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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.

Design for Walter Blackie. 'When in 1902, Walter W Blackie, the publisher, decided to have a new house built on a site he had acquired overlooking the Firth of Clyde, he asked Talwin Morris, the art manager of his firm, for advice in the choice of an architect. Morris had no hesitation in recommending Mackintosh and when Blackie met him they found themselves very much in sympathy with each other. This happy relationship between clients and architect resulted in the largest and perhaps finest example of Mackintosh's executed domestic architecture.' (McLaren Young). The house survives in good condition and still containing much of the furniture which Mackintosh designed for it. The plan is similar to his design for Haus Eines Kunstfreundes, and the schemes for decoration and furnishings throughout the house were executed according to his designs.

Preliminary sketch for building. The competition for the Liverpool Anglican Cathedral was won by Giles Gilbert Scott. Mackintosh's degin was unpremeditated, although it drew comment.

Preliminary sketch of building. The competition for the Liverpool Anglican Cathedral was won by Giles Gilbert Scott. Mackintosh's design was unpremeditated, although it drew comment.

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).

Plan of proposed building. The competition for the Liverpool Anglican Cathedral was won by Giles Gilbert Scott. Mackintosh's design was unpremeditated, although it drew comment.

Illustration from the British Architect, March 13, 1903.

One piece from a twelve-place setting of dining cutlery commissioned from Mackintosh by Fra and Jessie Newbery.

One piece from a twelve-place setting of dining cutlery commissioned from Mackintosh by Fra and Jessie Newbery.

One piece from a twelve-place setting of dining cutlery commissioned from Mackintosh by Fra and Jessie Newbery.

One piece from a twelve-place setting of dining cutlery commissioned from Mackintosh by Fra and Jessie Newbery.

One piece from a twelve-place setting of dining cutlery commissioned from Mackintosh by Fra and Jessie Newbery.

One piece from a twelve-place setting of dining cutlery commissioned from Mackintosh by Fra and Jessie Newbery.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.The central feature of the house is the large hall - two storeys high - communicating directly with the dining room, reception and music room, which can be adapted to provide a stage. On the South side a terrace room runs outside the reception and music room. On the North side are the entrance, the hall and dining room, which are separated by a moveable partition. On the upper floor, the principal bedroom suite is partitioned off in the South-East corner; numerous guest rooms are provided and a playroom is in the attic above the childrens' bedrooms. The kitchen and servants' rooms are in the basement.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.This drawing shows the construction of the gallery which connects the East and West portions of the house, resting on wooden cased pillars. In the upper portion of the pillars the dark woodwork is relieved by silver decorative panels, a painted frieze running between them. Similarly the double doors are relieved by panels of coloured glass, and coloured panels are inset above the fireplace. Through the doors one entered the reception/music rooms, their white walls and elegant decoration forming a brilliant contrast to the dark hall. Two features are reminiscent of earlier projects: the balcony with the pendant panels echoes the gallery at Queen's Cross Church, and the silver panels in the supporting posts recall those used beside the large gesso panels at Ingram St in 1900.

Proposed east elevation of building.

Sketch design for Windyhill bookcase (MC/F/32).

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Table designed for Windyhill, Kilmacolm, possibly later than 1901. Identical to a white table (collection: Hunterian Art Gallery) but dark stained. The final account for the furniture supplied to Davidson for Windyhill in 1901 does not mention the two dark stained tables so it is probable that they were made later for the children's bedrooms. (Roger Billcliffe). This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. One of the three perspectives submitted by Mackintosh after the competition had been judged. The fitted furniture, benches and table are all loosely based on those designed for William Davidson's house Windyhill. Interesting features are the lighting standards with their tree like arrangement of lamps and the gesso panel over the fireplace, possibly depicting an episode from the Sleeping Beauty Story, credited to Margaret Macdonald. (Roger Billcliffe).

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.