- MC/G/57/p6
- Part
- 1891
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Design for Conversazione Programme
Designed for the Glasgow Architectural Association.
Mackintosh, Charles Rennie
Glasgow School of Art Club diploma.
Mackintosh, Charles Rennie
Bound in volume, The Magazine, November 1894. 'Behind a stylised tree stands another of Mackintosh's mysterious female figures, but this is the first one to appear that is not meticulously drawn. Only the head is shown in any detail, and the shape of the body is hidden by a voluminous cloak from which not even its limbs appear. This figure was to be repeated many times, becoming more and more stereotyped until, with the banners designed for the Turin Exhibition in 1902, the head is the only recognisably human part of a figure with a twelve-foot long, pear shaped torso. In 1895-96, Mackintosh was to develop this drawing into a poster for the Scottish Musical Review (Howarth, p1, 9F). The same cloaked figure appears with similar formal emblems at the ends of the branches of the bush.' (Roger Billcliffe).
Mackintosh, Charles Rennie
Design for Glasgow School of Art: east/west elevations
Architectural drawing showing east elevation, west elevation and section through library. The East elevation was little changed in the process of building, but by the time the West elevation came to be executed 1906-09, Mackintosh's ideas had altered radically.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of entresol level
Architectural drawing showing new entresol level, formed between basement and ground floors.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of basement floor
Architectural drawing showing basement floor plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of first floor
Architectural drawing showing first floor plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: plan of second floor
Architectural drawing showing second floor plan.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: section through existing building/section B.B
Architectural drawing showing sections through building.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: section through Museum/section D.D
Architectural drawing showing sections through building.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: section on line C.C/section on line A.A
Architectural drawing showing sections through building.
Mackintosh, Charles Rennie
Design for Glasgow School of Art: elevation to Renfrew Street
Architectural drawing showing north elevation. The main difference between the completed North elevation and that shown in the 1896-97 design is the addition of an attic storey, but by setting back the upper row of windows Mackintosh made them quite invisible from Renfrew Street.
Mackintosh, Charles Rennie