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Screen-printed poster on fabric with a portrait of Charles Rennie Mackintosh, his signature and the text/quote '"There is hope in honest error. None in the icy perfections of the mere stylist" Chas. R Mackintosh. Glasgow 1901'

Green and brown striped horse-hair semicircular cover.

In the Summer of 2023, this item was conserved and a small sample (formerly referenced as DC 020/3B) was reattached by a student of Textile Conservation from the University of Glasgow.

• Trimming of mauve linen, pre-1914
• Original cover of Charles Rennie Mackintosh Willow Tea Rooms settle
• 4 samples of horse hair fabric
• ample of purple fabric used to re-upholster Charles Rennie Mackintosh yellow settle
• Letter from GSA Curator regarding 2 of the fabric samples, dated January 1986

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

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

Items in The Glasgow School of Art's Mackintosh collection include: furniture, watercolours, drawings, architectural drawings, design drawings, sketchbooks, metalwork and photographs.

Mackintosh studied evening classes at the Glasgow School of Art between 1883-1894, winning numerous student prizes and competitions including the prestigious Alexander Thomson Travelling Studentship in 1890. Mackintosh and his contemporaries also produced four volumes of a publication called "The Magazine" during their time as students, which included examples of their writing and artworks. GSA Archives and Collections hold Mackintosh's Italian Sketchbook, as well as all four volumes of The Magazine, all of which can be browsed on our catalogue.

The majority of Mackintosh's three-dimensional work was created with the help of a small number of patrons within a short period of intense activity between 1896 and 1910. Francis Newbery was headmaster of The Glasgow School of Art during this time and was supportive of Mackintosh's ultimately successful bid to design a new art school building in 1896 - his most prestigious undertaking. For Miss Kate Cranston he designed a series of Glasgow tearoom interiors and for the businessmen William Davidson and Walter Blackie, he was commissioned to design large private houses, 'Windyhill' in Kilmacolm and 'The Hill House' in Helensburgh. In Europe, the originality of Mackintosh's style was quickly appreciated and in 1900 he was invited to participate at the 8th Vienna Secession.

In 1902 Mackintosh was invited to participate at the International Exhibition of Modern Decorative Art in Turin and later at exhibitions in Moscow and Berlin. Despite this success Mackintosh's work met with considerable indifference at home. Few private clients were sufficiently sympathetic to want his 'total design' of house and interior and he was incapable of compromise.

By 1914 Mackintosh had despaired of ever receiving true recognition in Glasgow and together with his wife Margaret Macdonald he moved, temporarily, to Walberswick on the Suffolk Coastline (in England), where he painted many fine flower studies in watercolour. In 1915 the Mackintoshes settled in London and for the next few years Mackintosh attempted to resume practice as an architect and designer. The designs he produced at this time for textiles, for the 'Dug-out' Tea Room in Glasgow and the dramatic interiors for 78 Derngate in Northampton, England show him working in a bold new style of decoration, using primary colours and geometric motifs.

In 1923 the Mackintoshes left London for the South of France, finally living in Port Vendres where Mackintosh gave up all thoughts of architecture and design and devoted himself entirely to painting landscapes. He died in London, of cancer, on 10 December 1928.

The majority of Mackintosh's design work, (including furniture and metalwork), architectural drawings, textile designs and watercolours are in the possession of three public collections - The Glasgow School of Art, Glasgow Museums, and the Hunterian Art Gallery at the University of Glasgow - although significant (individual) pieces can be found in museums across the UK and Europe, North America and Japan. However, some of Mackintosh's most important, symbolist watercolours from the early to mid-1890s are to be found in the collection of The Glasgow School of Art.

The Glasgow School of Art Archives and Collections hold a large number of items by Mackintosh, giving us one of the largest collections of his work held in public ownership. The collection is one of 50 Recognised Collections of National Significance to Scotland. We continue to investigate new routes of engagement for the collection. For example, our Mac(k)cessibility project in conjunction with GSA’s School of Simulation and Visualisation explores digital display and loans of our Mackintosh furniture. Find out more about the Mac(k)cessibility project here.

Heavyweight unbleached cotton vertical banner with Mackintosh weather vane in brown and Mackintosh School of Architecture in red Mackintosh style lettering underneath.

Printed catalogue from the Mackintosh Re-Interpreted Exhibition, Hunterian Museum & Art Gallery, 2008, with digital recreations of Mackintosh original designs and new designs by Vicky Begg, J.R.Campbell and Alan Shaw.

This collection includes works by a number of artists, designers and architects associated with Charles Rennie Mackintosh, including his wife Margaret Macdonald Mackintosh, his sister-in-law Frances Macdonald MacNair and his sister-in-law's husband Herbert MacNair. These works include textiles, designs, and four volumes of a Glasgow School of Art student publication called The Magazine, as well as several individual watercolours now separated from the publication. The collection also includes a number of models for proposed architectural schemes by Mackintosh.

Commissioned by Walter Blackie, the carpet was designed for the entrance hall at The Hill House in Helensburgh.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014, only a small damaged fragment remains.

In 1986 a reproduction of the original Hill House carpet was sponsored by Arthur Anderson and Company and woven by BMK of Kilmarnock for use within the GSA's Mackintosh Room. The reproduction carpet was accurately colour-matched with the original, but woven to a slightly larger scale. A small colour swatch used as the basis for the full-scale reproduction is held by the School's Archives and Collections.

GSA Archives and Collections hold 216 audiovisual files, covering a range of topics and a wide date range. The audiovisual material has been created both by GSA and by external organisations, such as the BBC (television and radio), STV and ITV, other educational institutions and the Scottish Arts Council. Media in the collection include 16mm films, 35mm films, audio cassettes, audio CDs, CD Rom, DV cassette, DVD, Floppy disk, Reel to reel audios, Super 8 film, U-matic films, VHS tapes and Video 8 tapes. The audiovisual files pertain to topics including the GSA Fashion and Degree Shows, and Activities Week; students discussing their work; lectures by architects; presentations by, and interviews and conversations with, GSA alumni; centenary of the Mackintosh Building; Charles Rennie Mackintosh and Margaret Macdonald Mackintosh; plays; and documentaries on GSA. Please note that this material is not yet fully catalogued and therefore some items may not be accessible to researchers. As at August 2017, only the fashion show audiovisual material has been catalogued. The remaining uncatalogued material is therefore not currently accessible for researchers.

Screen-printed poster on fabric advertising a lecture by Vico Magistretti on 13 June (no year) in the Mackintosh Lecture Theatre.

Screen-printed poster on fabric. Signed 'Chuck Mitchell '74'.

Screen-printed poster on fabric advertising a lecture by Zandra Rhodes on 6 May 1981 in the Mackintosh Lecture Theatre.

Portrait of Zandra Rhodes and includes the headline text 'You can take the stigma out of punk but safety pins stay - ok?'.

Screen-printed poster on fabric with an advert for a lecture by Gerry Taylor headlined 'Memphis, Milano'. Text reads 'Gerry Taylor, GSA 1978, currently with Scottsass Associati and Memphis. Milan. Mackintosh Lecture Theatre Monday 16th May 2.15pm'.

Handprinted silkscreen headsquare in raw silk.

Two copies of one image, which shows constellations with two figures and comets, in pale pink, grey, blue, yellow and orange on a cream background.

Printed textiles with designs for handkerchiefs, headscarves and posters.

Screen-printed poster on fabric advertising a fashion show, with the text 'Design a set for fashion show. (Mac. Lec.) Prize £15. Designs for 14 Feb Textiles.'

Hand printed silk-screen handkerchief on fine silk twill. Print on cream background.

Image shows a Bank of England pound note underneath a suspender holding up a stocking.

Handprinted silk-screen headsquare or scarf on shantung silk.

Image is a red, yellow and orange pattern on a black or dark grey background.

Hand printed silk-screen scarf on cotton union,.

Image shows head of woman on a black background with red stars and a patterned border.

Screen-printed poster on fabric with four Alsatian dogs and the text ' Circus. Act 9. The curtains open to reveal the painted backdrop of the interior of a church. At the front of the stage, facing the auditorium and illuminated from below by the footlights, is an Alsatian dog that snarls, growls and barks incessantly for five minutes, then the curtains close'.

Glasgow School of art Third Year Printed Textiles sketchbook labelled 'Botanic Gardens 1969'. Abstract designs.

Collection includes artworks and sketchbooks made by Jimmy Cosgrove as a student at the Glasgow School of Art; while working as a Tutor and the Director of the Glasgow School of Art; and afterwards, including work relating to the House for an Art Lover, and documenting travels across Europe, North America, and Mexico.

Hand printed silk-screen handkerchief on fine silk twill, 1978. Hemmed with lace in the shape of hearts.

Image shown is a Bank of England pound note appearing from underneath a pink brassiere.

Handprinted silk-screen handkerchief on fine silk twill. Print on cream background.

Image shows a woman's face with hands over it.