- MC/G/20
- Item
- 1924-1927
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
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 Nativity ('And lo the star...')
Bound in the Spring 1896 edition of 'The Magazine'. It was designs such as this that earned the Mackintosh group the nickname of 'Spook School'.
MacNair, Frances Macdonald
Menu for Miss Cranston's exhibition cafe, The White Cockade
The design lists the principal suppliers used by Miss Cranston in her exhibition cafe. The right hand side of the design features a stylised female figure holding a red rose.
Mackintosh, Margaret Macdonald
The Magazine: Volume 1 (Page 1)
The Magazine: Volume 1 (Page 4)
The Magazine: Volume 1 (Page 15)
The Magazine: Volume 1 (Page 24)
The Magazine: Volume 1 (Page 32)
The Magazine: Volume 1 (Page 35)
The Magazine: Volume 2 (Page 1)
The Magazine: Volume 2 (Page 9)
The Magazine: Volume 2 (Page 12)
The Magazine: Volume 2 (Page 13)
The Magazine: Volume 2 (Page 16)
The Magazine: Volume 2 (Page 21)
The Magazine: Volume 2 (Page 24)
The Magazine: Volume 2 (Page 28)
The Magazine: Volume 2 (Page 38)
The Magazine: Volume 2 (Page 39)
The Magazine: Volume 2 (Page 43)
The Magazine: Volume 2 (Page 44)
The Magazine: Volume 2 (Page 47)
The Magazine: Volume 2 (Page 51)
The Magazine: Volume 2 (Page 53)
The Magazine: Volume 2 (Page 60)
The Magazine: Volume 2 (Page 64)
The Magazine: Volume 2 (Page 65)
The Magazine: Volume 3 (Page 1)
The Magazine: Volume 3 (Page 5)
The Magazine: Volume 3 (Page 16)
The Magazine: Volume 3 (Page 17)
The Magazine: Volume 3 (Page 23)
The Magazine: Volume 3 (Page 29)
The Magazine: Volume 3 (Page 31)
The Magazine: Volume 3 (Page 32)
The Magazine: Volume 3 (Page 34)
The Magazine: Volume 3 (Page 36)
The Magazine: Volume 3 (Page 42)
The Magazine: Volume 3 (Page 53)
The Magazine: Volume 3 (Page 54)
The Magazine: Volume 3 (Page 56)
The Magazine: Volume 3 (Page 60)
The Magazine: Volume 3 (Page 63)
In art nouveau frame drawn in ink on brown backing paper: The Harvest Moon, Chas. R. Mackintosh, 1893, To John Keppie, October 1894.
Mackintosh, Charles Rennie
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
From The Magazine, Spring 1896. Inscribed: The Tree of Influence, The Tree of Importance, The Sun of Cowardice, Charles Rennie Mackintosh, Jan 1895.
Mackintosh, Charles Rennie
From The Magazine, Spring 1896. The shadow does not correspond with the object in front; it touches it and echoes it but is different.
Mackintosh, Charles Rennie
Roof of Napton Church, Norfolk
Sketch of three angels playing musical instruments.
Mackintosh, Charles Rennie