- MC/G/59B
- Item
- 1894-1895
Glasgow School of Art Club diploma.
Mackintosh, Charles Rennie
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Glasgow School of Art Club diploma.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of entresol level
Architectural drawing showing new entresol level, formed between basement and ground floors.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of first floor
Architectural drawing showing first floor plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: elevation to Scott Street/elevation to Dalhousie Street
Architectural drawing showing east/west elevations. 'The East elevation is as built... the West elevation has been completely redesigned. In 1897 the roof line falls with the steep slop of Scott Street: in 1907 the lower part of the site provides a base for a soaring tower block containing the Library which, if it has affinities with the spirit of the traditional Scottish tower house, is completely twentieth century in all its detailing... Other changes were made in the course of construction,... the ashlar of the blank wall on the left was replaced by undressed stone and... the normal sized doorway grew to colossal proportions, extending well above the line of the windows (Mackintosh's pencilled alterations are just visible on the drawing).' (McLaren Young).
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of sub-basement floor
Architectural drawing showing sub-basement floor. With one or two exceptions, a series of Mackintosh drawings appear to be the final 'working drawings' from which a 'finished' hand coloured set were based.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of ground floor
Architectural drawing showing ground floor plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: elevation to Scott Street/elevation to Dalhousie Street
Architectural drawing showing east/west elevations.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of ground floor
Architectural drawing showing ground floor plan.
Mackintosh, Charles Rennie
Settle for Glasgow School of Art
Designed for entrance hall, Glasgow School of Art.
This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Mackintosh, Charles Rennie
High-backed armchair for the Director's Room, Glasgow School of Art
Designed for the Director's Room, Glasgow School of Art. One chair reupholstered in blue/black horsehair 1970s, One chair reupholstered in brown horsehair 1984 and repaired. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Mackintosh, Charles Rennie
Low-backed armchair for Board Room, Glasgow School of Art
This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Designed for the (new) Board Room, Glasgow School of Art. A more elaborate version of the chairs designed for the original Board Room in 1899 (MC/F/18).
Mackintosh, Charles Rennie
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).
Mackintosh, Charles Rennie
Bound in volume, The Magazine, November 1894.
Mackintosh, Charles Rennie
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).
Mackintosh, Charles Rennie
Glasgow School of Art Club diploma.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of second floor
Architectural drawing showing second floor plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of basement floor
Architectural drawing showing plan of basement floor.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of second floor
Architectural drawing showing second floor plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: back elevation
Architectural drawing showing back elevation.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of sub-basement floor
Architectural drawing showing sub-basement plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of basement floor
Architectural drawing showing basement plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of ground floor - East wing
This sketch shows how accommodation was arranged in the East wing ground floor before the GSA was completed in 1906-09.
Mackintosh, Charles Rennie
Glasgow School of Art Club Invitation card
Folded card invitation. Programme details listed inside.
Mackintosh, Charles Rennie
Lampshade for Library, Glasgow School of Art - Medium Canister (Version 1)
Mackintosh, Charles Rennie
Lampshade for Library, Glasgow School of Art - Medium Canister (Version 4)
Mackintosh, Charles Rennie
Lampshade for Library, Glasgow School of Art - Medium Canister (Version 5)
Mackintosh, Charles Rennie
Lampshade for Library, Glasgow School of Art - Medium Canister (Version 7)
Mackintosh, Charles Rennie
Lampshade for Library, Glasgow School of Art - Medium Canister (Version 8)
Mackintosh, Charles Rennie
Fragments of lampshade(s) for Library, Glasgow School of Art
The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.
Mackintosh, Charles Rennie
Fragments of lampshade(s) for Library, Glasgow School of Art (Version 7)
The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.
Mackintosh, Charles Rennie
Lampshade for Library, Glasgow School of Art
Designed as individual lights within the Library at Glasgow School of Art. Very similar in design to the thirteen lampshades which make up the central light fitting in the Library.
Mackintosh, Charles Rennie
Lampshade for Deputy Director's Room, Glasgow School of Art
The original position of the fifth lamp is not known. In 1985 it was cleaned and placed above the School outer front doors, at the same time as these were repainted white.
Mackintosh, Charles Rennie
Letters sent by Francis H Newbery, Director of Glasgow School of Art
Part of Records of The Glasgow School of Art, Glasgow, Scotland
Letterbook of outgoing correspondence, pages 1-500 - includes letters re: reference for James Huck (86); letter to C F Voysey re: post of Design Professor (90, 97 & 131); to Bourdon re: the design of the Architectural rooms in the new building (121); Newbery's ideas about decorative art and its place in GSA (174); visits of Newbery & C R Mackintosh to Technical Studios at Birmingham School of Art & in London (188 & 204); to Frances MacNair re: teaching metalwork and enamels at GSA (225, 269); to Henry Wilson re: reservations about the new Professor of Design, Mr Britten (316). Extension to School building: requesting for a fireplace for Headmaster's studio (239), cleaning of windows and pigeons (244), heating arrangements & partitions in the Life School (279), school dances and architect's fears about unsafe floors (339).
Newbery, Francis Henry
Low-backed armchair for the Director's Room, Glasgow School of Art
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).
Mackintosh, Charles Rennie
Light Fitting for Board Room, Glasgow School of Art
One of three ceiling light clusters designed for the new Board Room at Glasgow School of Art. Each fitting consists of nine lampshades suspended from a decorative iron frame.
Mackintosh, Charles Rennie
Lampshade for Deputy Director's Room, Glasgow School of Art
The original position of the fifth lamp is not known. In 1985 it was cleaned and placed above the School outer front doors, at the same time as these were repainted white.
Mackintosh, Charles Rennie
Lampshade for Deputy Director's Room, Glasgow School of Art
The original position of the fifth lamp is not known. In 1985 it was cleaned and placed above the School outer front doors, at the same time as these were repainted white.
Mackintosh, Charles Rennie
Low-backed armchair for the Director's Room, Glasgow School of Art
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).
Mackintosh, Charles Rennie
Bound in volume, The Magazine, November, 1894.
Mackintosh, Charles Rennie
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).
Mackintosh, Charles Rennie
From The Magazine, Spring 1896. The shadow does not correspond with the object in front; it touches it and echoes it but is different.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of basement floor
Architectural drawing showing basement floor plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: elevation to Renfrew Street
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.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of first floor
Architectural drawing showing first floor plan.
Mackintosh, Charles Rennie