Lampshade Panel
ca. 1903 (made)
Artist/Maker | |
Place of origin |
This silk lampshade panel was made by Margaret Macdonald Mackintosh for Hill House, designed by her husband, Charles Rennie Mackintosh, for Walter Blackie between1902 and 1904. Margaret contributed many of the fittings; this panel was made in 1903.
Sisters Margaret and Frances Macdonald were two of the most original artists working in Glasgow in the 1890s. They attended evening classes at the Glasgow School of Art together with Charles Rennie Mackintosh and Herbert Macnair (who worked with Mackintosh from 1889 at the architectural practice, Honeyman & Jeppie). They became known as The Glasgow Four, and created a distinctive decorative style that was disseminated internationally.
Their work became influential through many exhibitions, in particular the fifth exhibition of the Arts and Crafts Society in London (1896), the eighth exhibition of the Vienna Secession (1900) and the Esposizione Internazionale d’Arte Decorativa in Turin (1902). Their work was published in contemporary periodicals, notably The Studio, Dekorative Kunst, Deutsche Kunst und Dekoration and Ver Sacrum. In this way, they provided substantial impetus for the development and recognition of a distinctive Glasgow style in Britain and Europe, although they had few direct imitators.
Sisters Margaret and Frances Macdonald were two of the most original artists working in Glasgow in the 1890s. They attended evening classes at the Glasgow School of Art together with Charles Rennie Mackintosh and Herbert Macnair (who worked with Mackintosh from 1889 at the architectural practice, Honeyman & Jeppie). They became known as The Glasgow Four, and created a distinctive decorative style that was disseminated internationally.
Their work became influential through many exhibitions, in particular the fifth exhibition of the Arts and Crafts Society in London (1896), the eighth exhibition of the Vienna Secession (1900) and the Esposizione Internazionale d’Arte Decorativa in Turin (1902). Their work was published in contemporary periodicals, notably The Studio, Dekorative Kunst, Deutsche Kunst und Dekoration and Ver Sacrum. In this way, they provided substantial impetus for the development and recognition of a distinctive Glasgow style in Britain and Europe, although they had few direct imitators.
Object details
Categories | |
Object type | |
Materials and techniques | Embroidered silk, glass, appliquéd, beaded |
Brief description | Panel for a lampshade of embroidered silk and beaded, designed and made by Margaret Macdonald for Hill House, Helensburgh, Scotland, ca. 1903 |
Physical description | Panel for a lampshade of embroidered cream silk in satin stitch. A silk ground with a stylised rose pattern interlacing geometrically and appliquéd with glass beads, ribbon and braid in black, green and pink. |
Dimensions |
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Styles | |
Credit line | Given by Mrs M.N. Sturrock and Mrs Lang |
Object history | From Hill House in Helensburgh, Scotland |
Historical context | Hill House was designed by Charles Rennie Mackintosh: in 1902 the publisher Walter Blackie asked Mackintosh to design a family house for him in Helensburgh. Hill House was started in 1902 and completed by 1904. Margaret contributed some of the fittings. |
Summary | This silk lampshade panel was made by Margaret Macdonald Mackintosh for Hill House, designed by her husband, Charles Rennie Mackintosh, for Walter Blackie between1902 and 1904. Margaret contributed many of the fittings; this panel was made in 1903. Sisters Margaret and Frances Macdonald were two of the most original artists working in Glasgow in the 1890s. They attended evening classes at the Glasgow School of Art together with Charles Rennie Mackintosh and Herbert Macnair (who worked with Mackintosh from 1889 at the architectural practice, Honeyman & Jeppie). They became known as The Glasgow Four, and created a distinctive decorative style that was disseminated internationally. Their work became influential through many exhibitions, in particular the fifth exhibition of the Arts and Crafts Society in London (1896), the eighth exhibition of the Vienna Secession (1900) and the Esposizione Internazionale d’Arte Decorativa in Turin (1902). Their work was published in contemporary periodicals, notably The Studio, Dekorative Kunst, Deutsche Kunst und Dekoration and Ver Sacrum. In this way, they provided substantial impetus for the development and recognition of a distinctive Glasgow style in Britain and Europe, although they had few direct imitators. |
Collection | |
Accession number | T.66-1953 |
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Record created | September 5, 2001 |
Record URL |
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