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Mackintosh, Charles Rennie Glasgow style
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White Roses

The wavy pattern in the background is very similar to some of the most abstract designs for textiles for which Mackintosh was producing at this time.' (Roger Billcliffe).

Mackintosh, Charles Rennie

Wall hanging designed for The Dug-Out, Willow Tea Rooms, Glasgow

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. The canvas relates to smaller watercolours in the Hunterian collection, formerly thought to be textile designs, and to their painted canvas, 'The Little Hills' by Margaret Macdonald. It is likely that they were intended for 'The Dug-Out', though it is not known whether they were ever installed there. Jessie Newbery recalled in 1933, that 'He (Mackintosh) and his wife spent the winter of 1914 painting two large decorations for Miss Cranston'. This would have been in Suffolk, after they had left Glasgow. Although The Dug-Out was not created till 1917-18 it is not unlikely that Miss Cranston was considering the project some years earlier. The canvas was found in the GSA in a single roll in 1981 and was cleaned and mounted on two stretchers.

Mackintosh, Charles Rennie

Wall hanging designed for The Dug-Out, Willow Tea Rooms, Glasgow

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. The canvas relates to smaller watercolours in the Hunterian collection, formerly thought to be textile designs, and to their painted canvas, 'The Little Hills' by Margaret Macdonald. It is likely that they were intended for 'The Dug-Out', though it is not known whether they were ever installed there. Jessie Newbery recalled in 1933, that 'He (Mackintosh) and his wife spent the winter of 1914 painting two large decorations for Miss Cranston'. This would have been in Suffolk, after they had left Glasgow. Although The Dug-Out was not created till 1917-18 it is not unlikely that Miss Cranston was considering the project some years earlier. The canvas was found in the GSA in a single roll in 1981 and was cleaned and mounted on two stretchers.

Mackintosh, Charles Rennie

The Village, Worth Matravers

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).

Mackintosh, Charles Rennie

The Tree of Personal Effort

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

The Magazine

There are 4 known surviving volumes: The Magazine 1893, The Magazine April 1894, The Magazine November 1894, The Magazine 1896.

The Magazine was a publication of original writings and designs by students from the Glasgow School of Art, Glasgow, Scotland, and their friends. Appearing in 4 volumes between November 1893 and Spring 1896, The Magazine contains text from contributors handwritten by Lucy Raeburn, editor, accompanied by original illustrations. These volumes are the only known copies of The Magazine. In addition to rare, early watercolours and designs by Charles Rennie Mackintosh, the volumes contain early designs by Frances MacDonald and Margaret MacDonald, at a stage in their development which has been labelled 'Spook School', and two sets of photographs by James Craig Annan, when he was beginning to establish a reputation at home and abroad. Among other contributors were Janet Aitken, Katherine Cameron, Agnes Raeburn and Jessie Keppie, all of whom enjoyed lengthy careers in art and design.

The Magazine is similar to an album amicorum such as those which originated in the middle of the 16th century among German university students, who collected autographs of their friends and notable persons, sometimes adding coats of arms and illustrations. The Magazine resembled the album amicorum in that contributions were by a close group of students and their friends and is all the more interesting because the illustrations were produced by young people who had a common social background, were trained at the same school, and subjected to the same artistic influences. The contributors were closely linked, some by family, some by romantic attachments and had close social connections. Other contributors include C Kelpie, John M Wilson, Jane Keppie, and Ethel M Goodrich. Source: Jude Burkhauser, Glasgow Girls: women in art and design (Edinburgh : Canongate, 1990).

Raeburn, Lucy

The Downs, Worth Matravers

'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).

Mackintosh, Charles Rennie

The Descent of Night

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

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