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Mackintosh, Charles Rennie Drawings (visual works) With digital objects
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Design for the Dug-Out, Willow Tea Rooms, Glasgow

Design for the Dug-Out, Willow Tea Rooms, Glasgow

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.

Mackintosh, Charles Rennie

Design for Windyhill, Kilmacolm, perspective from south-west

Design for Windyhill, Kilmacolm, perspective from south-west

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.

Mackintosh, Charles Rennie

Plate 14 The Dining Room from Portfolio of Prints

Plate 14 The Dining Room from Portfolio of Prints

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.

Mackintosh, Charles Rennie

Design for the Grand Hall, Glasgow International Exhibition, 1901

Design for the Grand Hall, Glasgow International Exhibition, 1901

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.'

Mackintosh, Charles Rennie

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