Inspired by Mackintosh

Willow Chair

Houzz

Mackintosh Willow Chair MK10 Zoom

Inspired by Mackintosh

Willow Chair

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Availability: In stock

Regular Price: £1,788.53

Special Price £1,341.40

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Description

100% Made in Italy. Open pore black lacquered ashwood frame. Loose cushion polyurethane foam. Leather or fabric upholstery.
History
Designed in 1903 for the ground floor of the ‘Willow Tea Rooms’ in Glasgow. This ‘throne’ was used – due to its imposing appearance – as a space divider, to create two separated rooms. This was the desk for the director or, according to other stories, for the cashier, who placed the cash in an opening, below the seat. The squared decorative pattern of the splendid bentwood back represents the shape of a willow in a stylized form, recalling the dominant theme of the tearoom, that took its name from the ‘Willow Lane’, which it overlooked. Mackintosh dedicated a great deal to tearooms, which at that time spread over in Glasgow, in order to counter ‘Gin Houses’ and alcoholism. Along with his wife, he paid attention to every minimal detail, from the building to the waiter’s uniforms, as well as the chairs, tables, lamps, mirrors, windows, centerpiece vases, and cutlery. Open pore lacquered ashwood frame. Independent cushion with polyurethane foam padding. Leather or fabric upholstery

Additional Info

Dimensions W94 D41 H119 cm
Inspired by Mackintosh
Line Chairs
Model Chair
Structure Schema MK10
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.