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Designed by Charles Rennie Mackintosh for Miss Catharine Cranston, Hous'hill, Nitshill, 1904 Shaped vertical curving back rails, inset lilac glass oval panel, deep drop-in seat 30 1/8in. (76.5cm.) high Frame stamped 1 PROVENANCE Miss Catharine Cranston, Glasgow Edward Arthur Gamble, Glasgow Sale of Contents of Hous'hill, Glasgow, 13th May 1933 Hugh Walker, Glasgow The Fine Art Society, London, before 1982 LITERATURE Studio Year Book, 1907, p. 58 Thomas Howarth, Charles Rennie Mackintosh and the Modern Movement, London, 1977, plates 46 & 47c N. Pevsner, 'Charles Rennie Mackintosh' in Studies in Art, Architecture and Design, Vol. II, London, 1968, plates 34 & 35 Robert Macleod, Charles Rennie Mackintosh, Feltham, 1968, plate 88 McLaren Young, Catalogue of the Edinburgh Festival Mackintosh Exhibition, 1968, plate 26 Roger Billcliffe, Charles Rennie Mackintosh, The Complete Furniture, Furniture Drawings and Interior Designs, New York, 1979, p. 170, Cat. No. 1904.62 Charlotte Gere & Michael Whiteway, Nineteenth Century Design. From Pugin to Mackintosh, London, 1993, p. 279, plate 351 - another example Victor Arwas, Art Nouveau. From Mackintosh to Liberty, the Birth of a Style, London, 2000, p. 35 EXHIBITION Spring'96, The Fine Art Society, London, Cat. No. 90 (one example only) Charles Rennie Mackintosh, Glasgow Museums Travelling Exhibition, 25th May 1996 - 12th October 1997, p. 248, Cat. No. 119 (one example only) Mackintosh and the Glasgow Style, Travelling Exhibition in Japan, 15th September 2000 - 18th February 2001, p. 85, Cat. No. 64 (one example only) NOTES This chair (and Lot 43) was one of four which, with a companion high-backed chair, were designed (and made by Alex Martin) for the drawing room at Hous'hill. Part of the drawing room was enclosed by an open screen to form a music room and the oval glass inserts (supplied by McCulloch & Co.) on the backs of these chairs resemble musical notes on a stave of wooden spars. The chairs display several of Mackintosh's stylistic preoccupations in 1904 - the stretchers at ground level, the use of finer-grained woods than his usual oak, the counterpoint of curves running both horizontally and vertically across the chair back, seen in an even greater complexity in the taller armchair. Of the remaining chairs one is in a private collection and the other was sold at Sotheby's London, 3rd November 1995 and is now in the collections of the Hunterian Museum, Glasgow. The sole armchair was sold at Sotheby's Belgravia, 13th March 1975 and is now in the Sydney and Frances Lewis Collection in the Museum of Richmond in Virginia.