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Lot 289
CHARLES RENNIE MACKINTOSH COAT AND STICK STAND, CIRCA 1904 overpainted wood and painted steel, with four square uprights, intersected by eight platform supports and applied with four pegs for coats and three hoops for sticks, the whole raised on a circular base with four square insets for drip trays (now lacking) 202.5cm high, 30cm diameter at base, 15cm across column Literature; Billcliffe. Roger, 'Charles Rennie Mackintosh: The Complete Furniture, Furniture Drawings and Interior Designs', Lutterworth Press, 1979, pages 128-137 and 158, plates 1903.K and 1904.23. Note; This striking hallstand was one of four ordered for the Room de Luxe from Francis Smith and one of the last of Mackintosh's designs made for the Willow Tearooms before they opened in October 1904. The Room de Luxe marked an important stylistic development in Mackintosh's career. From 1900 he and his wife Margaret MacDonald would develop complete interior designs for domestic commissions, and then transferred them to their designs for commercial projects and exhibitions. These more colourful interior designs culminated in the Room de Luxe interior and represented a commercial version of the European idea of the whole room as a work of art. Miss Catherine Cranston commissioned Mackintosh to design the façade, layout and decorations of her new tearoom at 217 Sauchiehall Street in 1903, following his successful participation in the decorations of her other tearooms in Argyle Street and Ingram Street a few years earlier. This time however Mackintosh was to have full control of the project and it resulted in one of his most celebrated schemes for his patron. 'Sauchiehall' means 'alley of willows' in Gaelic and so the basis of the decorative scheme was the willow tree. The Room de Luxe was possibly the most extravagant of the rooms that Mackintosh created and certainly his most important tearoom interior, which also proved to be its main attraction. It was positioned on the first floor at the front of the building, slightly above the level of the tea gallery at the rear, and featured a vaulted ceiling with a full-width, slightly curved bay window looking out onto Sauchiehall Street. Entrance to the room was by way of a magnificent set of double doors which featured leaded glass decoration, hinting at the colours and motifs to be found beyond. Described at the time as "a fantasy for afternoon tea", the room was intimate and richly decorated and was unique in Mackintosh's oeuvre. The walls were painted white, with a frieze of coloured, mirrored and leaded glass panels on three sides. The colour scheme of grey, purple and white featured a soft grey carpet, a silk-upholstered dado, chairs and settees upholstered in a rich purple, and silver- painted furniture. One side wall contained the fireplace and the wall opposite featured Margaret MacDonald's gesso panel 'O Ye, All Ye that Walk in Willow wood'. To each side of this panel were two hat, coat and stick stands, one of which is offered here. It is assumed that there were two further stands at the opposite side of the room flanking the fireplace, however there is no photographic evidence and they remain untraced. Like the other furniture in the room it was originally painted silver, perhaps a reflection of silvery bark of trees, and there are traces of the original silver paint evident under the surf ce. The geometric grid form of the stand is an extension of the form of the order desk chair on the ground floor, whose grid pattern back can be read as a simplified willow tree. For those customers prepared to pay the additional fees the extraordinary effect the room created must have transformed the taking of afternoon tea into a spiritual experience. The pair of hallstands were purchased by the current owner's grandfather in the 1920s when the tearooms changed hands; one was given to the collection of Glasgow School of Art in 1964 and the example here has remained in the family by descent until now. The illustration of this hallstand in the Billcliffe book refers to the pair to the present lot now at Glasgow School of Art. The photograph shows the hallstand in a similar condition to this lot, painted black, although the School of Art example has now been stripped back and painted the original silver. The illustration of the interior shows the hallstands silver with the ironwork black and four drip trays fitted to the base; they also appear silver. Both the known examples now have these trays lacking.
Lot 585
A William IV silver desk-stand, by John, Henry and Charles Lias, rectangular shape with cast rosette and C-scroll border, fitted with original silver mounted glass inkwell, silver mounted glass pounce pot and miniature chamber stick with snuffer, London 1833; chamberstick 1837, 9.5in. wide; stand approximately 15.5oz. SEE ILLUSTRATION
Lot 133
A QUEEN ANNE SILVER PIQUE WORK AND IVORY WALKING STICK HANDLE the top inset with initials and date "TE 1704" and the remainder with scroll and stylised foliate detail, pierced with hole for silk wrist loop, with later silver band and possibly later malacca stick, 90.5cms long overall the top 9cms long (stick lacks ferrule, some of the silver pique missing, ivory good condition)
Lot 723
A rare set of H. G. Murphy Falcon Works silver cocktail sticks in fitted case, each stick set with abalone shell roundel stamped marks, London 1930 7.5 cm. long. Literature: Paul Atterbury and John Benjamin Arts and Crafts to Art Deco the Jewellery and Silver of H.G.Murphy, ACC page 107 this example illustrated
Lot 82
By direction of the Sudbury Museum Trust: An 18th Century tavern clock, the A-plate brass movement with anchor escapement, pendulum, lead weight, contained in an oak and pine case, diameter of dial 76cm, height 152cm NB. Probably a 19th Century gift to the British school, as it then was, in Mill Lane from the owners of Kentwell Hall. The name 'Ray' was once visible on the case. The Rays were a well known family firm of clockmakers in Sudbury in the 18th/early 19th Century. On the door there was once painted a picture in the style of Hogarth. At the British School Mr Marshall the Head Teacher used to teach boys the time using a long stick to move the hands about. As a result some of this wear on the face, it had to be repainted in 1876. At some point an overzealous school caretaker cleaned off all the original paintwork on the case leaving it in its present state. For confirmation of this information see East Anglian Miscellany January-March 1926 No. 7220. Visit www.sworder.co.uk for larger image and condition reports.
Lot 115
A late 19th Century automaton picture, depicting an artist in his studio, painting a young couple-the artist paints, and occasionally pokes the young man with a stick, when he tries to kiss the young woman, cased and with key, 27 x 35.5cm. Visit www.sworder.co.uk for larger image and condition reports.
Lot 118
Two walking sticks, with carved wood handles, one carved as a baby elephant standing with four feet together, with glass eyes and bone tusks, on thorn shaft, the other stick with handle carved as a boxer with moving jaw and glass eyes, (elephant's tail damaged, one dog's eye missing) (2). Visit www.sworder.co.uk for larger image and condition reports.
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