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CHARLES RENNIE MACKINTOSH (Glasgow, 1868-London, 1928) for ALIVAR.Pair of "Argyle" chairs, late
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Description
CHARLES RENNIE MACKINTOSH (Glasgow, 1868-London, 1928) for ALIVAR.
Pair of "Argyle" chairs, late 1970s.
It shows slight wear and tear due to use and the passage of time.
Measurements: 48 x 48 x 136 cm.
This is a high-backed chair created for the Argyle Street tearooms in Glasgow, characterised by a square frame in black-stained ash, on which the designer made curvilinear cuts and placed elliptical elements reminiscent of Celtic art and taste. The chair has been reissued by Cassina since 1973. Although Mackintosh is best known for his architectural works, such as the Glasgow School of Art, Hill House and the House for an Art Lover, he also designed much of their furniture and furnishings. One of the most important figures in Mackintosh's career was Catherine Cranston, a patron who allowed him to showcase his talent as a designer and appreciated his global approach. Cranston was a Glasgow businesswoman with a passion for the arts, who had the idea of opening a series of tearooms in the city with artistic interiors.
Having already established a successful tea room in Argyle Street, she invited Mackintosh to work with architect and designer George Walton on the interior of a new premises in Buchanan Street in 1896. The following year, Mackintosh and Walton again collaborated on the design of the Argyle Street tea rooms in Cranston, with Mackintosh focusing on the furnishings. It was the first major private commission of his career and an opportunity to put into practice some of his ideas about the use of furniture to create a sense of enclosure and spatial separation within a room. One of the pieces Mackintosh designed for the project was a high-backed dining chair intended to provide a more intimate dining experience for diners.
The Argyle chair has long tapered uprights that intersect with an extended oval headrest. The stylised shape of a swallow in flight has been carved into the headrest to give it an artistic and iconic character. The chair's combination of simple, sculptural elements with an emphasis on natural forms echoed the ideas put forward by the Arts and Crafts movement, of which Mackintosh was an admirer. Its extraordinary back legs are a complex piece of joinery, with a shape that begins at the base before gradually curving and tapering to become circular at the top. The unusual height of the chairs meant that they formed a screen around the tables, creating the sensation of a room within a room. It was a technique that Mackintosh would explore and perfect in many of his later furniture designs.
In 1900, the Argyle Chair was exhibited at the 8th Vienna Secession Exhibition in Austria, where Mackintosh's work was highly regarded and greatly influenced the work of artists, architects and designers in the Wiener Werkstatte community.
Pair of "Argyle" chairs, late 1970s.
It shows slight wear and tear due to use and the passage of time.
Measurements: 48 x 48 x 136 cm.
This is a high-backed chair created for the Argyle Street tearooms in Glasgow, characterised by a square frame in black-stained ash, on which the designer made curvilinear cuts and placed elliptical elements reminiscent of Celtic art and taste. The chair has been reissued by Cassina since 1973. Although Mackintosh is best known for his architectural works, such as the Glasgow School of Art, Hill House and the House for an Art Lover, he also designed much of their furniture and furnishings. One of the most important figures in Mackintosh's career was Catherine Cranston, a patron who allowed him to showcase his talent as a designer and appreciated his global approach. Cranston was a Glasgow businesswoman with a passion for the arts, who had the idea of opening a series of tearooms in the city with artistic interiors.
Having already established a successful tea room in Argyle Street, she invited Mackintosh to work with architect and designer George Walton on the interior of a new premises in Buchanan Street in 1896. The following year, Mackintosh and Walton again collaborated on the design of the Argyle Street tea rooms in Cranston, with Mackintosh focusing on the furnishings. It was the first major private commission of his career and an opportunity to put into practice some of his ideas about the use of furniture to create a sense of enclosure and spatial separation within a room. One of the pieces Mackintosh designed for the project was a high-backed dining chair intended to provide a more intimate dining experience for diners.
The Argyle chair has long tapered uprights that intersect with an extended oval headrest. The stylised shape of a swallow in flight has been carved into the headrest to give it an artistic and iconic character. The chair's combination of simple, sculptural elements with an emphasis on natural forms echoed the ideas put forward by the Arts and Crafts movement, of which Mackintosh was an admirer. Its extraordinary back legs are a complex piece of joinery, with a shape that begins at the base before gradually curving and tapering to become circular at the top. The unusual height of the chairs meant that they formed a screen around the tables, creating the sensation of a room within a room. It was a technique that Mackintosh would explore and perfect in many of his later furniture designs.
In 1900, the Argyle Chair was exhibited at the 8th Vienna Secession Exhibition in Austria, where Mackintosh's work was highly regarded and greatly influenced the work of artists, architects and designers in the Wiener Werkstatte community.
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CHARLES RENNIE MACKINTOSH (Glasgow, 1868-London, 1928) for ALIVAR.
Pair of "Argyle" chairs, late 1970s.
It shows slight wear and tear due to use and the passage of time.
Measurements: 48 x 48 x 136 cm.
This is a high-backed chair created for the Argyle Street tearooms in Glasgow, characterised by a square frame in black-stained ash, on which the designer made curvilinear cuts and placed elliptical elements reminiscent of Celtic art and taste. The chair has been reissued by Cassina since 1973. Although Mackintosh is best known for his architectural works, such as the Glasgow School of Art, Hill House and the House for an Art Lover, he also designed much of their furniture and furnishings. One of the most important figures in Mackintosh's career was Catherine Cranston, a patron who allowed him to showcase his talent as a designer and appreciated his global approach. Cranston was a Glasgow businesswoman with a passion for the arts, who had the idea of opening a series of tearooms in the city with artistic interiors.
Having already established a successful tea room in Argyle Street, she invited Mackintosh to work with architect and designer George Walton on the interior of a new premises in Buchanan Street in 1896. The following year, Mackintosh and Walton again collaborated on the design of the Argyle Street tea rooms in Cranston, with Mackintosh focusing on the furnishings. It was the first major private commission of his career and an opportunity to put into practice some of his ideas about the use of furniture to create a sense of enclosure and spatial separation within a room. One of the pieces Mackintosh designed for the project was a high-backed dining chair intended to provide a more intimate dining experience for diners.
The Argyle chair has long tapered uprights that intersect with an extended oval headrest. The stylised shape of a swallow in flight has been carved into the headrest to give it an artistic and iconic character. The chair's combination of simple, sculptural elements with an emphasis on natural forms echoed the ideas put forward by the Arts and Crafts movement, of which Mackintosh was an admirer. Its extraordinary back legs are a complex piece of joinery, with a shape that begins at the base before gradually curving and tapering to become circular at the top. The unusual height of the chairs meant that they formed a screen around the tables, creating the sensation of a room within a room. It was a technique that Mackintosh would explore and perfect in many of his later furniture designs.
In 1900, the Argyle Chair was exhibited at the 8th Vienna Secession Exhibition in Austria, where Mackintosh's work was highly regarded and greatly influenced the work of artists, architects and designers in the Wiener Werkstatte community.
Pair of "Argyle" chairs, late 1970s.
It shows slight wear and tear due to use and the passage of time.
Measurements: 48 x 48 x 136 cm.
This is a high-backed chair created for the Argyle Street tearooms in Glasgow, characterised by a square frame in black-stained ash, on which the designer made curvilinear cuts and placed elliptical elements reminiscent of Celtic art and taste. The chair has been reissued by Cassina since 1973. Although Mackintosh is best known for his architectural works, such as the Glasgow School of Art, Hill House and the House for an Art Lover, he also designed much of their furniture and furnishings. One of the most important figures in Mackintosh's career was Catherine Cranston, a patron who allowed him to showcase his talent as a designer and appreciated his global approach. Cranston was a Glasgow businesswoman with a passion for the arts, who had the idea of opening a series of tearooms in the city with artistic interiors.
Having already established a successful tea room in Argyle Street, she invited Mackintosh to work with architect and designer George Walton on the interior of a new premises in Buchanan Street in 1896. The following year, Mackintosh and Walton again collaborated on the design of the Argyle Street tea rooms in Cranston, with Mackintosh focusing on the furnishings. It was the first major private commission of his career and an opportunity to put into practice some of his ideas about the use of furniture to create a sense of enclosure and spatial separation within a room. One of the pieces Mackintosh designed for the project was a high-backed dining chair intended to provide a more intimate dining experience for diners.
The Argyle chair has long tapered uprights that intersect with an extended oval headrest. The stylised shape of a swallow in flight has been carved into the headrest to give it an artistic and iconic character. The chair's combination of simple, sculptural elements with an emphasis on natural forms echoed the ideas put forward by the Arts and Crafts movement, of which Mackintosh was an admirer. Its extraordinary back legs are a complex piece of joinery, with a shape that begins at the base before gradually curving and tapering to become circular at the top. The unusual height of the chairs meant that they formed a screen around the tables, creating the sensation of a room within a room. It was a technique that Mackintosh would explore and perfect in many of his later furniture designs.
In 1900, the Argyle Chair was exhibited at the 8th Vienna Secession Exhibition in Austria, where Mackintosh's work was highly regarded and greatly influenced the work of artists, architects and designers in the Wiener Werkstatte community.
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