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Architectural drawing showing new entresol level, formed between basement and ground floors.

Architectural drawing showing first floor plan.

Architectural drawing showing sections through building.

Architectural drawing showing east/west elevations. 'The East elevation is as built... the West elevation has been completely redesigned. In 1897 the roof line falls with the steep slop of Scott Street: in 1907 the lower part of the site provides a base for a soaring tower block containing the Library which, if it has affinities with the spirit of the traditional Scottish tower house, is completely twentieth century in all its detailing... Other changes were made in the course of construction,... the ashlar of the blank wall on the left was replaced by undressed stone and... the normal sized doorway grew to colossal proportions, extending well above the line of the windows (Mackintosh's pencilled alterations are just visible on the drawing).' (McLaren Young).

Architectural drawing showing sub-basement floor. With one or two exceptions, a series of Mackintosh drawings appear to be the final 'working drawings' from which a 'finished' hand coloured set were based.

Architectural drawing showing ground floor plan.

Architectural drawing showing east/west elevations.

Architectural drawing showing sections through building.

Architectural drawing showing ground floor plan.

Architectural drawing showing east/west elevations of building.

Architectural drawing showing sections through building.

Architectural drawing showing sections through building.

Architectural drawing showing various plans. This sketch shows how accommodation was arranged in the East wing of the GSA before the West wing was added and the building was completed in 1906-09.

Illustration from the British Architect, March 13, 1903.

Designed for John Henderson.'One of the earliest surviving pieces with repousse panels, here designed by Mackintosh. Although probably made by cabinet makers such as Guthrie & Wells, it has none of the more traditional mouldings that appear on the commercial bedroom units, probably because Mackintosh was designing directly for a client. The pendant leaf motif at the base was slowly transformed in later pieces, into a characteristic dip in the lower stretcher or apron based upon a favorite Mackintosh motif, the swooping bird.' (Roger Billcliffe). 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 fabric trimming from a cushion cover, embroidered before the First World War. The cover has pink roses and green foliage embroidered on authentic 'Mackintosh' mauve linen fabric.It is possible that both design and fabric were purchased from Brown and Beveridge, Bath Street, Glasgow.

This poster features white images of twenty chairs with grey text to advertise an exhibition held in Jugendstilsenteret, Ålesund, Norway, from 6th June to the 12th Oct 2003. The exhibition of twenty Mackintosh chairs from the Glasgow School of Art's collection formed part of the opening celebrations at Norway’s newest cultural attraction, the Jugenstilsenteret (Art Nouveau Centre), in Ålesund. Similar to Glasgow, this city is one of the founding partners of the EU-funded Réseau Art Nouveau Network. The School’s contribution was hoped to inspire further cultural and artistic ties between the two countries.

This sky blue poster features a Charles Rennie Mackintosh chair and a distinctly dressed female wearing make-up and a blonde wig. Mackintosh's work was heavily influenced by Japanese design and culture. This poster advertises an association with Mackintosh's work and the Japanese Department store chain Daimaru.

In 1988, a Mackintosh architecture exhibition opened in Certaldo in Tuscany, Italy. It was organised by Comune di Certaldo in Palazzo Vicariale di Certaldo from 31st July to 30th September. A book was published by Electa Firenze about the exhibition including images of architectural drawings, photographs, sketches and paintings. It features a Willow Tea Rooms drawing in cream, black, blue, green red and purple.

This poster is for a Charles Rennie Mackintosh exhibition at the Glasgow School of Art, which ran from 1st July to 30 September 1988. The poster has a black and white design with orange font. It uses a geometric pattern which mimicks a Charles Rennie Mackintosh chair design.

This poster advertised a seminar on Charles Rennie Mackintosh which was arranged to mark the 10th anniversary of the Charles Rennie Mackintosh Society. Speakers included: - Thomas Howarth (Toronto): the Mackintosh Interior - Sir Denys Lasdun (London): CRM and Architect's Appraisal - Andy MacMillan (Glasgow): Mackintosh and the National Expression - Dennis Sharp (London): Muthesius and Mackintosh - Mackintosh Authors: Roger Billcliffe, Robert MacLeod, Thomas Howarth, Andy MacMillan - Clause Frontisi (Paris): Hector Guimard - Juan Bassegoda (Barcelona): Antonio Gaudi - Szirmai Janos (Budapest): Odon Lechner - John Archer (London): Edgar Wood - Paul Sprague (USA): Louis Sullivan - Robert Judson Clark (Princeton USA): Josef Olbrich - Don Kalec (Chicago, USA): Frank Lloyd Wright - Randall MacLeod (Bristol): W.R. Lethaby - Peter Vergo (Colchester): Wiener Werkstaat - Christian Witt-Doring (Vienna): Vienna furniture, 1900

This poster advertised an exhibition showcasing work made by seven international architects who were asked to produce work inspired by Charles Rennie Mackintosh. The poster conveys how "seven of the world's leading architects have made installations in the Glasgow School of Art. They are personal homages to Charles Rennie Mackintosh and a mark of his international significance today." The poster was designed by Blue Peach, Glasgow. The show, held in the Mackintosh Museum on the Glasgow School of Art's campus featured the work of: - Filippo Alison (Naples) - Edward Cullinan (London) - Aldo Van Eyck (Amsterdam) - Hans Hollein (Vienna) - Arata Isozaki (Tokyo) - Lean Krier (Luxembourg) - Stanley Tigerman (Chicago)

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. GSA students and staff featured in this work include (from left to right), amongst others: Harry McLean, GSA student and conservator (seated at table bottom left, resting elbow on table); Hugh Adam Crawford, GSA staff, Drawing and Painting department (standing, front-facing, slightly left of centre); Joan Eadley, GSA student and artist (centre, standing, facing left); John Miller, GSA staff, Drawing & Painting department (slightly right of centre, facing right, carrying portfolio under right arm); Margot Sandeman, GSA student and artist (slightly right of centre, facing right, arms folded, in conversation with Cordelia Oliver); Cordelia Oliver, GSA student, art critic and journalist (slightly right of centre, facing left, in conversation with Margot Sandeman); Margaret McGavin, GSA student and artist (right of centre, adjacent to Cordelia Oliver, front-facing but looking right, in conversation with another female student); David Donaldson, GSA staff, Drawing and Painting department (right of centre, left-facing, positioned between Margaret McGavin and the female student she is talking to); Benno Schotz, GSA staff, Modelling and Sculpture department and sculptor (right hand side, facing left); Timothy Powell, GSA staff, Graphic Design department (right hand side, in the foreground, front-facing, wearing a suit).

This poster advertised an exhibition marking the centenary of Charles Rennie Mackintosh's birth. The show itself was held in the Victoria and Albert Museum, London and was open to the public from the 30th of October to 5th of December 1968. The exhibition was sponsored by the Edinburgh Festival Society and arranged by the Scottish Arts Council.

This poster, which is orange in colour, advertised an exhibition of work by Charles Rennie Mackintosh, which was held in the Mackintosh Building, Room 31, on the Glasgow School of Art campus. The show focused on 'Mackintosh in Context: the European Connection', running from the 7th of July until the 18th of August 1990. The exhibition was sponsored by Black Bottle Scotch Whisky.

Poster for Mackintosh exhibition at the Museum des 20. Jahrhunderts [Museum of the 20th century] in Vienna, Austria, 07 Jun 1969-20 Jul 1969.

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).

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Designed for the Ingram Street Tea Rooms, Glasgow. Identical with MC/F/24 except for the shortened rear uprights and splats. Probably originally designed for the Cloister Room, but cut down in 1912 because of the new low ceilings installed at that time. (Roger Billcliffe). 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).

Designed for the Willow Tea Rooms, Glasgow. 'A very sturdy but not particularly comfortable chair, used in the ground floor saloons, the Gallery and the Smoking room... Their boxy shape contrasts with the taller and more open ladder-backs arranged alongside them in the layout of furniture which Mackintosh devised.' (Roger Billcliffe). Reupholstered in blue horsehair 1984 (the original upholstery on these and the Willow settle was a green and gold striped horsehair). 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.

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 Billiards Room, Willow Tea Rooms, Glasgow. This table does not appear in contemporary photographs of the Tea Rooms. It is cruder in construction and more robust than the other round table, MC/F/46, and so has affinities with the heavier looking furniture designed for the Billiards Rooms. The square cut-outs on the legs echo the similar arrangements of squares on the panel dividing the fitted seating in the Billiards Room. (Roger Billcliffe).

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 Oak Room, Ingram Street Tea Rooms, Glasgow. The wavy top rail and twin back rails echo the bent laths fitted to the Oak Room balcony and also used on the dresser. All chairs repaired and re-rushed 1985. 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 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 Blue or Chinese Room at the Ingram Street Tea Rooms, Glasgow. The fretted back and side rails match the Chinese style motifs of the Blue Room (as called in the job books). Much of the woodwork in the Chinese Room was painted bright blue or red, but there is no trace of any finish having been applied to these chairs other than the ebonising which most of them still display. These chairs have always been associated with the Chinese Room and so must be identified with the entry for thirty-six in the job books (Roger Billcliffe). All the chairs rwere eupholstered in blue horsehair in 1985. 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.

Portrait of Mackintosh as an old man, sitting side-on.

Entrance vestibule to the house, looking towards the stairs.

The Music Room, with piano by George Walton.

The blue bedroom looking towards the fireplace.

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.

Charles Rennie Mackintosh banner. Larger version of scaled replica of banner that the Hunterian owns, featuring a tall standing female figure with pink rose and green leaves details.

Poster for exhibition 'Charles Rennie Mackintosh Pursuit of Perfection' at The Glasgow School of Art, 24 Jun 1986-02 Jul 1986

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).

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).

Painted on Mackintosh's tour of Italy in 1891 with Alexander 'Greek' Thomson travelling scholarship.

Mackintosh's style here is the closest he came to that of Margaret and Frances Macdonald, but his figures are always more substantial and the subject matter less whimsical than theirs.

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).