By contrast with the dark wood of the dining room, the main room of the Mackintoshes’ reconstructed Glasgow house is decorated mainly in white. Mackintosh also used this contrast in Hill House.

Door detail:-

Main room:-

Wall cupboard and fireplace:-

Cupboard and chairs:-

Reverse view:-

Oval table with rose emblems:-

Below are photos of the reconstructed interior of the Glasgow house of Charles Rennie Mackintosh and his wife Margaret Mcdonald inside the Hunterian Art Gallery, Hillhead Street, Glasgow (see previous post.)

Entrance Hall, Mackintosh House, Hunterian Art Gallery:-

Hall mirror:-

Off the hall is the Dining Room  whos efirniture is reminiscent of the dining room in Hill House which Mackintosh designed for the publisher Walter Blackie:-

A room at the Hunterian Art Gallery displayed some drawings Charles Rennie Mackintosh made for various projects.

Das Speise Zimmer. Mackintosh may have been designed for a Vienna exhibition around 1900:-

Othe rdrawings:-

The below have more of the feel of Margaret Mcdonald about them:-

Before reaching the reconstruction of the interior of Charles Rennie Mackintosh and Margaret Mcdonald’s Glasgow house at the Hunterian Art Gallery there are some other Mackintosh exhibits to see.

Model of unbuilt house. (This bears many similarities to Hill House in Helensburgh):-

Candlesticks designedby Charles Rennie Mackintosh:-

Charles Rennie Mackintosh designed cutlery:-

book covers. Mackintosh designed many of these for the publisher Blackie:-

Poster and Stair Hanging:-

The Mackintosh house is an extension to the original Hunterian Art Gallery on Hillhead Street off University Avenue in Glasgow. It is a replica of the Glasgow house Charles Rennie Mackintosh and his wife Margaret Macdonald.

The house’s facade on Hillhead Street:-

Lower window and door. The door here is obviously not accessible. Entry is from inside the Art Gallery:-

The “house” is externally rendered in concrete. Glasgow University buildings in background:-

Glasgow University’s Reading Room is on University Avenue, Glasgow:-

It is circular in shape but it’s really only the entrance doors and facade which look Deco. The rest is more like a post-war 1950s/60s building:-

Wall plaque (which looks like a design by Margaret Macdonald Mackintosh, wife to Charles Rennie Mackintosh):-

Upper Level:-

Fireplace, upper level:-

Seating, upper level:-

Seating:-

Fireplaces, lower level:-

Balcony from below:-

Glass partition at stairs:-

Stairs:-

Lower floor from top of stairs:-

Lower level from balcony:-

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These Charles Rennie Mackintosh designed tea rooms – for the famous Miss Cranston – were privately refurbished in the past few years but are now in the care of the National Trust for Scotland and seem to go by the name Mackintosh at the Willow, but that’s also the title of the affiliated gift shop next door.

We visited them because we hadn’t been there before but also to have lunch; which was excellent.

Sauchiehall Street was having work done on it at the time:-

In the photo above you can make out the circular design fronting the windows. This is a close-up:-

The Tea Rooms’ street sign:-

Internal lighting gantry:-

Wall frieze and partition wall below:-

These window curtains help diners escape scrutiny from outside:-

Black &White, 1993, 208 p. In Wax Fruit. First published 1947.

Wax Fruit is a trilogy of novels set in the Glasgow of the late nineteenth century. Antimacassar City is the first in the sequence.

We are dealing with the saga of the Moorhouse family, originating from an Ayrshire farm in the mid-1800s, though the setting is mainly Glasgow in the 1870s. The youngest Moorhouse, Phœbe, is the result of her father’s second marriage, to a Highland woman, and the book’s first scene describes the night she was orphaned by an accident. Phœbe is portrayed as a restrained, self-possessed girl and, later, young woman. Her older (half)-brother Mungo is the only one of the family left at the farm, the others have moved to Glasgow and are going up in the world. Her brother Arthur’s wife Bel determines to take her in, even though she is expecting their first child.

Phœbe takes a sisterly interest in the child, Arthur, when he is born. A few years later a maid, taking a shortcut home from a visit to his grandmother, loses him in a slum area when distracted by her sister’s presence there. On her own initiative and though still a child Phoebe sets out to find him, braving the shocking – and frightening – conditions of the overcrowded slums, and earns Bel’s everlasting gratitude for his rescue. McCrone’s attitude to the slum dwellers, couched through the middle-class values of the upwardly mobile Moorhouses, is disparaging and dismissive. They are depicted as depraved and dissolute; there is, it seems, nothing to redeem them.

The rest of the book deals mainly with Bel’s attempts to persuade her husband to move out of the city centre to the more salubrious West End and Mungo’s surprising attractiveness to Miss Ruanthorpe of Duntrafford, the local Big House in Ayrshire.

Henry Hayburn, tongue-tied except when enthusing about steam engines and engineering and a friend of another of Phœbe’s brothers, develops on sight a yearning for her. She is less enthusiastic but his family’s exposure to ruin in the collapse of the City Bank of Glasgow brings out her protective side.

The prose here is efficient but fails to spark. Elements of this are a bit like the works of Margaret Thompson Davis (though of course McCrone was published much earlier) but Davis’s attitude to the poor was more empathetic. But she was portraying the honourable poor.

As a cursory representation of Glasgow (a certain echelon of Glasgow) in the mid-Victorian age this is a good enough primer. Literature, though, it is not.

I still have two instalments to go. Maybe it will improve.

Pedant’s corner:- “Gilmour Hill”, “Kelvin Bridge” (1870s designations? now Gilmourhill and Kelvinbridge,) “‘you’ll can move out to the West’” (‘you’ll move out to the West’ or ‘you can move out to the West’,) missing commas before pieces of direct speech. “‘What way, can she not stay at the farm?’” (no need for that comma, it’s not two phrases,) “begging at he door” (at the door.) “Had she been unhappy here she was?” (where she was.) “Sophia as only too prompt” (was only too prompt,) missing quote marks around one piece of speech, “she turned way” (turned away,) “a coil of barbed wire lying rusty and hidden” (Barbed wire was only invented in 1873. There would hardly have been time for it to have been used on an Ayrshire estate and left to rust.)