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An Indian panelled wool rug - Rajestan, early 21st century, the main field and border with rectangular panels depicting alternating motifs of flowers, vases and architectural columns, divided by ochre floral borders and outer buff floral meander guards, 283 x 188 cm, in very good condition.

A small collection of brass ware: a Georgian-style lion-mask door-knocker by Architectural Quality Hardware, with original box; a 19th century style letter scale with nested weights; a miniature wooden and brass model cannon, 19.5 cm long;  a pair of brass candlesticks, 24.5 cm high. also to include four small machine-made tapestry wall hangings.

A large quantity of assorted prints and engravings, subjects to include botanical, shells, fish, architectural, figurative and landscape subjects. (qty) Most unframed.Condition Report: As viewed.

18th Century thirty hour long case clock movement set in a modern architectural limed oak case

A large Victorian black slate mantel clock set in an architectural type case

Collection of model vehicles to include a vintage Sanson Rico Junior pressed steel crane truck (damage to rear left side, see photos), a quantity of unboxed farm models and accessories to include Britain's, boxed Matchbox Super Convoy 2 vehicle truck set, Lledo and Corgi boxed and unboxed models etc. Also included 2 boxes of Bayko architectural model sets. Qty

Late XIX century Black Slate and Marble Cased Mantel clock, of architectural form, eight-day movement, 41.5cm wide.

H. Vredeman de Vries, van Doetecum brothers - Castle Garden inside fortress wall / Description: This print is described by the Rijksmuseum (RP-P-1964-1642) and makes part of , a series of small architectural prints engraved by Johannes or Lucas van Doetecum , first published by Hieronymus Cock in 1562, then by Theodor Galle in 1601, and some decades later by his son Joan Galle. We see a view of a castle with a fortress wall on the left. To the right a corridor of latticework and a pavilion in front. The edition could not be established but based on the superior quality comparing to the Rijksmuseums example and the ones found elsewhere: this is certainly an early impression from 1601 or earlier. Rare in this early printing quality! / Dimensions: 15,20 x 21,00 cm / Condition: Very good impression with plate tone and ink smudges in the plate borders. With wide margins in the original full sheet of laid paper. / Literature: New Hollstein Dutch 281 Van Doetecum, Hollstein Dutch 99-Vredeman de Vries / Medium: Etching /Circa: 1562 260

Wendel Dietterlin - Two Virgins of Chastity with unicorn - 1598 / Description: Etchings from Architectura. Published in Augsburg in 1598. At right we see a woman with unicorn, symbol of chastity and a small ldog besides her, symbol of fidelity. At left Leda with Zeus disguised in the form of a swann. In an architectural setting with coat of arms involving helmets. / Dimensions: 24,60 x 18,50 cm / Condition: Excellent condition. Full plate border and good margins on watermarked laid paper. / Literature: Thieme/Becker IX, 269. Hollstein VI, 214. ------ “One of the most interesting and important architectural works of sixteenth-century northern Europe is the ‘Architectura von Ausstheilung, Symmetria und Proportia der fünff Seulen’ of Dietterlin... [Dietterlin’s] artistic fame and influence was unparalleled in Germany in the first two decades of the seventeenth-century, and in this respect and others, his significance, especially in his dissemination of Renaissance decorative forms in Germany, parallels and even transcends that of Vredeman in the Netherlands (Harry Francis Mallgrave : 'The Millard J. Millard Architectural Collection, III: Northern European Books,(National Gallery of Art, Washington, D.C., 1998, p. 25ff., nos. 28-29) / Medium: Etching /Circa: 1598 120

Hans Vredeman de Vries, Dominic Custos - Renaissance palace with garden / Description: Architectural composition; an avenue of trees with deer at right, buildings including an obelisk, a campanile and a fountain of Neptune astride a dolphin at left; after a design by Hans Vredeman de Vries. A print engraved by Dominic Custos from around 1610 taken from inventions by H. Vredeman de Vries for his Scenographiae sive Perspectivae first published by Cock in 1560. Here a print from a rare to find same size series engraved in counterpart by Dominic Custos around 1610. / Dimensions: 20,80 x 25,80 cm / Condition: Excellent early impression, with still square plate borders and good plate tone on a full sheet of thin watermarked laid paper. Very good condition, fresh and untouched, Small smooth fold near bottom left corner. / Literature: The design drawing for this print is kept in the British Museum, inventory number 1946,0713.186 . New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (175) ---Hollllstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (43)----- see: Joris van Grieken, in J. van Grieken - G. Luijten - J. van der Stock, "Hieronymus Cock: The Renaissance in Print", exh.cat. Royal Library of Belgium in Brussels and Fondation Custodia in Paris, New Haven and London, 2013, cat.nos.3 and 81. / Medium: Engraving /Circa: Circa 1610 260

Franciszek Smuglewicz - Domus Aurea fresco - by Marco Carloni, colored etching / Description: Impressive large handcoloured plate showing a room decoration in the 'Domus Aurea' of Titus in Rome, painted ceiling with grotesque decoration; with four embedded scenes with dancing and playing semi-nude figures. Part of a project launched under the title 'Vestigia delle Terme di Tito e loro interne Pitture' in 1775. The promoter and publisher was the antiquarian Ludovico Mirri; the draughtsman of the grotesques was Smugliewicz (Warsaw 1745-1807 Vilnius); Brenna drew the architectural settings; and Marco Carloni (1742-1796) was the engraver. The artists used their imaginations to supply supplements where the original painting had been lost. Hand-colored sheet following the colors of the original frescoes. Etching to be dated 1776-1778. / Dimensions: 50,50 x 56,00 cm / Condition: Good impression with full plate border and wide margins on a thick laid paper from the period with still some ink blur at the plate border. Flattened middle fold and occasional small tear in the outer margin. Overall very good. / Literature: Vestigia delle Terme di Tito e loro interne Pitture', second edition ----- See Francesca Guglielmini, 'Ludovico Mirri's Vestigia and publishing in XVIIIc Rome', Print Quarterly, XXXVIII 2021, pp.29-49. / Medium: Handcoloured etching /Circa: 1776-1778 600

GIORGIO DE CHIRICO (1888-1978)Ponte di Rialto signed 'G. de Chirico' (centre); signed and inscribed 'questa 'Venezia' (Ponte di Rialto) è opera autentica da me eseguita e firmata Giorgio de Chirico.' and further signed and inscribed 'Venezia (Rialto) Giorgio de Chirico' (on the reverse)oil on canvas50.5 x 60cm (19 7/8 x 23 5/8in).Painted in 1956Footnotes:ProvenancePrivate collection, Milan (acquired by 1971).Galleria La Barcaccia, Rome.Anon. sale, Christie's, Milan, 23 November 1998, lot 280.Private collection, Rome.LiteratureC. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, Vol. I, Opere dal 1951 al 1970, Milan, 1971, no. 49 (illustrated).An enigmatic maverick in the history of modern art, Giorgio de Chirico forged a unique and long career. Hailed as the master of Metaphysical art, in the 1950s he departed from the elusive imagery that defined his early career and created his most celebrated depictions of Venice as part of his 'late Baroque phase'. These works which are rooted in realism as opposed to the imagination, stand out within his oeuvre, and derive from his desire to reconnect with the history of Venice and the dignity of the old masters which shaped the city's cultural legacy. Beyond the metaphysical elements of much of his corpus, the present work places his brand of genius in close conversation with his forefathers and is an affirmation that he too belonged to the lineage of the great Italian masters.Born in Greece to Italian parents, de Chirico was surrounded by classical mythology, art, history, and architecture during his childhood. He first visited Venice in 1905 and throughout his career exhibited his paintings at the Venice Biennale. These sojourns provided ample opportunity for de Chirico to paint the sites, study the architecture, and to immerse himself amongst the masterpieces that fill the ancient city. For de Chirico, Venice served as an open-air studio from which he could draw endless inspiration.Executed in 1956, Ponte di Rialto is testament to the artist's mastery of paint and use of colour. From its fine architectural lines to the palpable texture of the water and the clouds, the work strikes a wonderfully balanced tone with its compositional symmetry. With the iconic Ponte di Rialto commanding the centre of the scene, the calm canal widens into the foreground as three gondolas glide across the surface, exuding a sense of serenity. The detailed facades of the architecture capture the sunlight, while dramatic shadows are cast into the water. The harmonious colour palette - comprising blues, greens, ochres, and pinks - is skilfully brought together by the bold red banner hanging from the keystone, proudly presenting the artist's signature to the viewer.Ponte di Rialto reveals a central desire of the artist held throughout his career, as described by Stephen McKenna: 'de Chirico saw himself as a man with a mission to fill (...): the preservation, or rather restoration, of the dignity of painting, the reestablishment of a respect and love for the Old Masters and the values they represent' (S. McKenna, Late de Chirico 1940-76, exh. cat., Bristol, 1985, pp. 11-12). De Chirico's relationship with Venice is comparable to Monet's relationship with Giverny – it was his own artistic playground, enabling him to develop his ideas and techniques. Moreover, his depictions of the city's canals, piazzas, and churches placed him in dialogue with the great Italian painters such as Titian, Tintoretto and Canaletto. Paying homage to the tradition of rendering the city's deep colours, teal canals and neoclassical facades, de Chirico also found Venice to be the ideal environment in which to hone his artistic skill and experiment with colour.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Greece.- Fries (Lorenz) Tabu. Nova Candie [Crete], map of Crete after Waldseemüller, title banderole above, probably from Servetus's 'Opus Geographiae', woodcut map, the map's borderline 280 x 460 mm (11 x 18 1/8 in), Latin text within woodcut architectural border on verso, central vertical fold, good margins, some spotting and browning, notably in the lower right quadrant, slight shine-through of verso text, unframed, [circa 1535]

Architecture.- Plaw (John) Rural Architecture; or Designs, from the Simple Cottage to the Decorated Villa, fourth edition, aquatint frontispiece and 61 aquatint plates & engraved plans printed in sepia on thick paper, folding folio advertisement leaf for Taylor's Architectural Library bound in at end, foxed, plate 33 torn and repaired, contemporary half calf, uncut, rebacked preserving old red roan label, [cf. Abbey Life 47, Berlin Kat. 2296 & Millard, British 57, 1794 edition], I. & J.Taylor, 1796 § Durand (Jean Nicolas Louis) Précis des Leçons d'Architecture données a l'École Polytechnique, 2 vol. in 1, second edition, vol.1 lacking half-title but present in vol.2, 64 double-page engraved plates mounted on stubs, foxing and occasional soiling, title to vol.1 creased, modern half morocco, spine gilt, t.e.g., Paris, 1809, Raymond Erith's copies with his ink signature to front pastedown or free endpaper; and 2 others, architecture, 4to & 8vo (4)*** Plaw had introduced a new style of architectural book with his Rural Architecture of 1785, with aquatint designs set in a picturesque landscape. "Plaw set the model for villa and cottage pattern books that became a feature of architectural publishing in England for the next fifty years." (Millard British 57).

London.- Houses of Parliament. Report of the National Gallery Site Commission..., 3 folding colour lithographed plans, one creased, later cloth-backed boards,morocco label, new endpapers, 1857 § Smirke (Sydney) Suggestions for the Architectural Improvement of the western part of London, first edition, half-title, hand-coloured lithographed plan, 2 aquatint plates, one by W.Daniell, original red decorated boards, uncut, 1834 § Homersham (S.C.) London (Watford) Spring-Water Company. Report to the Directors, third edition, large folding map with routes of pipes in red, folding colour-printed lithographed plate of well and folding colour map, original cloth, spine worn, upper cover & map detached, 1850, all rubbed; and 4 others, London docks etc., v.s. (7)*** The first item investigates moving the National Gallery from its William Wilkins building in Trafalgar Square (which was not large enough), considering the effect of pollution on the paintings, and the possibility of combining the collection with the British Museum. The second proposes new parliament buildings in Green Park, a Gothic temple on the Serpentine for tombs from Westminster Abbey, and slum clearances and development of Soho.

Vredeman de Vries (Jan) Variae Architecturae Formae, title, 21 plates only, numbered '29' through to '48', on laid paper, each platemark approx. 154 x 210 mm (6 x 8 1/4 in), each sheet approx. 205 x 295 mm (8 x 11 1/2 in), handling creases throughout, marginal nicks and small losses, a few repaired, the last plate with large repaired tear, surface dirt throughout, limp vellum, scuffed and very worn, oblong 4to, Antwerp, Theodore Galle, 1601 [bound with] an additional plate from the above, but trimmed and likely from a different edition, and five further irregularly shaped architectural engravings, probably after Vredeman, trimmed and mounted on leaves, [early 17th century]

British Early 18 Century A carved giltwood Neptune architectural element Provenance: Ossowski, Pimlico Road Dimensions: 14 in. (H) x 9.5 in. (W)

British 18th-20th Century A group of eight carved giltwood architectural and furniture elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] [b] [c] [d] [e] 20 in. (H) x 23 in. (W) [f] 7.5 in. (H) x 27 in. (W) [g] [h] [i]

British Late 18th Century Two carved polychrome and giltwood architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: Ranging from 11.5 in. (H) x 8.5 - 12 in. (W)

British 19th/20th Century A group of seven carved architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] 19 in. (H) x 13 in. (W) [b] 23 in. (H) x  12 in. (W) [c] 11 in. (H) x 30 in. (W) [d] [e] [f] 8 in. (H) x 35 in. (W) [g] 8 in. (H) x 26 in. (W) 

British 19th Century A group of six carved architectural fragments Provenance: Ossowski, Pimlico Road Dimensions: [a] 18.5 in. (H) x 12 in. (W)  [b] 7 in. (H) x 11 in. (W) [c] [d] 11.5 in. (H) x 23.5 in. (W)

British 20th Century Manner of Grinling Gibbons A group of three carved architectural elements Decorated with natural motifs Provenance: Ossowski, Pimlico Road, where carved by a Basque carver after the antique Dimensions: [a] 8.5 in. (H) x 16 in. (W) [b] 9 in. (H) x 16 in. (W) [c] 9.5 in. (H) x 19.5 in. (W)

British Manner of Grinling Gibbons 17th Century A group of three carved architectural elements Provenance: Ossowski, Pimlico Road. With damage post-photography, viewing recommended. Dimensions: [a] 18 in. (H) x 8 in. (W) [b] 7.5  in. (H) x 15.5 in. (W) [c] 9.5 in. (H) x 16.5 in. (W)

British 19th/20th Century A group of six carved bird architectural elements Provenance: Ossowski, Pimlico Road Dimensions: Ranging from 4 - 29.5 in. (H)  x 5.5 - 18 in. (W)

British 19th Century A pair of carved architectural overdoors With an additional singular overdoor Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] (pair) 9 in. (H) x 26.5 in. (W) [b] 7 in. (H) 18.5 in. (W)

British Circa 1730 A polychrome and giltwood architectural heraldic element Possibly from a large frame or mirror Similar to an example in the V&A Provenance: Crowther of Syon Lodge; Ossowski, Pimlico Road Dimensions: 11.5 in. (H) x 20.5 in. (W)

British 19th/20th Century A group of six carved floral architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] 37.5 in. (H) x 16 in. (W) [b] [c] [d] [e] [f]

British 19th/20th Century A large group of carved architectural features Provenance: Ossowski, Pimlico Road Dimensions: Ranging from 12.5 - 37.5 in. (H) x 7.5 - 34 in. (W)

British 18th Century/19th Century A group of three carved architectural fragments Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] (dog) 8 in. (H) x 4 in. (W) [b] (urn) 8 in. (H) x 5.5 in. (W) [c] (head) 5 in. (H) x 5.5 in. (W)

Continental Late 19th/Early 20th Century A pair of carved giltwood architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: 8 in. (H) x 24 in. (W)

British 19th/20th Century A group of seven architectural elements Provenance: Ossowski, Pimlico Road Dimensions: [a] 11 in. (H) x 14.5 in. (W) [b] 38.5 in. (H) x 6 in. (W) [c] 36 in. (H) x 5.5 in. (W) [d]

French Early 19th Century A carved polychrome architectural element Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: 13 in. (H) x 16 in. (W) 

British 18th Century and later A group of eight carved giltwood bird architectural elements Provenance: Ossowski, Pimlico Road Dimensions: [a] (white) 8.5 in. (H) x 15 in. (W) [b] [c] 18.5 in. (H) x 23 in. (W) [d] 6 in. (H) x 12 in. (W) [e] (pair) 10.5 in. (H) 11.5 in. (W) [f] 15 in. (H) x 16 in. (W) 

British Circa 1960 A group of three architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] 13.5 in. (H) x 17.5 in. (W) [b] 16.5 in. (H) x 22 in. (W) [c]

Italian 19th Century A carved giltwood architectural element The central floral swags supported by mythological beasts Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: 11 in. (H) x 45.5 in. (W)

British 18th/19th Century A pair of carved giltwood ho ho bird architectural elements Provenance: Ossowski, Pimlico Road Dimensions: 18.5 in. (H) x 21 in. (W)

British 19th century and later A group of six architectural elements Provenance: Ossowski, Pimlico Road, where carved after the antique Dimensions: 8 in. (H) x 26.5 in. (W)

British 19th Century Two carved architectural putti elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] 12.5 in. (H) x 13.5 in. (W) [b] 17 in. (H) x 12.5 in. (W)

British 20th Century A pair of giltwood wall lights and architectural features Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] 9 in. (H) x 16 in. (W) [b] 16.5 in. (H) x 9 in. (W) [c] 6 in. (H) x 19.5 in. (W)

British 18th Century A pair of large carved angels Likely part of a larger architectural element Provenance: Ossowski, Pimlico Road

British Late 18th/Early 19th Century A group of three carved eagle architectural elements Provenance: Ossowski, Pimlico Road Dimensions: [a] 17 in. (H) x 21 in. (W) [b] 20 in. (H) x 13 in. (W) [c] 

British Circa 1960 A carved architectural frieze Provenance: Ossowski, Pimlico Road, where carved by a Basque carver after the antique To be sold without reserve Dimensions 20 in. (H) x 30.5 in. (W)

British 19th/20th Century A large group of carved architectural fragments Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: Ranging from 17 in. (H) x 2 in. (W) to 5.5 in. (H) x 5.5 in. (H) x 6 in. (W)

British 20th Century A group of eight carved giltwood architectural elements Provenance: Ossowski, Pimlico Road To be sold without reserve Dimensions: [a] (Drops) 23 in. (H) x 5.5 in. (W) [b] (Scallop) 13.5 in. (H) x  27.5 in. (W)

Boxes of Art and Architectural reference books, to include Old Masters from the Thyssen- Bornemisza Museum La Belle Epoque, Art Nouveau, Musee D'Orsay Robert Rosenblum, Wiener Werkstatte, auction catalogue from Christies, Sotheby's Old Master Paintings etc Two volume bound catalogue Champalimaud Christies, Venice Art and Architecture, Futurismo, Interni Barcelona, Les Noces de Cana Caravaggio (qty in three boxes)

Rev. Charles Pratt Terrot (attributed): a gilt framed 19th Century watercolour architectural study of a Gothic wall niche with bible and wreaths - label verso

A collection of old Ordnance Survey rolled monochrome map charts including local coastal examples - sold with rolled architectural plans of churches and other religious panel images, etc. - various condition

A German carved oak Aesthetic Movement mantel clock, architectural case, with silvered chapter ring and cast brass spandrels

A late 19th century marble mantel clock, architectural form with domed surmount, embossed metal frieze above white enamelled dial flanked by reeded pillasters, on stepped square base, with eight day striking movement, 39cm high

Yeats, Jack B. Sligo London: Wishart & Company, 1931. 2nd Imp, First edit, green cloth; The Careless Flower, 1947, Pilot Press, 1st edit, dj; Jack B Yeats by Roger McHugh, Dolmen, 1971, pb; The Selected Writings of Jack B Yeats by Robin Skelton, London: Andre Deutsch Ltd, 1991 and The Life and Times of Jack B Yeats At The Architectural Archive, Sept 2008 (5)

Ulster Architectural Heritage Society C Brett et al: In The Vicinity of The Queens University of Belfast; In The Area of Craigavon Falling within Craigavon Urban District plus 5 others; Buildings of North County Down,2002; Buildings of County Armagh both by C E B Brett, 1999/2002 (9)

Survey of Architectural Heritage of County Sligo; Leitrim; Dublin South City; Dublin North City; Mayo; Galway; Donegal; Roscommon; Kilkenny; Waterford, Kildare; Fingal and County Kerry. 13 separate books. Wonderful collection

Irish Architectural & Decorative Studies. Journal of the Irish Georgian Society. Vol. 1 to 9, 1998 to 2006 inclusive, as new. Wonderful articles & illustrations on Irish historic buildings and material culture. [9 items].

A late 19th century American architectural mantel clock, arched pediment, white dial with Roman numerals, 38cm; a Smiths Sectric electric Westminster chime mantel clock; an Edwardian inlaid mantel clock; two pther mantel clocks (5)

An Indian Islamic silvered metal panel, after the stone tracery in a window of The Sidi Saiyyed Mosque, Ahmedabad, Gujarat, India, architectural frame, 31cm wide

AN UNUSUAL MEISSEN PORCELAIN ARCHITECTURAL OR FIGURAL ELEMENT C.1745-50probably modelled by J. J. Kändler as roughly piled stone slabs modelled with foliage and applied with leaves8.5cm highProvenanceParker & Morris: The Art of Decorating.Catalogue NoteThis probably once formed part of an elaborate table decoration. See Victoria & Albert Museum, accession no. 246:1-1870 for the table fountain commissioned by Count Bruhl, which includes similar elements.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

A WHITE PAINTED OPEN BOOKCASEIN 18TH CENTURY STYLE, 20TH CENTURYof inverted breakfront form, with a single shelf flanked by architectural scroll pilasters90.7cm high, 137.3cm wide, 45.5cm deepProvenanceParker & Morris: The Art of Decorating.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

WILLIAM DE MORGAN (1839-1917) THREE ARTS & CRAFTS 'CARNATION' TILES, CIRCA 1880 painted and glazed terracotta, Poole Architectural Pottery blanks (3) 15.3cm square Provenance: Penicuik House, Midlothian

CHARLES JENCKS (1939-2019) CUSTOMISED EXTENDING DINING TABLE, CIRCA 1990 white over-painted wood with beech top, the carved frieze with two drawers, the pull-out top with two additional leaves, 31.4cm and 32cm long  179.5cm long unextended, 80cm high, 98.5cm deep  Provenance: The Estate of Charles Jencks, Portrack House Note: Charles Jencks was an American landscape designer, architectural historian and cultural theorist, who published over thirty books and was famous as a theorist of Postmodernism in the 1980s.

CHARLES RENNIE MACKINTOSH (1868-1928) ‘GRASS HYACINTHE’, 1915 pencil and watercolour, signed with initials CRM and MMM, inscribed and dated lower centre GRASS HYACINTHE/ WALBERSWICK/ 1915 27cm x 20cm (frame size 42cm x 35cm) Provenance: Cyril Gerber Fine Art, GlasgowCollection of Donald and Eleanor TaffnerPrivate Collection  Note: Charles Rennie Mackintosh is today celebrated as a leading pioneer of modernism and his 1915 enigmatic pencil and watercolour sketch ‘Hyacinthe’, dates from a period of great change and turbulence for the artist. In June 1914, he and his wife Margaret Macdonald travelled from Glasgow to the Suffolk coastal town of Walberswick, economic recession having rendered Mackintosh’s home city increasingly hostile to his architectural business. The firm of which he was a partner had completed the celebrated Glasgow School of Art in 1909, but by the mid 1910’s was struggling to find work. Having split from the firm, Mackintosh journeyed to East Anglia for a countryside escape. ‘Hyacinthe’ is one of around thirty to forty similar works executed during his stay. It has been suggested that the series was commissioned by a German publisher, the progress of the prospective publication halted by the advent of World War I.Like many coastal towns in Britain, Walberswick became an artists’ retreat during the summer months, providing solace and inspiration to creatives including Philip Wilson Steer, E. A. Walton and Mary Newbery. Mary Newbery, was the daughter of Frances Newbery, headmaster at the Glasgow School of Art and friend of Mackintosh. It is thought that the Newberys encouraged Mackintosh to paint to help him come to terms with his disappointment and to heal his soul. Pencil and paper sketches were not a novel form to Mackintosh, and in many ways represented a return to his former oeuvre. From his student days in the 1880s, he used sketches to process design ideas. His early drawings were more technical and regularly harnessed by the young artist as a means of experimenting with stylised plant forms to create patterns. Furthermore, nature-based subjects were familiar to the artist, having sketched the flora of his surroundings whilst on holidays in Britain and beyond from 1901. The Walberswick sketches, however, represent a shift in artistic style. Gone are the architectural explorations, replaced instead with a marriage of the technical botanical drawing and free, creative expression of the natural world. ‘Hyacinthe’ bears not only the monogram signature of Charles but also that of his wife Margaret, confirming her presence at the time of painting. The misspelled plant name is a common feature in his work, leading to speculation that he was dyslexic. The stay at Walberswick lasted fourteen months, its end only prompted by Charles’ arrest on suspicion of being a German spy, such was his tendency to study the East Anglian coastal landscape which aroused the suspicions of the local community. Artistically however it provided the artist with an opportunity to sharpen the clarity of his artistic vision, with many followers believing the Walberswick sketches to be amongst his finest works.