A prominent member of the Glasgow School movement, Margaret Macdonald Mackintosh was born on 5 November 1865 in Tipton near Wolverhampton. By 1890, the family had relocated to Glasgow where she and her sister Frances enrolled as students at the Glasgow School of Art.
While studying at this progressive art institution, both sisters became acquainted with Jessie Newberry, Ann Macbeth and Jessie M. King, and forming an art collective known as The Glasgow Girls. Working within a variety of media including metal, embroidery and textiles, their style was massively inspired by Celtic imagery, literature, symbolism and folklore. At the beginning, their works were not to everybody's taste and were dismissed as being spooky due to the unnatural depictions of the human form.
In 1892, the two Macdonald sisters were introduced to architectural students Charles Rennie Mackintosh and Herbert MacNair. Noticing similarities in the style of their work, they were encouraged to collaborate on projects and soon formed The Glasgow Four.
Margaret worked closely with Charles, and the pair were soon married. As a couple, they worked on futuristic interior designs, which, even by today's standards feel decidedly modern. Margaret's art would heavily influence Charles' life and his architectural work, and their roles as artist and designer blurred and became symbiotic once they started working together. The couple is most famous for their late-Victorian tearoom interior commissioned by their patron, Catherine Cranston.
Between 1895 and 1924, Margaret had exhibited in over 40 exhibitions throughout Europe and America. Charles reputedly declared that Margaret had genius, while he had only talent and that she was half if not three-quarters of all his architectural works. Although overshadowed by Charles, Margaret Macdonald Mackintosh has been generally acclaimed to be a leading talent in early 20th century British art. Due to poor health, Margaret stopped producing work and died in 1933, five years after her husband's death.
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Gives the frame its character and provides the perfect setting for an artwork to be fully enjoyed.
Protects the artwork from dust and wilting so that it can be admired for many years.
Adds depth to an image and works with the moulding to enhance and protect the artwork.
Bonds to the artwork ensuring it is perfectly smooth and holds the whole frame together.
We partner with the world's top museums and galleries to bring you exclusive prints of the highest quality. Our teams of designers ensure the colours are accurate, papers are well suited and the best frames are suggested.
In the printing room, artworks are printed on state-of-the-art machines with a team of technicians checking colour and quality every step of the way.
After being cut down to size, our team carefully finish any stray edges, check measurements and prepare the prints for mounting and framing.
We have a team of master framers who work with high-quality, responsibly-sourced wood to create our vast range of framing combinations - each frame is bespoke and made to order for every print.
Our selection of hand-finished frames are painted or stained by hand in a variety of colours, and finished with a layer of wax - the end result is a uniquely crafted, beautiful frame that is made to last.
In this workshop everything comes together - the print, the frame and the glass - in a seamless and stream-lined process.
The artwork is carefully mounted in preparation for framing.
Once mounted, the print is ready to be covered by glass or perspex - a delicate procedure but expertly done with not a fingerprint in sight.
After a final, thorough check, the framed print is ready to be carefully packaged up and shipped to the customer.
For those who order their art as canvas prints, the same amount of attention and care goes into the process. Here, the print is being transferred to a wooden frame.
As with the framed prints, our canvases are all hand-finished in the workshop - a labour of love from start to finish.