Inspired by Mackintosh

Argyle Chair

Houzz

Mackintosh Argyle Chair MK64 Zoom

Inspired by Mackintosh

Argyle Chair

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Availability: In stock

Regular Price: £600.03

Special Price £420.02

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Description

100% Made in Italy. Open pore black lacquered ashwood frame (available on demand also stained walnut). Seat padded in polyurethane foam. Leather or fabric upholstery.
History
The “Argyle” chair was designed in 1898-99, for the Cranston’s Tea Room at Argyle Street in Glasgow. The carving on the headboard represents the stylized flight of a bird. It was the period of the “The Four”, the group that Mackintosh created in the early 1890s with three students from the Glasgow School of Art: Margaret Macdonald (who later became his wife), her sister Frances, and Herbert McNair (who married Frances). The collaboration generated what was called “Glasgow Style,” which received awards in various exhibitions all over Europe. The second version (“Argyle Carver”) appeared at the Art & Crafts exhibit in London in 1899. In the headboard was inserted a metal plaque, designed by Margaret Macdonald. An example, without the plaque, is kept at the Glasgow School of Art. This was probably the final version of the chair, that the Mackintoshs used for the breakfast room of their apartment. Open pore lacquered ashwood frame. Polyurethane foam seat. Leather or fabric upholstery.

Additional Info

Dimensions W50 D52 H137 cm
Inspired by Mackintosh
Line Chairs
Model Chair
Structure Schema MK64
C. R. Mackintosh

Mackintosh

C.R. Mackintosh

(1868-1928)

Furniture is passion, an expression of our love of life.

A native Scot from Glasgow, today Mackintosh is considered a fundamental reference point for Liberty style, although his line was very personal, because his ideas essentially anticipated the times. His architectural designs, conceived for elementary volumetric blocks, are aspired to an extreme clarity and structural rationality. He was the first to create interiors with entirely white walls, overcoming the concept of the “facade” in architecture, and drawing inspiration from Celtic and primitive art for his forms.

His furniture designs are also highly original and innovative; during the course of his career, he designed rigidly geometric furniture, preferably black, bearing a strong decorative stamp. Mackintosh loved wood and treated it like a supple, malleable material, covering it with lacquer, to hide seams and joints, enhancing only its definitive forms. For Mackintosh, architectonic space and furniture were the same total work of art. This is why – like many figures of the Modern Movement – he personally attended to even the tiniest details (even wallpaper, lighting, tableware), and refused works where he could not exercise a complete control.