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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).

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 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 lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Wood, brown stain with rush seat. The design appears in the Birch & Co Design Ledger No.1906, dated Oct 1901. This firm produced several very Glasgow Style pieces (George Walton also worked for them).

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. All that remains is a badly damaged copper repousse panel. This was assessed by a conservator but no conservation work was deemed possible. Settle with high back and wings. The style of the settle is very similar to work produced by Wylie & Lochhead and it is most likely that it was made by this firm. The fabric was probably designed by Samuel Rowe. The woven fabric covering of the settle was woven by the firm of A H Less of Birkenhead in 1897 and is jacquard woven and warp-printed wool and cotton. Warp printing was a special technique used by this firm. Although Lee's bought designs from a numbers of leading freelance designers it is uncertain who designed this particular piece although it is likely to have been by Samual Rowe.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Designed for 120 Mains Street, Glasgow and also for the Luncheon Room, Argyle Street Tea Rooms, Glasgow. Stylistically, the most advanced piece of furniture designed for Argyle Street and used by Mackintosh again in his own flat. The examples in the Museum of Modern Art in New York and the V&A in London were formerly in the GSA collection and donated by Douglas Percy Bliss, GSA director, in 1958. The horsehair and rush seats were reupholstered 1985-86. 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 120 Mains Street, Glasgow and also for the Luncheon Room, Argyle Street Tea Rooms, Glasgow. Stylistically, the most advanced piece of furniture designed for Argyle Street and used by Mackintosh again in his own flat. The examples in the Museum of Modern Art in New York and the V&A in London were formerly in the GSA collection and donated by Douglas Percy Bliss, GSA director, in 1958. The horsehair and rush seats were reupholstered 1985-86. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed for 120 Mains Street, Glasgow and also for the Luncheon Room, Argyle Street Tea Rooms, Glasgow. Stylistically, the most advanced piece of furniture designed for Argyle Street and used by Mackintosh again in his own flat. The examples in the Museum of Modern Art in New York and the V&A in London were formerly in the GSA collection and donated by Douglas Percy Bliss, GSA director, in 1958. The horsehair and rush seats were reupholstered 1985-86. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed for 120 Mains Street, Glasgow and also for the Luncheon Room, Argyle Street Tea Rooms, Glasgow. Stylistically, the most advanced piece of furniture designed for Argyle Street and used by Mackintosh again in his own flat. The examples in the Museum of Modern Art in New York and the V&A in London were formerly in the GSA collection and donated by Douglas Percy Bliss, GSA director, in 1958. The horsehair and rush seats were reupholstered 1985-86. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed for 120 Main Street, Glasgow. An armchair version of F14 possibly one of a pair made for Mackintosh's Mains Street flat. In the 1899 Art & Craft exhibition Mackintosh showed an armchair with 'lacquer panel by Miss Margaret Mackintosh'. The only chair which fits this description is the one in Copenhagen which was bought by Koloman Moser at the Vienna Secession exhibition in 1900. The GSA chair is identical but lacking the lacquer plaque. It was possibly made later c1901 as a replacement for that bought by Moser. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Designed for the 'Rose Boudoir', International Exhibition of Modern Decorative Art, Turin, 1902. 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 Rose Boudoir included two gesso panels - composite works of plaster with pigment, set with glass beads - made exclusively by Macdonald. On the manifest for the exhibition, Mackintosh indicated that ‘duplicates only’ were available for sale. Two other versions, both in Glasgow, had the same design but with different palette and surface detail: The White Rose and the Red Rose hung above the mantle in the Mackintoshes’ own home, and can now be seen in the Mackintosh House at the Hunterian Art Gallery; and The Heart of the Rose belonged to Wylie Hill, a relative of Jessie Newbery, and was later given to the Glasgow School of Art. Previously it was assumed that these versions were created from a cartoon or template, each hand made, but it was difficult to tell which set came first, or even if they were made simultaneously. But recent analysis by Graciela Ainsworth Conservation Studio in Edinburgh has shown that the GSA version is not a gesso panel as we have come to understand Macdonald’s technique, but rather a traditional plaster cast that has been painted. This may seem like a minor technical point, but when considered alongside Mackintosh’s note that duplicates could be ordered, it reminds us that he carefully curated this space to show both that he and Macdonald could be commissioned to do entire rooms but were also very happy to have individual pieces replicated and sold on their own merit (information supplied by Dr Robyne Erica Calvert, Cultural Historian, Mar 2022).

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Two of the metal coat hooks, both damaged, were salvaged and have undergone conservation and consolidation work. Designed for the Room de Luxe, Willow Tea Rooms, Glasgow. 'Apparently designed some time later than the rest of the furniture for the Willow Tea Room. Only two stands are visible in contemporary photographs (one each side of the gesso panel) but it is probable that another two flanked the fireplace on the opposite side of the room.' At some time the umbrella stand was over painted with a brownish varnish. In 1986 this was removed and the piece repainted with an aluminium-based silver paint. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Glasgow style tie-back or belt, featuring silk, applique and metal studs. 'GSA' embroidered in centre.

Glasgow style circular brooch, stylised leaf design and leaf drop.

One sheet from a folder of six sheets of furniture designs, and designs for a fireplace, including one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. This sheet shows two views of a double wardrobe.

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.

Designed for 3 Lilybank Terrace, Glasgow. Together with a fireplace which has since disappeared, the fender was commissioned by Robert Wylie Hill.

Designed for the hall at Windyhill, Kilmacolm. Mackintosh designed Windyhill c1900 for William Davidson of Gladsmuir, Kilmacolm. Davidson had known Mackintosh for about five years and already owned several pieces of furniture by him, some specially designed for Gladsmuir. In 1901 Davidson was in correspondence with Mackintosh about new furniture for Windyhill, but there never seems to have been any intention to furnish the house completely with pieces designed by him. The new furniture was confined to the hall (which served as the family dining room for use at large gatherings), drawing room, playroom and main bedroom.This small table was used to extend the main dining table at large family gatherings.
This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Identification labels removed from the backing boards of various (now lost) exhibition frames including 'Exhibition of British Architects', London, 1914 and 'Mackintosh Memorial Exhibition', McLellan Galleries, Glasgow, 1933.

Orange silk velvet yoke/collar featuring a number of needlework techniques in silk thread worked by a student of The Glasgow School of Art, possibly under Ann Macbeth.

Embroidered velvet in mauve and pink silks. Thought to be by Ann Macbeth.

Embroidered dress with belt, designed, worked and owned by Daisy Anderson (Daisy Agnes McGlashan).

A round and commercially available brass clock installed into the Board Room of the Mackintosh Building and linked to the electrical circuit of Mackintosh studio clocks introduced in 1909/10. The brass clock can be seen illustrated in the background of Francis Newbery's painting of the GSA Building Committee meeting in the Board Room which dates from 1909-1914.

Polychrome glazed earthernware salt pot, painted with a band of stylised flowers. Initials "JMK", rabbit image, and hatch pattern on the bottom.

Female figure holding scroll. Awarded to Isabella Elizabeth Hill. Medal awarded by the Glasgow High School for Girls.