The Taffner Collection (370) Fri, 7Th Sep 2012, Edinburgh Lot 112

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The Taffner Collection (370) Fri, 7th Sep 2012, Edinburgh Lot 112 Estimate: £10000 - £15000 + Fees § ‡ JAMES HERBERT MACNAIR (SCOTTISH 1868-1955) ‘THE LOVERS’ signed and dated bottom right J. HERBERT MCNAIR/ 1893, indistinctly signed lower left *MCNAIR, watercolour 23 x 15cm (9 x 6in) Provenance: Mrs. C Armstrong, the artist's niece The Fine Art Society, London Barry Friedman Ltd., New York Exhibited: London, International Society (ISSPG), 1899, no. 210 London, The Fine Art Society 'Glasgow 1900' 1979, no. 88 Glasgow, Hunterian Art Gallery and Liverpool, Walker Art Gallery 'Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair', 12th August 2006 - 22nd April 2007, exhib. ref. W48 Literature: Billcliffe, Roger 'J. H. MacNair in Glasgow and Liverpool', Annual Report and Bulletin of the Walker Art Gallery, Liverpool, 1971, pp. 51, 68, fig. 40 Larner, Gerald and Celia 'The Glasgow Style', New York, 1979, pl. 132 Neat, Timothy 'Part Seen, Part Imagined: Meaning and Symbolism in the Work of Charles Rennie Mackintosh and Margaret Macdonald' Edinburgh 1994, illus. p. 30 Robertson, Pamela (Edit.) 'Doves and Dreams: The Art of Frances Macdonald and J. Herbert MacNair', Hampshire 2006, p. 171-172, exhib. ref. W48, cat. ill. 89 Note: One of the earliest Spook School watercolours where MacNair establishes his own vocabulary of menacing figures with an amalgam of erotic and threatening imagery. The drawing features colours that were to become a staple of the palette of The Four over the next few years, eerie blues and greens that contain their own powerful symbolism. The compositional scheme, of central figures framed by other indeterminate human forms, arranged as a framework in turn supporting, then attacking the main protagonists. This tension, combined with the sensual nature of the central pose, was to characterise much of the related work of the next four years..

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The Magazine of the Glasgow School of Art Issue 1
Issue 1 The Magazine of The Glasgow School of Art FlOW ISSUE 1 Cover Image: The library corridor, Mackintosh Building, photo: Sharon McPake >BRIEFING Funding increase We√come Research at the GSA has received a welcome cash boost thanks to a rise in Welcome to the first issue of Flow, the magazine of The Glasgow School of Art. funding from the Scottish Higher Education Funding In this issue, Ruth Wishart talks to Professor Seona Reid about the changes and Council (SHEFC).The research challenges ahead for Scotland’s leading art school. This theme is continued by grant has risen from £365,000 to £1.3million, as a result Simon Paterson, GSA Chairman, in his interview Looking to the Future which of the Research Assessment outlines the exciting plans the School has to transform its campus into a Exercise carried out in 2001. world-class learning environment. President’s dinner A dinner to encourage Creating a world-class environment for teaching and research is essential if potential ambassadors for the GSA was held in the the GSA is to continue to contribute to Scotland, the UK and beyond. Every Mackintosh Library by Lord year 300 students graduate from the GSA and Heather Walton talks to some Macfarlane of Bearsden, the School’s Honorary President. of them about the role the GSA plays in the cultural, social and economic life In his after dinner speech, Lord of the nation. One such graduate is the artist Ken Currie, recently appointed Wilson of Tillyorn, the recently appointed Chairman of the Visiting Professor within the School of Fine Art, interviewed here by Susannah National Museums of Scotland, Thompson.
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A C C Jj P T Iiid
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Found in Translation: inform his students of the range of products manufactured in a modern Mackintosh, Muthesius, and Japan industrial city. From Glasgow, therefore, went examples of Scottish wools, sugar refining and Lucifer matches, as well as fire-clay bricks, gas Neil Jackson tar and potash.4 To Glasgow, by comparison, came thirty-one packing The leading Japanese architect Isozaki Arata has observed that, ’A cases containing 1,150 items of contemporary art-wares ranging from Japanese person looking at [Mackintosh’s] work is immediately struck wood-block print paper to silk brocade and even full costumes. These by how “Japanese” his designs are. The simplicity needs no explanation. were exhibited in the Corporation Galleries on Sauchiehall Street and It is amazing how he has grasped the essence of Japanese aesthetics.’1 in the City Industrial Museum in Kelvingrove Park.5 Three years later the Charles Rennie Mackintosh’s (1868-1928) ‘grasping’ of the Japanese Corporation Galleries hosted the Oriental Art Loan Exhibition showing a aesthetic did not come by chance, nor did it come as the result of a visit range of pieces including lacquer-work, Japanese bronzes, textiles and to Japan, for he never went there. It was, as this essay attempts to show, screens, gathered from private collections, the South Kensington Museum the result of the time and the place of his education and experience as and Messrs Liberty’s of London.6 Then early in 1882 the Glasgow-born an architect – Glasgow, at the end of the 19th century – and his close architect and ornamentalist, Christopher Dresser returned to the city to friendship with a German architect, Hermann Muthesius (1861-1927).
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