Showing 811 results

Archival description
Glasgow style With digital objects
Print preview View:
Ascending
Poster for an exhibition entitled 'Glasgow Girls'

Poster for an exhibition entitled 'Glasgow Girls'

This poster advertised an exhibition showcasing the work of The Glasgow Girls held in The Mackintosh Museum at The Glasgow School Of Art. The exhibition ran from the 15th of July to the 31st of August 1988 and was the precursor for a larger Glasgow Girls exhibition that would be shown two years later. This particular exhibition was curated by Jude Burkhauser who went on to write a full PhD on The Glasgow Girls.

*Not available / given

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, ...

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, Margaret and Frances Macdonald, Herbert MacNair, Jessie Keppie and others (Part 2)

Back Row: Frances Macdonald
Middle Row L-R: Margaret Macdonald, Katherine Cameron, Janet Aitken, Agnes Raeburn, Jessie Keppie, John Keppie
Front Row L-R: Herbert MacNair, Charles Rennie Mackintosh

*Not available / given

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, ...

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, Margaret and Frances Macdonald, Herbert MacNair, Jessie Keppie and others (Part 4 - Version 1)

Back Row: Frances Macdonald
Middle Row L-R: Margaret Macdonald, Katherine Cameron, Janet Aitken, Agnes Raeburn, Jessie Keppie, John Keppie
Front Row L-R: Herbert MacNair, Charles Rennie Mackintosh

*Not available / given

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, ...

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, Margaret and Frances Macdonald, Herbert MacNair, Jessie Keppie and others (Part 4 - Version 2)

Back Row: Frances Macdonald
Middle Row L-R: Margaret Macdonald, Katherine Cameron, Janet Aitken, Agnes Raeburn, Jessie Keppie, John Keppie
Front Row L-R: Herbert MacNair, Charles Rennie Mackintosh

*Not available / given

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, ...

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, Margaret and Frances Macdonald, Herbert MacNair, Jessie Keppie and others (Part 5)

L-R: Charles Rennie Mackintosh, Jessie Keppie, Agnes Raeburn, Janet Aitken, Katherine Cameron, Frances Macdonald, John Keppie (head and shoulders), Herbert MacNair and Margaret Macdonald.

*Not available / given

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, ...

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, Margaret and Frances Macdonald, Herbert MacNair, Jessie Keppie and others (Part 7 - Version 1)

L-R: Katherine Cameron, Charles Rennie Mackintosh, Janet Aitken, John Keppie, Agnes Raeburn, Jessie Keppie, Frances Macdonald, Herbert MacNair, Margaret Macdonald.

*Not available / given

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, ...

Photograph Album containing photographs of "The Immortals"- Charles Rennie Mackintosh, Margaret and Frances Macdonald, Herbert MacNair, Jessie Keppie and others (Part 7 - Version 2)

L-R: Katherine Cameron, Charles Rennie Mackintosh, Janet Aitken, John Keppie, Agnes Raeburn, Jessie Keppie, Frances Macdonald, Herbert MacNair, Margaret Macdonald.

*Not available / given

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

Chair for Ingram Street Tea Rooms

Chair for Ingram Street Tea Rooms

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).

Mackintosh, Charles Rennie

Low-backed armchair for the Director's Room, Glasgow School of Art

Low-backed armchair for the Director's Room, Glasgow School of Art

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).

Mackintosh, Charles Rennie

Washstand for Guthrie and Wells

Washstand for Guthrie and Wells

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).

Mackintosh, Charles Rennie

Linen Cupboard for Gladsmuir

Linen Cupboard for Gladsmuir

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).

Mackintosh, Charles Rennie

The Tree of Personal Effort

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

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 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

Results 601 to 650 of 811