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Mackintosh produced a number of very similar paintings of stylised bouquets of flowers at this time, c1918-20.

Proposed east elevation of building.

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.

Architectural drawing showing second floor plan.

Architectural drawing showing plan of basement floor.

Architectural drawing showing second floor plan.

Architectural drawing showing back elevation.

Architectural drawing showing sections through building.

Architectural drawing showing sub-basement plan.

Architectural drawing showing basement plan.

Architectural drawing showing second floor plan. The addition of this floor in the 1907-09 stage of building did not change the external appearance of Mackintosh's original two storey facade as the set back series of studios are not visible from street level. The plan shows how Mackintosh linked the two ends of the floor, by passing the already built Director's studio with the 'Hen-Run'.

Architectural drawing showing north elevation of building.

Architectural drawing showing back elevation of building.'Even after his revisions to the first half of the building, and the proposed alterations pencilled on the 1907 elevation, Mackintosh made a few others. This drawing, from a set made in 1910 of the completed building, shows the facade as it is, including the parts that are now virtually invisible' (McLaren Young).

Architectural drawing showing drainage plans for the building.

This sketch shows how accommodation was arranged in the East wing ground floor before the GSA was completed in 1906-09.

Architectural drawing showing various additions to building. The handwriting suggests that this sketch plan was not drawn by Mackintosh himself, but probably by a draughtsman in his office.

Architectural drawing of room in basement of Mackintosh Building. Signed: Artot (t.r.).

In 1896 McNair held his first one-man show, an exhibition of pastels at the Gutekunst Gallery, London. Twenty-one works, including this, were displayed in distinctive dark-stained wood frames. McNair had clearly drawn inspiration from Whistler’s exhibition installations, even down to the typesetting of the catalogue. The entry for this work explained, ‘The Fairy is guarding the Leaf of Love from the Witch of Evil who has robbed the Tree of Life of all its other leaves.’

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.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Designed for Guthrie and Wells, Glasgow. This and others pieces of green stained furniture made by Guthrie and Wells, were collected by William Davidson for his house Gladsmuir and later in Windyhill. Guthrie and Wells, originally founded as a painting and decorating firm by J and W Guthrie, who entered into partnership with Andrew Wells in 1895, played an important role in the history of decor and design in Glasgow. They were the most important of the stained glass studios emerging in Glasgow in the 1890s, supplied furniture, glass, mosaics etc and had a reputation for first class craftsmanship and always employed excellent designers. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

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).
Design for Gladsmuir, Kilmacolm. Designed to match the schoolroom tables and bookcase, the thistle motif pierced in the legs being repeated in the leaded glass of the bookcase.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Designed for Argyle Street Tea Rooms, Glasgow. A very similar table with a square top was also used in the Argyle Street Tea Rooms, and a white version appears in Annan's photograph of Mackintosh's drawing room in Mains Street. Top repaired and repolished 1985. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

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 Miss Cranston's home at Hous'hill, Nitshill, Glasgow. A white table was originally placed at the window of the music room in Hous'hill. It was purchased at the 1933 exhibition and loaned to the GSA by the same family who purchased half the White Bedroom suite. In 1920 (after the death of her husband) Miss Cranston sold the property with its furniture to Mr Gamble, who took much of the furniture with him when he left. In 1927 the house was leased to John Henderson, and in 1934 extensively damaged by fire and purchased by Glasgow Corporation for demolition; all the interior fittings were destroyed. It is not known where the black table was originally used in the house, or even if it indeed came from Hous'hill.

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 (new) Board Room, Glasgow School of Art. A more elaborate version of the chairs designed for the original Board Room in 1899 (MC/F/18).

Bound in volume, The Magazine, November, 1894.

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).

From The Magazine, Spring 1896. Inscribed: The Tree of Influence, The Tree of Importance, The Sun of Cowardice, Charles Rennie Mackintosh, Jan 1895.

From The Magazine, Spring 1896. The shadow does not correspond with the object in front; it touches it and echoes it but is different.

'As in 'The Village' there are no figures in this view of the Dorset countryside. This absolute lack of human activity gives Mackintosh's pictures an air of eerie, even surreal, desertion. They are formal landscapes... the most dominant feature in this work is the tall telegraph pole, a formal and unnatural element in this gentle Dorset landscape.' (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.

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).

The competition, held in 1898, was won by the Glasgow architect James Miller with a considerably more ornate design for a 'bit of Spanish baroque confectionery' (McLaren Young). Like Miller's, Mackintosh's design derives from James Sellars' for the 1888 Glasgow exhibition, but simplified. 'The dome, perhaps a prerequisite for Glasgow exhibitions, remained, but it was presented with severe geometricality, with an Art Nouveau lantern surmounted by a Chinese coolie hat.'

Inscribed: This room was opened by Miss Cranston in the year 1917 during the Great European War between the Allied Nations and the Central Powers.The Dug-Out, which Miss Cranston created in the basement of the Willow Tea Rooms was Mackintosh's last work in Glasgow (designed while he was living in London) and develops his new style seen in 78 Derngate. A dramatic interior was created with black ceilings and dark walls highlighted by strong colours in the decorations. The centrepiece was the Memorial Fireplace, decorated with inlaid glass and paintings of the flags of the opposing nations; above the commemorative plaque was a panel of stencilled decoration in chequers, diamonds and triangles, all in the bright colours used in the Derngate frieze. Two interior elevations indicate Mackintosh's schemes for decoration and furniture, some of which survives.

Designed for the Glasgow Architectural Association.

One sheet from a folder of six sheets of furniture designs, and designs for a fireplace, including one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor. This sheet shows designs for a single wardrobe, dressing table, side view of dressing table, chair and wash stand.

One sheet from a folder of six sheets of furniture designs, and designs for a fireplace. This one with a GSoA label recording session 1903-1904, James Porteous' student registration number 237, and Mr Taylor as his tutor.

One of three student drawings of the Mackintosh Library at The Glasgow School of Art.

Similar panels appear in Mackintosh's drawings of the east wall of the principal bedroom at The Hill House although it is not certain when they were installed there as early photographs taken in 1904 do not show them. The panels appear to be duplicates of those shown at the Vienna Secession exhibition in 1900 and bought by Emil Blumenfelt; at least one of these (listed as a 'bed curtain') was lent by Blumenfelt to the Turin exhibition in 1902 - although it lacks the lower section of black silk seen on The Hill House panels.

Similar panels appear in Mackintosh's drawings of the east wall of the principal bedroom at The Hill House although it is not certain when they were installed there as early photographs taken in 1904 do not show them. The panels appear to be duplicates of those shown at the Vienna Secession exhibition in 1900 and bought by Emil Blumenfelt; at least one of these (listed as a 'bed curtain') was lent by Blumenfelt to the Turin exhibition in 1902 - although it lacks the lower section of black silk seen on The Hill House panels.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Designed for Argyle Street Tea Rooms, Glasgow. At least four examples of this table appear in contemporary photographs of the Smoking and Billiards Rooms at Argyle Street. Some appear in photographs of the Ingram Street Tea Rooms taken in the 1940s - possibly Mackintosh specified them for the Cloister Room but it is more likely that they were taken when the Argyle Street Tea Rooms were closed in 1920. The lower shelves held the cups and plates and unused dominoes of the four players.The GSA originally owned a second example of this table, which was donated to the Museum of Modern Art in New York in 1958 by Douglas Percy Bliss, then Director of GSA. The Ingram Street Tea Rooms were purchased by Glasgow Corporation in 1951 for £25,000 and were then rented out as various shops and warehouses. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

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 Oak Room, Ingram Street Tea Rooms, Glasgow. Probably designed to provide the basic seating unit in the Oak Room. An unusual design for Mackintosh in that it is a very strong chair and now used in the Glasgow School of Art library. These were introduced by the School into the library c.1950 as a replacement for the more fragile windsor chairs originally designed for the room. The chamfering along the back-rails of the chair anticipates the similar waggon-chamfering on the library balustrade. The Ingram Street Tea Rooms were purchased by Glasgow Corporation in 1951 for £25,000 and were then rented out as various shops and warehouses.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Designed for the Library at Glasgow School of Art. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010). A more elegant version of the windsor chairs designed for the Dutch Kitchen at Argyle Street (Billcliffe 1906.49). These chairs proved much too delicate for their original purpose; only eight of approximately forty have survived, and all of these have had to be reinforced. They were replaced in the GSA Library c1950 by the much sturdier chairs originally designed for the Ingram Street Tea Rooms, MC/F/67. The Ingram Street Tea Rooms were purchased by Glasgow Corporation in 1951 for £25,000 and were then rented out as various shops and warehouses.

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 Blue or Chinese Room at the Ingram Street Tea Rooms, Glasgow. The fretted back and side rails match the Chinese style motifs of the Blue Room (as called in the job books). Much of the woodwork in the Chinese Room was painted bright blue or red, but there is no trace of any finish having been applied to these chairs other than the ebonising which most of them still display. These chairs have always been associated with the Chinese Room and so must be identified with the entry for thirty-six in the job books (Roger Billcliffe). All the chairs rwere eupholstered in blue horsehair in 1985. The Ingram Street Tea Rooms were purchased by Glasgow Corporation in 1951 for £25,000 and were then rented out as various shops and warehouses.

One of three student drawings of the Mackintosh Library at The Glasgow School of Art.

Annotated by artist.

From The Magazine, April 1894. The long text by Mackintosh which accompanies this watercolour in The Magazine (reproduced in full in Billcliffe's catalogue) suggests that he had already encountered public hostility to his work, possibly even from fellow students, on the grounds of incomprehensibility.

Bound in volume, The Magazine, Spring 1896. One of three watercolours depicting the seasons drawn for The Magazine.