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Lot 447
PLAS TEG LIBRARY: MIXED MODERN BOOKS, principally art and antiquesProvenance: The Cornelia Bayley Collection from the historic Welsh Jacobean house, Plas Teg, Flintshire. Further details on this important Jacobean house and its clearance Welsh House Clearance of a Generation — Rogers Jones Co
Lot 135
An original oil painting by contemporary Australian artist Sarah Walker, renowned for her vibrant and symbolic still life compositions. This piece features a richly colored floral arrangement, capturing the essence of nature's beauty with a modern twist. Walker's work often explores the meaning of life through quirky and surreal fruit and floral paintings, rendered in a modern still life style. The painting is signed by the artist and comes framed, measuring 27"L x 31"H. A captivating addition to any art collection, reflecting Walker's unique artistic vision.Dimensions: See DescriptionCondition: Age related wear.
Lot 171
A stunning hand-blown export art glass sculpture of a toucan, featuring a sleek and modern design with a light blue tint. The piece is elegantly crafted with smooth curves and a minimalist aesthetic, capturing the essence of the exotic bird in a refined form. The sculpture is signed on the base.Issued: 1980Dimensions: 6"HCondition: Age related wear.
Lot 65
This art glass piece features an iridescent floral motif set against a matte brown swirl background. The floral polished surface shimmers with hues of blue, green, and gold, creating a mesmerizing effect. Borowski Glass is crafted in Poland by the family-owned Glass Studio Borowski, originally founded in Germany. This unique glass sculpture is etched GSB on the underside and retains its original Borowski Glass Studio sticker. A fine example of modern art glass design.Issued: 20th centuryDimensions: 11.5"L x 4.25"HCountry of Origin: PolandCondition: Age related wear.
Lot 6
After Salvador Dali (1904-1989), a modern Art Deco style bronze depicting a dancing girl, bearing signature, marble base, height 56cm.Condition - original finish to bronze lost due to fire and water damage, presumably it can be polished and restored to a better patina, otherwise ok, general wear.
Lot 19
After Charles Sykes (1875-1950), a modern Art Deco style cast gilt metal Spirit of Ecstasy, circular stepped marble base, height 35cm.Condition - original finish to metal lost/damaged due to fire and water damage, presumably it can be polished and restored to a better patina, otherwise ok, general wear.
Lot 4
After Dominique Alonso, a modern Art Deco style bronze depicting a sea-nude female dancer, bearing signature 'D Alonso', Garanti foundry marks', circular stepped marble base, height 47cm. Condition - original finish to bronze lost due to fire and water damage, presumably it can be polished and restored to a better patina, missing ring, otherwise ok, general wear.
Lot 3
After Dominique Alonso, a modern Art Deco style bronze depicting a sea-nude female dancer, bearing signature 'D Alonso', Garanti foundry marks', circular stepped marble base, height 47cm. Condition - original finish to bronze lost due to fire and water damage, presumably it can be polished and restored to a better patina, otherwise ok, general wear.
Lot 2
After Demetre Chiparus (1887-1947), a modern Art Deco style bronze depicting a semi-nude female dancer, bearing signature 'D.H. Chiparus' and Garanti foundry mark, marble base, height 56cm. Condition - original finish to bronze lost due to fire and water damage, presumably it can be polished and restored to a better patina, otherwise ok, general wear.
Lot 1
After Demetre H Chiparus (1886-1947), a modern Art Deco style bronze depicting a dancing girl, bearing signature 'D.H. Chiparus', Garanti foundry mark, on stepped marble base, height 49cm.Condition - original finish to bronze lost due to fire and water damage, presumably it can be polished and restored to a better patina, otherwise ok, general wear.
Lot 12
After Demetre Chiparus (1887-1945), a modern Art Deco bronze depicting a girl stood with arms out stretched, bearing signature 'Chiparus', round marble base, height 31cm.Condition - original finish to bronze lost due to fire and water damage, presumably it can be polished and restored to a better patina, otherwise ok, general wear.
Lot 120
This limited edition mixed media Serigraph in color on wove paper by renowned artistic duo Alexander Galtchansky (1959-2008) and Tanya Wissotzky (1959-2006) showcases their signature romantic and whimsical style, blending calligraphy, collage, and impressionist painting techniques. The artwork features an elegantly dressed woman in a vibrant red coat and blue stockings, surrounded by intricate handwritten text and decorative elements, evoking a vintage Parisian aesthetic. Numbered 37/385 and hand-signed by the artists, this piece is professionally framed in an ornate gold-tone frame with double matting, enhancing its classic yet contemporary appeal. A stunning addition for collectors of Galtchansky & Wissotzky's unique mixed media works and modern impressionist art. Artwork can be unframed and rolled for shipment.Artist: Alexander Galtchansky (1959-2008) and Tanya Wissotzky (1959-2006)Issued: 2001Dimensions: 23.75"L x 29.5"HCountry of Origin: Crimea/IsraelCondition: Age related wear.
Lot 120
Pernod, an Absinthe 'Cube Bar' setDesigned by Pierre Gonalons, who drew inspiration from the 1920s art deco bars and the work of master glassmakers. A modern twist was added with the crisp and simple aesthetic of the 'white cube' display box. Pernod metal label and ornamental keyhole in the shape of an absinthe spoon to the front, the box opens in the middle to reveal a three section bar, at the center of which are a fountain and two perforated spoons, on the right two glasses, all items inscribed with the brand's name, and on the left an alcove to place a bottle of Pernod's absinthe. Opening and closing with a concealed system of magnets.24.2cm wide x 24.4cm deep x 35cm high
Lot 129
Assorted lot of four quartz wristwatches featuring a mix of fashion and collectible designs. Includes a black stainless steel Magnum watch with red-accented dial, and stainless caseback; a clear Metropolitan Museum of Art watch with a modern art-inspired dial and Japan movement; a blue Geneva watch with rhinestone bezel and bold numerals; and a Vivani chronograph-style watch with rhinestone bezel, silver-tone sub-dials, and blue Arabic numerals. All watches have quartz movements. Longest watch measures 9.5 inches in length when laid flat.Issued: c. 2000-2010Dimensions: See DescriptionCondition: Age related wear.
Lot 57
This bold statement necklace features an intricate sculptural metal centerpiece with a freeform, entwined design, giving it an organic and artistic appeal. The sleek silver-tone metal contrasts beautifully with the multi-strand black vinyl cords, creating a modern, avant-garde aesthetic. Secured with a lobster clasp and extender for an adjustable fit. A striking accessory for those who appreciate contemporary, wearable art.Issued: 20th centuryDimensions: 16"LCountry of Origin: United StatesCondition: Age related wear.
Lot 51
A striking 16-inch necklace featuring multiple strands of black vinyl cord intertwined with a sculptural metal centerpiece. The abstract metalwork at the center creates a dynamic, freeform design that lends the piece an edgy, contemporary appeal. The polished silver-tone metal contrasts beautifully against the dark vinyl strands, adding dimension and texture. Secured with a lobster clasp and an extender chain for adjustable wear. A bold statement piece that merges modern industrial aesthetics with wearable art.Issued: 20th centuryDimensions: 16"LCountry of Origin: United StatesCondition: Age related wear.
Lot 565
*KEITH MURRAY (1892-1981) 'Segovia' 1927, street scene with figures, monogrammed and titled lower left, dated verso, pencil and watercolour, 24cm x 30.6cmNote: Keith Day Pearce Murray MC RDI FRIBA (5 July 1892 - 16 May 1981) was a New Zealand-born British architect and industrial designer, known for ceramic, silver and glass designs for Wedgwood, Mappin & Webb and Stevens & Williams in the 1930s and 1940s. He is considered to be one of the most influential designers of the Art Deco / Modern age.
Lot 599
*ISABEL LAMBERT RAWSTHORNE (NÉE NICHOLAS) (1912-1992) Double portrait circa 1960s, oil on canvas, 60cm x 50cmProvenance: The picture was inherited by descent from mother to daughter. The mother was friends with both Constant Lambert and Alan Rawsthorne (two of Isabel's husbands), as part of the same music circle. She remained friends with Isabel right up her twilight years when she lived in a cottage in Essex. Indeed the daughter vividly recalls visits, and the kind donation of old canvases to her brother as a young artist.Note: Isabel has been subjected to relative obscurity, probably due to her name changes from three marriages, and from being dismissed by society as merely the striking studio model, lover or muse of artistic icons such as Alberto Giacometti, Pablo Picasso, and Francis Bacon. Despite highly acclaimed exhibitions in the 50s and 60s, she has only recently received serious renewed recognition, which is now gaining pace and several paintings have entered public collections as a result.From a humble background she studied at the Liverpool College of Art, later winning a scholarship to the Royal Academy in London. After working with Jacob Epstein she moved to Paris to study at the Academie de la Grande Chamiere and associated with Giacometti, Tristan Tzara and the Surrealist Circle. Throughout her life she was within leading artistic circles, be they composers, dancers, artists or writers. It is notable that she became a respected scenery and costume designer for ballet and opera productions at the Royal Opera House.From 1949 she and Bacon showcased their figurative brand of modern art at the Hanover Gallery and exhibited in the ICA and British Council. Indeed the critic David Sylvester ranked her alongside Bacon, Lucien Freud, John Craxton and Peter Lanyon.It was during the 1960s and 1970s, with the deaths of Giacometti and her third husband, that the ethereal double portraits emerged and where the distinctive dead and sculpted likenesses evolved. This painting is almost certainly one of a portrait series of her late husband Alan Rawsthorne and his sister Barbara. The spectral faces dissolve into a void-like background, capturing the fragility of the human body. The doubling effect suggests the mirrored ballet studios in which she drew dancers at their craft. The grainy texture, created with sand highlighted with hints of pink, yellow and white, emphasises the shafts of light and the window behind.
Lot 567
*KEITH MURRAY (1892-1981) 'Florence' canal scene with gondolier, signed and dedicated in pencil to the margin, monogrammed in plate lower right, etching, the image 12.5cm x 13cm; together with four further prints by Murray (5) (all unframed)Note: Keith Day Pearce Murray MC RDI FRIBA (5 July 1892 - 16 May 1981) was a New Zealand-born British architect and industrial designer, known for ceramic, silver and glass designs for Wedgwood, Mappin & Webb and Stevens & Williams in the 1930s and 1940s. He is considered to be one of the most influential designers of the Art Deco / Modern age.
Lot 566
*KEITH MURRAY (1892-1981) Spanish street scene with figures circa 1927, signed in pencil lower right, pencil and watercolour, 19cm x 29cm; together with another Swiss street scene 'Sion, August 1925', pencil and wash, 20cm x 31.5cm (2)Note: Keith Day Pearce Murray MC RDI FRIBA (5 July 1892 - 16 May 1981) was a New Zealand-born British architect and industrial designer, known for ceramic, silver and glass designs for Wedgwood, Mappin & Webb and Stevens & Williams in the 1930s and 1940s. He is considered to be one of the most influential designers of the Art Deco / Modern age.
Lot 3111
After E. Seger: a gilt bronze figure of a dancing female upon a marble-effect base, approx. 18.5cm high; a mid 20th century spelter figural letter rack in Art Nouveau-style on a marble-effect base, approx. 23cm high, and a taller Modern Nouveau-style bronzed figure of a lady, signed 'Aldo Vitaleh'. (3) Provenance: From a single owner private collection in Buckinghamshire.
Lot 3160
Sewing Interest: a mixed lot comprising of: an Art Nouveau style plated needle case, with typical design and hinged flap opening to reveal needle area (with modern needles), approx. 8cm long (loss to plating); a Mauchline Ware wooden thimble holder depicting scene of High Cliff, Walton On Naze, approx. 4.3cm high; a late 20th century carved wooden combined pin cushion and thread holder, carved with grapes and leaves, approx. 10.4cm high (chipped and with loss); a metal bullet shaped thread holder with tassel, case approx. 5cm long; a base metal hinged match holder, initialled J.C, approx. 5.2cm long; an early to mid 20th century novelty egg shaped thimble case, with floral and foliate detail, on suspension chain, approx. 4.5cm long; a pair of 20th century treacle type glazed ceramic pin cushions in the form of boots, each approx. 7.5cm long; a small ebony pin tray with hallmarked silver "Pins" to centre, approx. 7.3cm diameter, and a Lund's London letter clip. (1 bag) Further details: some with loss as mentioned; Mauchline ware thimble holder worn and with slight loss; wear to all.
Lot 112
ROBERT STUDLEY FORREST HUGHES (AUSTRALIAN, 1938-2012). (d) 'Portrait of Alan Beale' oil on canvas 76cm x 51cm (30in x 20in) unframed Footnote: Robert Hughes (1938-2012) was an Australian born art critic, writer and producer of television documentaries. His book and television series "Modern Art - The Shock of the New" earned him widespread recognition. His best seller "The Fatal Shore" (published 1987) was a study of the British Penal Colonies and an early history of Australia. In his early life in Sydney he was an inspiring artist and poet and a friend of the vendor, to whom he gave these two pictures. CR* Tears and paint loss to canvas.
Lot 115
BETTY JOEL (BRITISH, 1894-1985) A SIDE TABLE; MADE BY TOKEN WORKS, 1934 Walnut; rectangular form, curved edge Paper label with 'TOKEN HAND MADE FURNITURE/Designed by Betty Joel (facsimile stamp)/Made by J Roberts/at Token Works, Portsmouth, June 1934' 74cm high, 106cm wide, 60cm deep"I personally began to design furniture because I despaired of trying to adapt old furniture to the needs of my own entirely modern house" ~ Betty Joel in 1932An impressive business woman, and talented (perhaps occasionally overlooked) female furniture, textile and interior designer active in England during the interwar years. Joel epitomised the elegance and innovation of early 20th century furniture design. Her works are known for their distinct art deco style; the designs were modern yet functional, using high-quality woods and detailed joinery; examples can be found in the V&A and Geffrye museums in London. Her great-nephew Clive Stewart-Lockhart has published, this year (2025), a new biography on Joel to mark the 40th year of her passing - showcasing her design, vision and ever-lasting impact on British furniture design.
Lot 757
ONE BOX: Various art interest, to include: ROBERT A M STERN: THE ARCHITECT'S EYE - AMERICAN ARCHITECTURAL DRAWINGS FROM 1799-1978, New York, Pantheon,1979; GENE BARO: CLAES OLDENBURG - DRAWINGS AND PRINTS, London, Chelsea House, 1969; KYNASTON McSHINE (Ed): ANDY WARHOL - A RETROSPECTIVE, New York, The Museum of Modern Art, 1989; ROBERT SMITHSON: SCULPTURE, Ithaca, Cornell University Press, 1981 NANCY HOLT (Ed): THE WRITINGS OF ROBERT SMITHSON, New York, New York University Press, 1979; CAROLINE TISDALL: JOSEPH BEUYS, London, Thames and Hudson, 1979; PETER T FURST AND JILL L FURST: NORTH AMERICAN INDIAN ART, New York, Rizzoli / Art Press, 1982
Lot 276
Over 70 Jazz / Modern Jazz / Jazz Fusion / Hard Bop LPs featuring foreign pressings to include Grover Washington Jr, Earl Klugh, Bob James, Larry Carlton, Art Blakey, Chet Baker, The Tatum Hampton Rich Trio, Bill Holman, Ray Bryant, Boots Mussulli Quartet, Zoot Sims, Chico Hamilton, Coleman Hawkins, Gene Amons, Milt Jackson, Mose Allisson, Dizzie Gillespie, Bill Jennings, Clarence Clemons, Robert Conti, Django Reinhardt, Charlie Byrd and more. Vg+ overall
Lot 275
Over 70 Jazz / Modern Jazz / Jazz Fusion / Hard Bop LPs featuring foreign pressings to include Phil Upchurch, Wes Montgommery, Herbie Mann, Thelonious Monk, Eddie Lockjaw Davis, Gene Krouper, Art Pepper, Gerry Mulligan, Ben Webster, Lester Young, Charlie Byrd, Milton Buckner, Stan Getz, Oscar Peterson, Johnny McLaughlin, Kenny Burrell, Geroge Duke and more. Vg+ overall
Lot 274
Over 70 Jazz / Modern Jazz / Jazz Fusion / Hard Bop LPs featuring foreign pressings to include Joe Pass, Tiny Grimes, Bill Frisell, Eric Gale, Lester Young, Art Pepper, Phil Upchurch, Roy Ayers, Kazumi Watanabe, Kevin Eubanks, Tom Browne, Wilton Felder, Steps Ahead, Joe Sample, Herb Ellis, David Benoit, Wim Overgaauw, Peter Leach and others. Vg+ overall
Lot 248
A collection of Neil Carter Ancient and Modern doll's house figures to include Nefertiti head,Degas's ballet dancer, Art Deco figurine, Roman torso, Donnatello's David, blue / red studio pot and a wheel thrown pilgrim bottle with black satin glaze, a copy of a Liao Dynasty example of the 11th Century by Andrea Fabrega, together with a Sue Austin "Labrador and puppy" and "Cream cat", Sarah Schiff "Bassett hound 2003" and "Persian Blue cat 2003" and a bowl of dog food, together with a collection of three miniature decorated Native American pottery including large bowl, dish and wedding vase, two Canadian jade miniatures including a bear with a fish and a turtle and a small blue Jasper Wedgwood vase
Lot 286
GLASGOW SCHOOL LARGE COLLECTION OF BOOKS IN ORIGINAL ART NOUVEAU CLOTH BINDINGS including: Charles Rennie Mackintosh (designer), Or in the Grass by Madeleine Caron Rock, London: John G. Wilson, 1914 (first edition, 8vo, original black cloth with decoration in green to front cover, top edge gilt, others untrimmed); approx. 70 novels, children's books etc. with decorative varicoloured cloth bindings designed by Charles Rennie Mackintosh and published by Blackie and Son c.1900-10, of which approx 50 with his overall ‘batwing’ design, 8 with a geometric rectilinear design incorporating blue squares; John Kirkland (editor), The Modern Baker, Confectioner and Caterer, London: Gresham Publishing Company, 1909 (6 volumes, 4to, original decorative green cloth); Alice Corkran, The Romance of Woman's Influence, London: Blackie and Son Limited, 1906 (first edition, 8vo, original cloth, inscriptions to half-title); and approx, 70 others, including various works in Blackie's Plain Text Poets and other series
Lot 288
TALWIN MORRIS (1865-1911) LARGE COLLECTION OF WORKS IN BINDINGS DESIGNED BY MORRIS various formats, all in original decorative cloth gilt, including: Eyre-Todd, George (editor). The Book of Glasgow Cathedral. Glasgow: Morison Brothers, 1898. First edition, one of 1,000 copies only, large 4to, bookplates (Robina Spencer and Donald Buttress, architect), tips bumped and worn; Small, David (illustrator). By-Gone Glasgow: Sketches of Vanished Corners in the City and Suburbs. Glasgow: Morison Brothers, 1896. First edition, one of 450 copies, large 4to, binding rubbed and marked, wear to foot of spine; Sutcliffe, G. Lister. The Principles and Practice of Modern House-Construction. London: Blackie & Son, Limited, 1899. First edition, 6 volumes, 4to; French, James Weir (editor). Modern Power Generators, London: Gresham Publishing Company, 1908. First edition, 2 volumes, folio; Marilaun, Anton Kerner von. The Natural History of Plants. London: Gresham Publishing Company, 1904. First edition thus, 2 volumes, large 8vo; Shakespeare, William. The Henry Irving Shakespeare. London: Gresham Publishing Company, 1906. 14 volumes, 8vo; and approx. 64 others, including: Science in Modern Life (6 volumes), The World of Today (6 volumes), The Homer Teacher (5 volumes), all published by Gresham; a run of 14 Blackie and Son editions of Victorian novels in varicoloured cloth with uniform Art Nouveau floral decoration to spine; approx. 40 works in the Blackie's Library of Famous Books series; in uniform bindings; and similar
Lot 299
CHARLES RENNIE MACKINTOSH (1868-1928) 'BOULETERNÈRE', CIRCA 1925 watercolour with traces of pencil, signed with initials in pencil lower right CRM, and inscribed to reverse of sheet, possibly by Margaret Macdonald Mackintosh D. BOULETENÈRE (SIC)/ C.R. MACKINTOSH 44cm x 44cm (frame size 72cm x 72cm x 3.5cm) Provenance: Ronald W.B. Morris Esq., Kilmacolm, an executor of the Estate of Margaret Macdonald Mackintosh, acquired after the Memorial Exhibition in 1933Christie's, Edinburgh, 'Fine Paintings and Drawings', April 27, 1989, Lot 570Donald & Eleanor Taffner, New YorkLyon & Turnbull, Edinburgh The Taffner Collection, 7 September 2012, lot 109Private European collection Exhibited: Glasgow, McLellan Galleries Charles Rennie Mackintosh and Margaret Macdonald Mackintosh: Memorial Exhibition, May 1933, no. 136;Glasgow, Glasgow Museum and Art Galleries, Mackintosh Watercolours, July 1979, no. 201;Glasgow, The Fine Art Society, The Memorial Exhibition: A Reconstruction 1983, no. 136Edinburgh, Royal Scottish Academy Mackintosh Watercolours, 8th August - 5th October 1986, no. 48Glasgow, McLellan Galleries, May 25th - September 30th 1996; New York, The Metropolitan Museum of Art, November 19th - February 16th 1996; Chicago, The Art Institute of Chicago, March 29th - June 22nd 1997; Los Angeles, Los Angeles County Museum, August 3rd - October 12th 1997, Charles Rennie Mackintosh, Glasgow Museums Exhibition, Cat. No. 285Edinburgh, Scottish National Gallery of Modern Art Charles Rennie Mackintosh in France, 26th November - 5th February 2006, Cat. No. 292Literature: Billcliffe R. Mackintosh Watercolours, London 1978, p. 44, ill. p. 135, catalogue 201Robertson P. and Long P. Charles Rennie Mackintosh in France, Edinburgh 2006, pp. 34-5Crichton, Robin Monsieur Mackintosh: the Travels and Paintings of Charles Rennie Mackintosh in the Pyrénées-Orientales, Edinburgh 2006, pp. 63-5.The year 1923 saw the Mackintoshes move from London to France, in the Pyrénées-Orientales, at Amélie-les-Bains. Low sales of their artwork, and an increasing number of architectural projects failing to come to fruition saw times become tight for the couple. They would have been encouraged to make the move by their circle of friends in London. Among them, notably, would have been fellow Scot and artist J.D. Fergusson and his partner Margaret Morris, who were both veterans of long sojourns working in France. As well as the obvious attractions of a change in light, climate and landscape, it made sense at a very practical level, offering a far cheaper way of life. France marked the first time in Mackintosh’s life where there were no distractions from or demands away from his painting practice. Perhaps inevitably for an architect, Mackintosh was drawn to the local townscapes of the area. He was not attracted to grandeur however, rather the organic occurrence of more vernacular groups of dwelling - like the town of Bouleternère, somewhat vertiginously arranged on a sloping hill, culminating in a pinnacle topped with small church of rudimentary form. As Margaret remarked in a letter to Jessie Newbery in1925, “the buildings here (in this region of France) are a perpetual joy to us”. These views were not directly topographical, instead often culminations of various viewpoints, arranged ‘just-so’ for the purposes of the paintings’ design. Like many of the French works, Mackintosh employs pale tones demarked by sparer uses of colour in a high key that frequently depart from realism; here in the blue used to delineate the shadows cast by the overhang of the red tiled rooves. In addition, the French watercolours utilise a very foreshortened pictorial plane, a device that again enhances the sense of pattern and design that so distinctly defines his work across all the media and genres he turned his hand to. These artistic choices combine to produce works of great sophistication. The paintings produced in France – between 10-15 a year – are considered very important, being a period of “remarkable evolution in his artistic practice”, as his biographer Roger Billcliffe describes it. Their importance also lies in the chronology of Mackintosh’s output. As Billcliffe continues, “…these works underscore his innovative approach to landscape painting and suggest a promising future as a painter, tragically curtailed by his untimely death from cancer in 1928."
Lot 298
CHARLES RENNIE MACKINTOSH (1868-1928) SUITE OF CUTLERY, 1902 silver, comprising; A SINGLE SOUP SPOON, with deep almost circular bowl and with incised heel, pierced terminal, 26.7cm long; A SINGLE DESSERT SPOON, with deeper bowl and with incised heel, pierced terminal, 23.3cm long; A SINGLE DINNER FORK, with four prongs, pierced terminal, 26cm long; and A SINGLE DESSERT FORK, with four prongs, pierced terminal, 23cm long, each with maker’s mark DWH (David W. Hislop), hallmarked Glasgow 1902 (4) Provenance: Fra H. Newbery and Jessie NewberyElsie Newbery and by family descentBarclay Lennie Fine Art, GlasgowDonald & Eleanor Taffner, New YorkLyon & Turnbull, Edinburgh The Taffner Collection, 7 September 2012, lot 23Private European collection Literature: Howarth T. Charles Rennie Mackintosh and the Modern Movement, New York, 1953, pl. 50Neuwirth W. Josef Hoffmann: Cutlery for the Wiener Werkstätte, Vienna 1982, p. 30Mackintosh was commissioned in 1902 by Jessie and Francis (Fra) Newbery to create an elegant table set for 12 people. Fra Newbery, then director of the Glasgow School of Art, was a strong supporter of Mackintosh’s work and played a crucial role in promoting his career. His wife, Jessie Newbery, was an accomplished embroiderer and influential figure in the Arts & Crafts movement. Their long-standing friendship with Mackintosh and his wife, Margaret Macdonald, fostered many creative collaborations.The commissioned cutlery set included a soup spoon, dessert spoon, dinner fork, and dessert fork. The order was placed through the Glasgow jeweller Edwards & Company and was executed by David W. Hislop, a skilled silversmith who had previously worked with Mackintosh on various projects. The cutlery set was later divided between the Newberys' daughters, Mary and Elsie. Over time, Mary’s pieces were sold separately between 1970 and 1980.Mackintosh’s cutlery design is revolutionary in its form. The spoons and forks feature exceptionally long, slender handles with a distinctive longitudinal oval opening. The forks are particularly striking, as the transition between the handle and the bowl was seamless, creating the illusion of a single, continuous band of metal. On the back, the bowls (except for the dessert fork) have a rectangular support with vertical embossing. The design anticipates Josef Hoffmann’s 1903 flaches Modell (flat model) cutlery, which was later showcased at the 1906 Wiener Werkstätte exhibition Der gedeckte Tisch (The Laid Table).
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