterioration and paper or pigment distress extant and evident.
Ford (Worthington Chauncey). The Isl of Pines 1669, and essay in bibliography, limited edition, The Club of Odd Volumes, Boston, 1920, 15 black & white illustrations, period inscription to the front endpaper, some minor toning, publishers original black cloth spine to marbled boards, spine lightly rubbed to head & foot, 4to, 1 of 150 copies, together with; Knight (Charles), Passages of a Working Life...[The Development of Industrial Society Series], 3 volumes, Irish University Press, Shannon, 1971, publishers uniform original black cloth, 8vo, and Henrey (Blanche), British Botanical and Horticultural Literature before 1800, 3 volumes, 1st edition, Oxford University Press, 1975, numerous colour & black & white illustrations, publishers uniform original blue cloth in slipcase, spines slightly faded & rubbed to head & foot, plus other modern bibliography, reference & reprints, mostly original cloth, some in dust jackets, G/VG, 8vo/4toQty: (3 shelves )
A group of early nineteenth century blue and white transfer-printed wares, c.1820. To include: a Masons ironstone plate, an Adams Snowy Shrubs plate, a Geometric Sheet pattern plate and a Wedgwood Botanical saucer. 16 - 25 cm wide. (4) Condition: Hairline in Wedgwood saucer, cracks in Geometric and Snowy plates. Provenance: From the Sadia Walsh Collection
of cross over botanical design with a cultured baroque 10.2mm Tahitian black pearl, and a cultured baroque 10.1mm white pearl, probably South Seas, each within a pavé set diamond trumpet, estimated total approximate diamond weight 0.50ct, knife edge shank, size L½, Edinburgh hallmarks for 18ct gold, weight 9.4g
A large collection of Queen Anne bone china tea services, to include the patterns of 'Caprice', 'Fernlea' and 'Fernlea - Green'. The sets are comprised of cup and saucer trios, tea cups, coffee cups, side plates, milk jugs, sugar bowls and a coffee pot in the Caprice pattern. The Fernlea services have botanical fern detailing and the Caprice is patterned with blue and grey motifs. All pieces have pastel colours and gilt rims.
A set of four monumental Italian sculpted white marble busts emblematic of the Four Seasons, follower of Orazio Marinali (1643-1720), 18th century, of large proportions, each characteristically portrayed with attributes and partially draped, the largest example approximately 95cm high, 86cm high; presented on modern limed oak plinths, 115cm high, 61cm square With their characterful features and loosely flowing hair and drapery, these impressive busts echo the taste of the Veneto region at the turn of the 18th century. They show in particular the influence of a group of sculptors working around Venice, which included Giovanni Bonazza, Michele Fabris (called l'Ongaro), and Orazio Marinali, who not only completed significant large-scale religious commissions in the region but also embraced a range of allegorical and genre subjects both in bust and full length format, rendering them with great emotion and attention to detail. Examples of allegorical busts emblematic of the seasons include the set by Giovanni Bonazza at the Botanical Garden in Padua (which are noted in 1854 by Antonio Ceni in Guida all'Imperial Regio Orto Botanico in Padova, p. 47). While the busts in the present lot are certainly indebted to Bonazza, they also show the influence of Orazio Marinali, who is best known for the elegantly draped statues of mythological and allegorical subjects which adorn the gardens of the Villa Trissino in his native Vicenza. The rounded features of the maidens in particular can be likened to those of the maidens at Vicenza, and those at Villa Revedin, Castelfranco Veneto. The cloaked and bearded male sitter on the other hand shows similarities to known busts of the same subject by Marinali. Note for example the similar bust of Winter which was offered at Sotheby's London, 5 December 2017, A Venetian Legacy, lot 521 (£27,500). A set of Italian busts executed on a smaller scale though representing the Seasons in similar guises appeared at Sotheby's New York, 24 May 2007, The Collection of Mr and Mrs Stephen C Gilbert, lot 15 ($39,000), and a similar set to the present examples, though of later date, was sold at Christie's New York, the Di Portanova Collection, 20 October 2000, lot 333 ($82,250).Condition Report: The busts are quite weathered overall, resulting in some granulation, striation and discolouration to the surfaces overall. In some cases, particularly for the busts of spring and winter, this has resulted in some loss of definition to the facial features.The bust of summer has some losses and chips to the edges of the drapery, the drapery of Winter has also got one or two repairs (including one circa 10cm crack).Minor losses to socles. That being said, these impressive busts are in perfectly presentable condition.Condition Report Disclaimer
A Collection of prints to include: a pair of double botanical prints in silver frames, a framed botanical print entitled 'Calville Blanc' P.J. Redoute, a lithograph by Constance Pieerepoint from the scrubscrubers to 'The Garden' titled Phaedranassa Chloraecea, a print of pink flowers and butterflies inscribed 'Best Wishes for Xmas '86 from Winifred Pietland', 30.5 x 38 cm (PL), frame 43 x 53 cm (5)
****** ITEM LOCATION BISHTON HALL**********Postcards. Collection in large, well-filled early-20th century album, plus loose. UK topographical/resorts, royal portraits, glamour, USA & Japan scenes, general greetings, botanical, theatre, small range of real photographic Nottinghamshire & Leicestershire. Together with two Dean's Rag Books: Animals and ABC. The whole in one box
FRANCES MACDONALD MCNAIR (1873-1921) DESIGN FOR A COVER FOR 'DAS EIGENKLEID DER FRAU', 1903original cover design, pencil on brown tracing paper, laid on board, signed in pencil lower right FRANCES MCNAIR/ INV. DEL, inscribed ANNA MUTHESIUS and DAS EIGENKLEID(32cm x 25cm)Footnote: Provenance: Phillips, London, 17 November 1998, lot 287 Collection of Donald & Eleanor Taffner, New York Lyon & Turnbull, Edinburgh, The Taffner Collection, 7th September 2012, lot 64 Private Collection, London Literature: Burkhauser, Jude 'Glasgow Girls: Women in Art and Design 1880-1920', Edinburgh 1990, p. 54, fig. 53 for illustration of the printed book cover. Robertson, Pamela (Edit.) 'Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair', Hampshire 2006, p. 170, exhib. ref. G17; G18, cat. ill. 16 for an image of the printed cover. Note: A member of the ‘Glasgow Four’, Frances Macdonald McNair’s collaborations with her sister Margaret, Charles Rennie Mackintosh and Herbert McNair are celebrated as pivotal works in the development of the Art Nouveau aesthetic in Scotland. Equally, her individual output as an artist was radical and challenged the fanciful and idealised depictions of the female form that were prevalent in Victorian Art of the late nineteenth century. This important early work by Frances, an original cover design for 'Das Eigenkleid Der Frau’, epitomises the avant-garde movement and illustrates a bold feminist statement, depicting a fresh image of the emerging ‘New Woman’. Unlike some of her contemporaries, Frances’ early life was not one of hardship. Her father’s success as an engineer ensured the family was financially secure so that Margaret and Frances could enrol in Day Classes at the prestigious Glasgow School of Art in 1891, a privilege that, at the time, most young women did not enjoy. Indeed, the city of Glasgow in the 1890s was a highly prosperous one; quickly becoming one of the wealthiest cities in the United Kingdom, it was a model for innovative design and manufacturing processes within the shipbuilding and textile industries. In this vein, the School of Art’s main focus was to foster talented designers that would strengthen the city’s key trades in an age of rapid change and increasing industrialisation. Yet the School’s Director, Francis Newberry, equally valued the importance of nurturing individuality and actively encouraged students to explore their own interests in their work, creating unique avenues for artistic expression. Frances and Margaret immersed themselves in this stimulating and progressive environment and one in which women were able to pursue a career as an artist, as opposed to undertaking classes for merely recreational purposes. This unique approach to art and design was critical in Frances’ formative years as an artist. In her early work, we see a distinct departure from the academic tradition, in favour of experimentation with stylised human forms and decorative linear patterns. This is confidently executed in her design for the cover of 'Das Eigenkleid Der Frau’ (Women’s Own Dress). The design is steeped in lyrical symmetry as the eye traces around the abstracted curvilinear forms, dancing from figure to figure. Frances’ links to the ‘Glasgow Four’ and the Art Nouveau aesthetic are also apparent; from the idiosyncratic lettering to preoccupations with botanical forms, in particular stylised roses. The book itself, authored by Anna Muthesius, is considered a seminal text in the development of early twentieth-century women’s fashion. Muthesius and her husband Hermann, the architectural writer, became close friends with the ‘The Four’ after several trips to Glasgow and the Willow Tearooms. Anna believed women should have the freedom to choose their own clothes, styling and fabrics. Her book celebrates artistic dress and represents an outlet for radical expression for women, aligning itself well to Frances’ artistic representation of the female form. The dresses were usually made by their designers and the book includes plates showing the Macdonald sisters wearing such dresses along with similar examples designed by Jessie Newbery and worn by her daughters, Mary and Elsie. The turn of the century was characterised by great social and political upheaval. At the centre of this was the idea of the ‘New Woman’; a financially independent woman who was able to engage more actively as a member of society. More women attained an education and joined the workforce to earn a living for themselves; they were able to engage in more sporting activities such as cycling, and they could freely express themselves through fashion. Taking a closer look at the design, one is immediately drawn to the enchanting linearity of the figures, deviating from the constraints of traditional Victorian representations of women as objects of purity and beauty. Here, the figures are imbued with an almost mystical quality, as they appear floating in a newly imagined world of femininity. Each woman is depicted in an elaborate shoulder-less dress which accentuates their feminine features; a mass of flowing hair carries the eye down the image until it catches the scattering of roses and every intricate detail of clothing, so as not to miss a single thread. These women refuse to prescribe to a rigid Victorian society of the past. Instead, they represent a promise of change, towards greater independence and individuality. Frances’ work was heavily criticised at the time and much of it was destroyed by her husband following her death, yet she was a pivotal artist in the development of the Glasgow Style and Art Nouveau aesthetic in Scotland. 'Das Eigenkleid Der Frau’ is a stunning example of her early designs that are confrontational, unapologetic, and defiant in illustrating a refreshing image of the ‘New Woman’ in a post-Victorian avant-garde era.
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