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Lot 631
A pair of Victorian mahogany framed button back salon chairs, one with arms, both upholstered in dark blue upholstery CONDITION REPORTS Both chairs have various impressed marks, chips and scratches. The chair with out arms in particular in one section towards the back of the seat has various impressed marks. The chair with arms has one large chip out of the arm (see images) . All over the frames are slightly 'wobbly' and could probably benefit from some attention. General wear and tear throughout.
Lot 643
An oak bench with upholstered seat and back, the end supports as gryphons CONDITION REPORTS Various scratches, impressed marks, small chips etc throughout - seat is dirty, water-stained dark marks, etc , probably needs re-covering. Sides with some large scratches - the whole with general signs of wear and tear throughout
Lot 241
Charles Rennie Mackintosh (1868-1928), an oak dining chair from the Argyle Street Tea Rooms, Glasgow, 1898-99, stained oak, with slat-back and eliptical handle, re-upholstered drop-in seat 103 x 54 x 48cm (40 x 21 x 19in) Literature: Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs, Roger Billcliffe, Lutterworth Press 1979 (1st Edition), pp 48, no 1897.26. Taking Tea with Mackintosh: The Story of Miss Cranstons Tea Room, Perilla Kinchin 1998, published Pomegranate Communications Inc, plate 9, page 30. The Studio 1906 XXXIX pp31-36 Other Notes: Charles Rennie Mackintosh (1868-1928), the famous Scottish architect, designer and artist is best known particularly for his work in and around Glasgow. From 1897-1912 he was commissioned by Miss Catherine (Kate) Cranston to design four different teas room in Glasgow. Miss Cranston was the daughter of a tea merchant and strong believer in temperance. She developed the idea of "art tearooms" where people could meet to drink non- alcoholic drinks in buildings designed with a strong modern aesthetic. They quickly caught on as a place to go: Edwin Lutyens described his visit in 1898, going straight from the train to "these queer funny rooms", for a breakfast "of tea, butter, jam, toasts, baps and buns - 2 sausages, 2 eggs - all for 1/1d - so clean. Most beautiful peonies on the breakfast table". He described Miss Cranston as "a dark, busy, fat, wee body with black sparky luminous eyes". Mackintosh, together with George Walton, was commissioned by Miss Cranston to design and re-style the tearooms creating a number of different rooms within each building. Mackintosh designed the furniture in the Argyle Tearooms and it was here his trademark high back chairs were first seen. This chair, with its curved top rail was used at the tables at the end of the Luncheon Room. The bold, sturdy functionality of these chairs date them to c1897-1899. There are no existing drawings of the furniture designed for the ground floor rooms but the chairs can be seen in the contemporary photos taken in April 1897 and illustrated in the The Studio 1906 and reproduced in Roger Billcliffe Charles Rennie Mackintosh: The Complete Furniture. The cross-bar design was re-used in his more famous oval back chairs which were also placed in the Argyle Luncheon Room. A similar design to this chair was subsequently used in his famous Ingram Street Tea Room with two slats rather than the three used here. Variations to this chair exist with a different shaped hand-hole; some kidney shaped and others, such as this chair, elliptical. It is thought some were commissioned by Miss Cranston as replacements for damaged chairs and not made to Mackintosh's supervision. See Christie's Important 20th Century Decorative Art & Design, 15 December 2010, Lot 320, Sold for $12,500 including premium (approx £9,500).
Lot 170
*Embroidery. An unused matching set of embroideries for an Adam-style armchair, late Victorian, seat, back and arm covers, worked in coloured wools on canvas, with a striped design of ribbon-tied posies and entwining tentrils, in shades of pink, blue, green, and brown, on a cream ground, stitched area of seat 64 x 71cm (25 x 28ins), together with a Victorian circular crewel work embroidery of flowers, diameter 35cm (13.75ins), plus a set of four matching squab chair seat covers, late 20th century, wool on canvas, each with a slightly differing waterlily design, in shades of green, blue, pink, and yellow, on a dark green ground, stitched area 49.5 x 52cm (19.5 x 20.5ins), together with a skein of dark green Appletons wool, plus an embroidered stool top worked in wool on canvas, in a variety of colours and stitches, with circular centre of flowers taken from a Berlin chart, stitched area 40.5 x 43cm (16 x 17ins), plus another wool embroidery on canvas, worked from a floral Berlin chart, stitched area 46.5 x 48cm (18.25 x 19ins), and two identical door stop covers, wool on canvas, with a design of flowers and butterflies, 26 x 36cm (10.25 x 14.25ins), plus a quantity of needlework cushions, and ten tapestry church kneelers, including a set of four depicting the symbols of the evangelists, and some ephemera relating to kneelers, including the manuscript designs and charts for the four evangelists set (-)
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216995 item(s)/page