Inspired by Mackintosh

DS3 Chair


Mackintosh DS4 Chair MK12 Zoom

Inspired by Mackintosh

DS3 Chair

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Regular Price: £498.69

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100% Made in Italy. Open pore black lacquered ashwood frame (available on demand also stained walnut) with mother of pearl insert. Seat with handmade straw braided.
This series (tables, chairs and sideboard) was designed by Mackintosh in 1918 for ‘Candida Cottage’, the country home of W.J. Basset-Lowke, a Southampton industrialist. At least, this is the story according to scholars: the furniture was, in fact, never made while Mackintosh was alive. It was rejected by Basset-Lowke, who judged the plans too modern for the times. Only the designs survived, kept by the University of Glasgow, which contain no annotations regarding the work. Open pore black lacquered ashwood frame (on request, also available in other colours). Mother of pearl inserts inside the chairs and the sideboard. For the chairs, seat with handmade braided straw. Oval table with two sides reclining top.

Additional Info

Dimensions W49 D45 H75 HS45 cm
Inspired by Mackintosh
Line Chairs
Model Chair
C. R. Mackintosh


C.R. Mackintosh


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.