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This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010). Designed for The Dug-Out, Willow Tea Rooms, Glasgow. Cube and bobbin legs are a traditional motif not used by Mackintosh before this date. Several of the pieces made for the Dug-Out, however, incorporate such traditional features, e.g. the round table with bobbin legs and the stepped ladder-backs of the chairs (Roger Billcliffe). Repaired, and badly scratched top resurfaced in 1985.

Designed for Miss Cranston's Ingram Street Tea rooms, Glasgow. 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.

One piece from a twelve-place setting of dining cutlery commissioned from Mackintosh by Fra and Jessie Newbery.

Designed for 120 Mains Street, Glasgow. An exact replica of the cabinet made in 1899 and sold at the Vienna Secession exhibition in 1900, made to replace this for the Mackintoshs' own use. 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.

A small rectangular table on plain square legs designed as an extension to dining table MC/F/108. This table was commissioned by William Davidson after he moved into 78 Southpark Avenue in 1919. Davidson purchased this house and some of its furniture from Mackintosh when the latter moved to London. In later years the table was referred to as a side table. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed as the order desk, at the Willow Tea Rooms, Glasgow. 'One of the most impressive and novel of Mackintosh's chairs, it stood in the centre of the ground floor saloons, isolated and defining the point at which the white Front Saloon became the dark Back Saloon. Designed six months before the curved screen at Hous'hill, it plays the same role in acting as a transparent division between two spaces which are actually part of the same room... The front of the seat also serves as a small locker or chest... The chest was provided for the supervisor who took orders from the waitresses and passed them to the kitchen by dropping coloured balls, coded to each dish on the menu, down a tube to the kitchen below.' (Roger Billcliffe). Reupholstered in brown horsehair 1984 (the settle was originally upholstered in a green and gold striped horsehair, matching the Willow armchairs).
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 Dug-Out, Willow Tea Rooms, Glasgow. Mackintosh's watercolour designs for the Dug-Out show a very similar settle (painted yellow) in the staircase vestibule and presumably this is where the piece was originally placed. It is a smaller variant of the Derngate hall settle. Whilst the property of the Grosvenor Restaurant, it was probably painted black, but when it was returned from exhibition in Helsinki (early in 1983) damage to the surface revealed yellow paint-work underneath. When the black paint was stripped it was clear that the entire settle had been painted yellow, and on the lower surfaces the original paint-work was intact, allowing accurate colour matching for repainting. In the winter of 1983-84 the settle was repainted and reupholstered to match the original design. 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 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).

Designed for the board room, Glasgow School of Art. Basically, a compilation of three examples of MC/F/18 with the pierced motif repeated three times on each back rest. Reupholstered in brown horsehair 1984. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

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).

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).

Designed for Argyle Street Tea Rooms, Glasgow. At least two examples of this settee appear in contemporary photographs, used along the walls in the Smoking and Billiards Rooms. 'A sturdy and quite heavy piece of furniture with slab like sides, upholstered in horsehair which became a favorite material with Mackintosh and used on several designs about this time.' (Roger Billcliffe). Reupholstered in brown horsehair 1984. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Designed for Gladsmuir, Kilmacolm. Two tables and two benches were made for the schoolroom at Gladsmuir, probably at the same time as the bookcase. The thistle motif pierced in the sides of the legs of the benches is repeated in the leaded glass of the bookcase.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Designed for Gladsmuir, Kilmacolm. Two tables and two benches were made for the schoolroom at Gladsmuir, probably at the same time as the bookcase. The thistle motif pierced in the sides of the legs of the benches is repeated in the leaded glass of the bookcase.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Designed for Gladsmuir, Kilmacolm. Designed to match the schoolroom tables and bookcase, the thistle motif pierced in the legs being repeated in the leaded glass of the bookcase.

Trade cabinet designed to hold various wood samples. Made for William Douglas, a decorator and friend of Mackintosh who worked on several of his commissions, especially Hous'hill. Reputedly designed by Mackintosh but some of the detailing suggests he did not closely supervise the execution. Each drawer holds samples of different woods, stains, paints and finishes. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed for the Willow Tea Rooms, Glasgow. There is no provenance for this table. Stylistically it has elements in common with some of the pieces designed for the Willow Tea Rooms; the row of glazed ovals is reminiscent of a similar feature in the fireplace in the Smoking Room. It could have come to the GSA with a number of other pieces of Willow furniture purchased from the Grosvenor Restaurant. (Roger Billcliffe).
This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Records relating to the properties and premises of the Glasgow School of Art. The majority of these records relate to the construction of the Mackintosh Building: the premises of the Glasgow School of Art on Renfrew Street. The erection of the Mackintosh building is well documented, and the records cover all aspects of the creation of the building from early financial records from 1883 to receipts for fittings in 1912. The records of the Mackintosh Building are divided into ten sub-series (GOV/5/1-GOV/5/9): GOV/5/1: Building Committee Papers, 1896-1910 GOV/5/2: Financial Records, 1883-1912 GOV/5/3: Subscriptions and the Building Fund, 1894-1910 GOV/5/4: The Architectural Competition, 1896-1897 GOV/5/5: Contracts, Agreements and Tenders, 1897-1907 GOV/5/6: Estimates and Specifications, 1897-1912 GOV/5/7: Receipts, 1897-1912 GOV/5/8: Plans and Outsize Material, c1909-1918 GOV/5/9: Miscellaneous, 1897-1914 GOV/5/10: The property records also include those relating to the Glasgow School of Art Extension Scheme between 1926-1934 and these can be found at GOV/5/10. GOV/5/11: The earliest property records for the Glasgow School of Art are those relating to the Ingram Street property, dating from 1845-1869, and can be found at GOV/5/11 as a later addition to the finding aid. GOV/5/12: Copies of Dispositions, 2003

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).
Podium used to raise the chair occupied by the Chairman of the Board of Governors at formal meetings. This item was depicted, in use, in Francis Newbery's group portrait of the Glasgow School of Art Building Committee, from c1913.

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. When the dividing partition between the reception and music rooms was removed, these two elevations would have faced each other. The piano with its fantastic superstructure, is on of Mackintosh's most elaborate inventions, based on the organ at Craigie Hall (Roger Billcliffe). 'This instrument is before everything else a piece of decorative art, and is designed to match the rest of the room... four tall corner posts, crowned with groups of figures and reaching to the ceiling, form a sort of baldachin round it. The front is composed of an oval framework containing a tall thin female figure flanked by roses, with a pair of doves meeting overhead. This fanciful composition is supported artistically by two large decorative panels on the walls on either side of the piano, representing two highly spiritualised Astarte-like figures.' (Muthesius). The large projecting fireplace on the opposite wall is a more elaborate version of that in the Mains Street drawing room. Its decoration consists principally of a pair of tall upright candelabra; the inlaid panels above are by Margaret Macdonald.

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 hangings 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. Muthesius comments on the frequent juxtaposition in the work of the Glasgow School of 'masculine' hard perpendicular structural lines and 'feminine' flowing decorative curves, exemplified in this design. 'Straight lines, especially perpendicular ones, are exalted into a principle, and are carried so far as to be almost spiritualised... Any outbreak of softness is scourged off the field by an exotic multiplication of perpendiculars...This masculine art... also has a feminine side... seen in the panels... which, appearing in a stiff architectural framing, mark an interesting reaction in the direction of sublimated effeminacy...The human figure appears to be regarded as material merely for indulging a taste for soft flowing lines. At need it is impossibly lengthened out or otherwise altered... it is cramped into all sorts of strange positions in order to help out a required note in the decoration.'

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.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

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.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

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.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

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.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

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.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.