Showing 615 results

This stamp was commissioned and paid for by GSA so that any of the Mackintosh Library Lights made post 2014 that contained one or more newly crafted piece would be stamped with the L&D stamp, to indicate its whole or partial newness.

In the event:
• 27 Library lights are made wholly from original parts (and not therefore stamped)
• 11 are made from some original and some new parts (therefore stamped)
• 15 are made entirely from new parts (therefore stamped)

The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This complete light, constructed from multiple, original parts salvaged from the library was made by Rodney French of Lonsdale and Dutch, Edinburgh. This was the first light reconstructed as part of the restoration of the Library and provided valuable evidence as to how the original lights had been manufactured between 1907-09.

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.

A series of 12 facsimile armchairs were commissioned by GSA in 2005 to replace the original armchairs (from 1906) that remained in situ and in daily use within the Board Room of Glasgow School of Art.

A series of 12 facsimile armchairs were commissioned by GSA in 2005 to replace the original armchairs (from 1906) that remained in situ and in daily use within the Board Room of Glasgow School of Art.

A series of 12 facsimile armchairs were commissioned by GSA in 2005 to replace the original armchairs (from 1906) that remained in situ and in daily use within the Board Room of Glasgow School of Art.

A series of 12 facsimile armchairs were commissioned by GSA in 2005 to replace the original armchairs (from 1906) that remained in situ and in daily use within the Board Room of Glasgow School of Art.

A series of 12 facsimile armchairs were commissioned by GSA in 2005 to replace the original armchairs (from 1906) that remained in situ and in daily use within the Board Room of Glasgow School of Art.

A series of 12 facsimile armchairs were commissioned by GSA in 2005 to replace the original armchairs (from 1906) that remained in situ and in daily use within the Board Room of Glasgow School of Art.

A series of 12 facsimile armchairs were commissioned by GSA in 2005 to replace the original armchairs (from 1906) that remained in situ and in daily use within the Board Room of Glasgow School of Art.

A series of 12 facsimile armchairs were commissioned by GSA in 2005 to replace the original armchairs (from 1906) that remained in situ and in daily use within the Board Room of Glasgow School of Art.

A series of 12 facsimile armchairs were commissioned by GSA in 2005 to replace the original armchairs (from 1906) that remained in situ and in daily use within the Board Room of Glasgow School of Art.

A series of 12 facsimile armchairs were commissioned by GSA in 2005 to replace the original armchairs (from 1906) that remained in situ and in daily use within the Board Room of Glasgow School of Art.

A series of 12 facsimile armchairs were commissioned by GSA in 2005 to replace the original armchairs (from 1906) that remained in situ and in daily use within the Board Room of Glasgow School of Art.

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.

A series of 6 facsimile armchairs were commissioned by GSA in 2003 to replace the original armchairs (from 1904) that remained in situ and in daily use within the Director's Room of Glasgow School of Art.

A series of 6 facsimile armchairs were commissioned by GSA in 2003 to replace the original armchairs (from 1904) that remained in situ and in daily use within the Director's Room of Glasgow School of Art.

A series of 6 facsimile armchairs were commissioned by GSA in 2003 to replace the original armchairs (from 1904) that remained in situ and in daily use within the Director's Room of Glasgow School of Art.

A series of 6 facsimile armchairs were commissioned by GSA in 2003 to replace the original armchairs (from 1904) that remained in situ and in daily use within the Director's Room of Glasgow School of Art.

A series of 6 facsimile armchairs were commissioned by GSA in 2003 to replace the orginal armchairs (from 1904) that remained in situ and in daily use within the Director's Room of Glasgow School of Art.

A series of 6 facsimile armchairs were commissioned by GSA in 2003 to replace the original armchairs (from 1904) that remained in situ and in daily use within the Director's Room of Glasgow School of Art.

Poster features a grey Mackintosh portrait focusing on his moustache, grey and orange in colour. Also features line drawings of Mackintosh chairs. 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, from the 6th June to 12th Oct 2003. 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.

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'

Postcard of the interior of the Mackintosh House drawing room with a desk and chair. Includes three stamps. Believed Joanne Semple had mixed up the number of the month.

Poster for Charles Rennie Mackintosh Exhibition at Hida Takayama Museum of Art, Japan, 1998.

One of eight screenprints in a folder inspired by artists and architects who spent their whole lives thinking about squares, rectangles and straight lines: C R Mackintosh, Malevich, Modrian, Lloyd Wright, Newman, Stella, Martin and Halley.
Print 'A' inspired by C R Mackintosh. The screenprints are boxed with an introductory page.

This poster advertised an exhibition showcasing the work of Scottish artist, architect and designer Charles Rennie Mackintosh. Held in the Miezsznorodowego Cultural Centre in Krakow, Poland, the exhibition ran from the 18th of September to 31st of October 1996 and was arranged by the British Council of Poland, with sponsorship from the Polish Airlines Cargo.