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Designed for Guthrie and Wells, Glasgow. This and others pieces of green stained furniture made by Guthrie and Wells, were collected by William Davidson for his house Gladsmuir and later in Windyhill. Guthrie and Wells, originally founded as a painting and decorating firm by J and W Guthrie, who entered into partnership with Andrew Wells in 1895, played an important role in the history of decor and design in Glasgow. They were the most important of the stained glass studios emerging in Glasgow in the 1890s, supplied furniture, glass, mosaics etc and had a reputation for first class craftsmanship and always employed excellent designers. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Illustration from the British Architect, March 13, 1903.

Design for the staircase and vestibule, West Elevation, The Dug-Out, Willow Tea Rooms, Sauchiehall Street, Glasgow. Miss Cranston and her husband Major Cochrane commissioned Mackintosh to redesign the interiors of their home Hous'hill at Nitshill. Mackintosh designed several suites of furniture in 1904 and more pieces in 1909. Stripes are the dominant motif in the decorations, in the panels over the settle and between the doors where they are carried over the ceiling as in the guest bedroom at 78 Derngate. The lampshades are also similar to those used in this bedroom. (Roger Billcliffe). The lattice work recalls the hall at Derngate, but here it is used as an open screen rather than with solid or glazed panels. The only furniture that has been traced is the chair at the writing desk and the small table.

Designed for the nursery, Gladsmuir, Kilmacolm. Probably made by Guthrie & Wells. The wide vertical panels running either side of the back of the cupboard, here terminating in two decorated lugs, are a motif Mackintosh often used in later work. One of Mackintosh's early pieces which William Davidson acquired for his home in his parents' house Gladsmuir before he built Windyhill. Original photos of the Windyhill interiors show it located in the hall.
This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed for the White Dining Room, Ingram Street Tea Rooms. Glasgow. The basic chair used in the main dining room, and the Cloister Room in 1900. The original seat coverings were probably horsehair. Reupholstered in brown horsehair, 1984. The Ingram Street Tea Rooms were purchased by Glasgow Corporation in 1951 for £25,000 and were then rented out as various shops and warehouses. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Painted on Mackintosh's tour of Italy in 1891 with Alexander 'Greek' Thomson travelling scholarship.

Mackintosh's style here is the closest he came to that of Margaret and Frances Macdonald, but his figures are always more substantial and the subject matter less whimsical than theirs.

In July Mackintosh and Margaret Macdonald spent a holiday in Dorset re-visiting many of the place he had visited in 1895. 'In 'The Village' and 'The Downs' Mackintosh makes his first conscious moves towards his mature style of the Port Vendres period. He is obviously concerned with the pattern of the landscape, picking out features like the stepped hillside, the stone walls, paths and roofs of village houses. These ordinary motifs are given an eerie emphasis by being painted in an equally detailed manner whether they are in the foreground of the the distance... it was probably at this time... that he decided to concentrate more and more on painting. By 1923 he had decided to forsake architecture and design and devote the rest of his life to producing watercolours.' (Roger Billcliffe).

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.One of the three interior perspectives which Mackintosh omitted from his original submission and consequently was disqualified from the competition, but later supplied to the publishers. They differ in some detail from the elevations already submitted, the arrangements of the lighting is simpler, the stencilled panels at the window are more elaborate and positioned within the recess, next to the windows, rather than on the walls between each recess. The perpendicular stress of the two rows of tapering square standard down each wall is reinforced by the extremely high backs of the chairs and the original light fittings, 'four small square lanterns, each hanging by four cords, so that the whole effect is of a forest of perpendiculars' (Muthesius). As in the dining room it is evident that (probably because of lack of time) Mackintosh drew on furniture designs he had already used in Glasgow: the high backed chairs are very similar to those designed for the Ingram Street Tea Rooms. The most prominent feature of the room is the piano.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. Like the hall, this room is wood panelled. The sombreness of the dark panelling is relieved by a frieze of coloured panels using the standard Mackintosh theme of a stylised female figure, and the coloured lights handing from the barrel vaulted ceiling. As in the reception room, Mackintosh makes use of furniture designs he has already used elsewhere, the stone surround of the fireplace is based on that in the original Board Room in the GSA, the table (the flat, plank like surfaces echoing the construction of the sideboard) on the dining table designed for Windyhill, and the chairs recall the oval backrail armchairs used in the Mains Street dining room. The central feature of the room is the fireplace, set in a deep recess decorated with fanciful female figures, details picked out in rose against a strong blue ground which dominates the otherwise severe room. The colours are echoed in the wall panels, the decorative insets on the sideboard, the china and even the table runner and roses on the table.

Design for the Restroom, North Elevation, Willow Tea Rooms, Sauchiehall Street, Glasgow. Stripes are the dominant motif in the decorations, in the panels over the settle and between the doors where they are carried over the ceiling as in the guest bedroom at 78 Derngate. The lampshades are also similar to those used in this bedroom. (Roger Billcliffe). The lattice work recalls the hall at Derngate, but here it is used as an open screen rather than with solid or glazed panels. The only furniture that has been traced is the chair at the writing desk and the small table.

Architectural drawing showing Renfrew Street elevation.

Designed for the schoolroom, Gladsmuir, Kilmacolm. The same two metal panels first appear in the design for the fireplace and fender probably intended for Regent Park Square and were repeated in the wardrobe designed for Westdel in 1898. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed for the Director's Room, Glasgow School of Art. Twelve chairs were made in 1904 for the GSA, but William Davidson acquired a further two, with six of MC/F/58 for use as dining chairs in the hall at Windyhill. Twelve chairs reupholstered in brown horsehair 1984. One chair on loan from Glasgow University, returned 1984. These items were assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Bound in volume, The Magazine, November, 1894.

From The Magazine, Spring 1896. Inscribed: The Tree of Personal Effort, The Sun of Indifference, Charles Rennie Mackintosh, January 1895.' The exact meaning of the symbolism of this work, and its companion, 'The Tree of Influence' has eluded all commentators on Mackintosh's early water-colours. The obvious source of the symbolism is nature, and Mackintosh here reaches his most extreme distortion of organic forms.' (Roger Billcliffe).

From The Magazine, Spring 1896. The shadow does not correspond with the object in front; it touches it and echoes it but is different.

Sketch of three angels playing musical instruments.

'As in 'The Village' there are no figures in this view of the Dorset countryside. This absolute lack of human activity gives Mackintosh's pictures an air of eerie, even surreal, desertion. They are formal landscapes... the most dominant feature in this work is the tall telegraph pole, a formal and unnatural element in this gentle Dorset landscape.' (Roger Billcliffe).

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. One of the three perspectives submitted by Mackintosh after the competition had been judged. The fitted furniture, benches and table are all loosely based on those designed for William Davidson's house Windyhill. Interesting features are the lighting standards with their tree like arrangement of lamps and the gesso panel over the fireplace, possibly depicting an episode from the Sleeping Beauty Story, credited to Margaret Macdonald. (Roger Billcliffe).

The competition, held in 1898, was won by the Glasgow architect James Miller with a considerably more ornate design for a 'bit of Spanish baroque confectionery' (McLaren Young). Like Miller's, Mackintosh's design derives from James Sellars' for the 1888 Glasgow exhibition, but simplified. 'The dome, perhaps a prerequisite for Glasgow exhibitions, remained, but it was presented with severe geometricality, with an Art Nouveau lantern surmounted by a Chinese coolie hat.'

Design for Miss Rowat. The job books indicate that this commission was carried out, but no photographs exist to indicate how closely the executed work followed this design. A completely new motif is introduced with the wavy apron below the top shelf which provides relief to an otherwise rigidly geometrical design.

Inscribed: This room was opened by Miss Cranston in the year 1917 during the Great European War between the Allied Nations and the Central Powers.The Dug-Out, which Miss Cranston created in the basement of the Willow Tea Rooms was Mackintosh's last work in Glasgow (designed while he was living in London) and develops his new style seen in 78 Derngate. A dramatic interior was created with black ceilings and dark walls highlighted by strong colours in the decorations. The centrepiece was the Memorial Fireplace, decorated with inlaid glass and paintings of the flags of the opposing nations; above the commemorative plaque was a panel of stencilled decoration in chequers, diamonds and triangles, all in the bright colours used in the Derngate frieze. Two interior elevations indicate Mackintosh's schemes for decoration and furniture, some of which survives.

Designed for the Glasgow Architectural Association.

Architectural drawing showing basement floor plan.

Architectural drawing showing north elevation. The main difference between the completed North elevation and that shown in the 1896-97 design is the addition of an attic storey, but by setting back the upper row of windows Mackintosh made them quite invisible from Renfrew Street.

Architectural drawing showing first floor plan.

Architectural drawing showing first floor plan.

Designed for the Director's Room, Glasgow School of Art. Twelve chairs were made in 1904 for the GSA, but William Davidson acquired a further two, with six of MC/F/58 for use as dining chairs in the hall at Windyhill. Twelve chairs reupholstered in brown horsehair 1984. One chair on loan from Glasgow University, returned 1984. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Designed for Guthrie and Wells, Glasgow. This and others pieces of green stained furniture made by Guthrie and Wells, were collected by William Davidson for his house Gladsmuir and later in Windyhill. Guthrie and Wells, originally founded as a painting and decorating firm by J and W Guthrie, who entered into partnership with Andrew Wells in 1895, played an important role in the history of decor and design in Glasgow. They were the most important of the stained glass studios emerging in Glasgow in the 1890s, supplied furniture, glass, mosaics etc and had a reputation for first class craftsmanship and always employed excellent designers. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Appears in The Magazine, April 1894. 'The central figure is based upon that used in the 1893 design for a diploma for the GSA and like that in 'The Harvest Moon', has wings like an angel. Here, however, she appears naked and her outstretched arms and hair merge and are transformed into barren tree-like forms. These descend to the horizon behind which the sun is gradually disappearing under the feet of the winged figure. From the bottom of the picture, and directly beneath the sun, rises a flight of menacing birds. They are presumably nocturnal birds of prey and they seem to be flying directly towards the viewers. This is one of Mackintosh's earliest uses of this strange bird, which was to become more stylised and to appear in many different forms, in several media in his oeuvre.' (Roger Billcliffe).

Bound in volume, The Magazine, November 1894.

Bound in volume, The Magazine, November 1894. 'Behind a stylised tree stands another of Mackintosh's mysterious female figures, but this is the first one to appear that is not meticulously drawn. Only the head is shown in any detail, and the shape of the body is hidden by a voluminous cloak from which not even its limbs appear. This figure was to be repeated many times, becoming more and more stereotyped until, with the banners designed for the Turin Exhibition in 1902, the head is the only recognisably human part of a figure with a twelve-foot long, pear shaped torso. In 1895-96, Mackintosh was to develop this drawing into a poster for the Scottish Musical Review (Howarth, p1, 9F). The same cloaked figure appears with similar formal emblems at the ends of the branches of the bush.' (Roger Billcliffe).

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.The central feature of the house is the large hall - two storeys high - communicating directly with the dining room, reception and music room, which can be adapted to provide a stage. On the South side a terrace room runs outside the reception and music room. On the North side are the entrance, the hall and dining room, which are separated by a moveable partition. On the upper floor, the principal bedroom suite is partitioned off in the South-East corner; numerous guest rooms are provided and a playroom is in the attic above the childrens' bedrooms. The kitchen and servants' rooms are in the basement.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.This drawing shows the construction of the gallery which connects the East and West portions of the house, resting on wooden cased pillars. In the upper portion of the pillars the dark woodwork is relieved by silver decorative panels, a painted frieze running between them. Similarly the double doors are relieved by panels of coloured glass, and coloured panels are inset above the fireplace. Through the doors one entered the reception/music rooms, their white walls and elegant decoration forming a brilliant contrast to the dark hall. Two features are reminiscent of earlier projects: the balcony with the pendant panels echoes the gallery at Queen's Cross Church, and the silver panels in the supporting posts recall those used beside the large gesso panels at Ingram St in 1900.

Design for Walter Blackie. 'When in 1902, Walter W Blackie, the publisher, decided to have a new house built on a site he had acquired overlooking the Firth of Clyde, he asked Talwin Morris, the art manager of his firm, for advice in the choice of an architect. Morris had no hesitation in recommending Mackintosh and when Blackie met him they found themselves very much in sympathy with each other. This happy relationship between clients and architect resulted in the largest and perhaps finest example of Mackintosh's executed domestic architecture.' (McLaren Young). The house survives in good condition and still containing much of the furniture which Mackintosh designed for it. The plan is similar to his design for Haus Eines Kunstfreundes, and the schemes for decoration and furnishings throughout the house were executed according to his designs.

Abstract design for fabric.

Sketch design for Windyhill bookcase (MC/F/32).

Glasgow School of Art Club diploma.

Architectural drawing showing second floor plan.

Architectural drawing showing plan of basement floor.

Architectural drawing showing second floor plan.

Architectural drawing showing back elevation.

Architectural drawing showing sub-basement plan.

Architectural drawing showing basement plan.

This sketch shows how accommodation was arranged in the East wing ground floor before the GSA was completed in 1906-09.

From The Magazine, April 1894. The long text by Mackintosh which accompanies this watercolour in The Magazine (reproduced in full in Billcliffe's catalogue) suggests that he had already encountered public hostility to his work, possibly even from fellow students, on the grounds of incomprehensibility.

Bound in volume, The Magazine, Spring 1896. One of three watercolours depicting the seasons drawn for The Magazine.