MARGARET MACDONALD (1864-1933) & FRANCES MACDONALD (1871-1921)
MARGARET MACDONALD (1864-1933) & FRANCES MACDONALD (1871-1921)

AN IMPORTANT GLASGOW SCHOOL CLOCK, 1896

Details
MARGARET MACDONALD (1864-1933) & FRANCES MACDONALD (1871-1921)
AN IMPORTANT GLASGOW SCHOOL CLOCK, 1896
executed by Thomas Ross & Sons, silver, white metal and walnut, the later weights and pendulum depicting owls and birds respectively
clock face 11 ¼ x 11 in. (28.5 x 28 cm.)
MARGARET AND FRANCES MACDONALD, 1896, maker's marks TR & S and hallmarks Glasgow 1896
Literature
This piece illustrated:
The Studio, vol. 9, 1896, p. 204, illust. p. 203;
Athenaeum, No. 3598, October 1896, p. 491;
T. Morris, 'Concerning the Work of Margaret Macdonald, Frances Macdonald, Charles Mackintosh and Herbert MacNair: An Appreciation', unpublished manuscript, Collection of Glasgow Museums, E. 46-5x, 1897, p. 5;
Dekorative Kunst, vol. 3, 1898, illust. p. 73;
P. Robertson (ed.), Doves and Dreams, The Art of Frances Macdonald and J. Herbert McNair, Aldershot, 2006, p. 86, F13, cat. ill. 3.
Exhibited
Art and Crafts Exhibition Society 5th Exhibition, New Gallery, London, 1896 (285).

Brought to you by

Jeremy Morrison
Jeremy Morrison

Lot Essay

This wall-clock evidences the successful collaboration of sisters Margaret and Frances Macdonald, co-signatories of this unique work. With their respective partners Charles Rennie Mackintosh and Herbert McNair they became known as ‘The Glasgow Four’ and garnered considerable acclaim, both in their native land and internationally for the originality of their designs.  The group were particularly appreciated by the avant-garde in Germany and in Vienna. The Studio dubbed them ‘the spooky school’, for the Symbolist nature of their subjects and for the extreme stylisation of their figures and motifs.

In the present timepiece, the infants stretch towards and embrace dandelion heads or clocks – an allusion to the passing of time. Floating infants with cherub wings suggest a spiritual world.  The cyclical nature of life is further referenced by the seeds on the ground, growing and in turn generating further seeds. The ground also resembles an open book, implicit of time and of life as a chapter’s passing. This motif is echoed above the clock face as an open stage curtain with the inevitability of a finale. This symbolism continues in the pendulum design with birds in flight and owls on the weights, one with eyes open, the other with eyes closed, time illustrated as a continuum of wakefulness and sleep, of days melting into nights.

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