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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 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 John Henderson.'One of the earliest surviving pieces with repousse panels, here designed by Mackintosh. Although probably made by cabinet makers such as Guthrie & Wells, it has none of the more traditional mouldings that appear on the commercial bedroom units, probably because Mackintosh was designing directly for a client. The pendant leaf motif at the base was slowly transformed in later pieces, into a characteristic dip in the lower stretcher or apron based upon a favorite Mackintosh motif, the swooping bird.' (Roger Billcliffe). This item was assessed for conversation in 2010 as part of the Mackintosh Conservation and Access project (2006-2010), and then again in 2018 following the fire in the Mackintosh Building in June 2018.

Design for William Davidson. In the mid 1890s Mackintosh met William Davidson, a young Glasgow businessman, who commissioned him to design some furniture for his flat in Gladsmuir, his parents' house at Kilmacolm. About 1899 Davidson decided to build his own house, and Windyhill was the first of Mackintosh's private houses. It was completed in 1901 and still survives. Mackintosh designed the furniture for the hall, drawing room, schoolroom and principal bedroom, much of which survives in the GSA collection.

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

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.

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. Inscribed: The Tree of Influence, The Tree of Importance, The Sun of Cowardice, Charles Rennie Mackintosh, Jan 1895.

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 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).

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).

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).

Proposed east elevation of building.

Proposed plans for building.

Proposed south elevation of building.

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.'

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.

In art nouveau frame drawn in ink on brown backing paper: The Harvest Moon, Chas. R. Mackintosh, 1893, To John Keppie, October 1894.

Design for William Davidson. In the mid 1890s Mackintosh met William Davidson, a young Glasgow businessman, who commissioned him to design some furniture for his flat in Gladsmuir, his parents' house at Kilmacolm. About 1899 Davidson decided to build his own house, and Windyhill was the first of Mackintosh's private houses. It was completed in 1901 and still survives. Mackintosh designed the furniture for the hall, drawing room, schoolroom and principal bedroom, much of which survives in the GSA collection.

Bound in volume, The Magazine, November, 1894.

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).

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

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

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).

Bound in volume, The Magazine, November 1894.

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).

Designed for the Dug-Out, Willow Tea Rooms. Very similar to MC/F87, but in a larger scale with flat instead of turned arms. Re-upholstered in blue horsehair 1985. This item was assessed for conversation in 2010 as part of the Mackintosh Conservation and Access project (2006-2010), and then again in 2018 following the fire in the Mackintosh Building in June 2018.

Designed for the Ingram Street Tea Rooms, Glasgow. 'One of the sturdiest and most successful small chairs designed by Mackintosh. The chair was used in the Chinese Room in the late 1940s but there is no record of it being specifically designed for it.' (Roger Billcliffe). The two chairs in the Museum of Modern Art collection (NY) originally belonged to GSA and were donated in 1958 by then director, Douglas Percy Bliss. This item was assessed for conversation in 2010 as part of the Mackintosh Conservation and Access project (2006-2010), and then again in 2018 following the fire in the Mackintosh Building in June 2018.

Designed for the Willow Tea Rooms, Glasgow. 'A very sturdy but not particularly comfortable chair, used in the ground floor saloons, the Gallery and the Smoking room... Their boxy shape contrasts with the taller and more open ladder-backs arranged alongside them in the layout of furniture which Mackintosh devised.' (Roger Billcliffe). Reupholstered in blue horsehair 1984 (the original upholstery on these and the Willow settle was a green and gold striped horsehair). This item was assessed for conversation in 2010 as part of the Mackintosh Conservation and Access project (2006-2010), and then again in 2018 following the fire in the Mackintosh Building in June 2018.

Designed for the Glasgow Architectural Association.

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).

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Designed for original board room at Glasgow School of Art. The chairs were designed for the original Board Room in the East wing (now the Mackintosh Room). The Governors never used this room for meetings and it was initially used as a studio while space was short in the half-finished building. When the new Board Room was built in the second phase of the building, Mackintosh designed a more elaborate version of this chair for it, MC/F/61. Six chairs reupholstered in brown horsehair 1985, very similar to the original fabric found on one of the chairs. Two remaining chairs reupholstered in 1986. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Architectural drawing showing various additions to building. The handwriting suggests that this sketch plan was not drawn by Mackintosh himself, but probably by a draughtsman in his office.

Architectural drawing of room in basement of Mackintosh Building. Signed: Artot (t.r.).

Architectural drawing showing various additions to building. The handwriting suggests that this sketch plan was not drawn by Mackintosh himself, but probably by a draughtsman in his office.

Architectural detail of Mackintosh Building.

Illustration from the British Architect, March 13, 1903.

Architectural drawing showing second floor plan. The addition of this floor in the 1907-09 stage of building did not change the external appearance of Mackintosh's original two storey facade as the set back series of studios are not visible from street level. The plan shows how Mackintosh linked the two ends of the floor, by passing the already built Director's studio with the 'Hen-Run'.

Architectural drawing showing north elevation of building.

Architectural drawing showing back elevation of building.'Even after his revisions to the first half of the building, and the proposed alterations pencilled on the 1907 elevation, Mackintosh made a few others. This drawing, from a set made in 1910 of the completed building, shows the facade as it is, including the parts that are now virtually invisible' (McLaren Young).

Architectural drawing showing drainage plans for the building.

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

Architectural drawing showing first floor plan.

Architectural drawing showing elevation and plan of building.

Architectural drawing showing basement plan of building. This sketch, very possibly not in Mackintosh's own hand but drawn by a draughtsman in his office, shows how the accommodation was arranged in the East wing basement before the GSA was completed with the addition of the West wing in 1906-09. The technical studios on the plan were housed in a temporary building which can be seen in the perspective drawing of the unfinished GSA.

Architectural drawing showing ground floor plan.

Architectural drawing showing east/west elevations of building.