Spurge With Withyham - Charles Rennie Mackintosh
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Beschreibung
A precise botanical study by Charles Rennie Mackintosh, featuring the flora of Withyham in delicate watercolour and pencil.
Produced in June 1909, this botanical study by Charles Rennie Mackintosh captures the flora of Withyham, Sussex. Mackintosh, better known for his architectural contributions to the Glasgow School, produced a series of precise floral watercolours during his later years. This work demonstrates his disciplined approach to observation, combining delicate pencil outlines with controlled washes of colour.
The composition is arranged with a focus on structural clarity. Mackintosh employs thin, precise lines to define the stems and petals, allowing the natural forms to overlap without obscuring the underlying geometry. The colour palette remains restrained, favouring soft yellows, muted greens, and a singular violet bloom, which provides a visual anchor for the arrangement. The artist includes a small, rectangular cartouche at the base, containing the title, date, and his initials, a characteristic feature of his graphic work.
Unlike traditional botanical illustrations that aim for scientific documentation, this piece prioritises the rhythmic quality of the plant forms. The overlapping shapes create a sense of depth, yet the overall effect remains flat and decorative. The paper tone, aged to a warm cream, complements the earthy hues of the spurge. This study reflects the artist's interest in the intersection of natural beauty and formal design, a theme that permeated his furniture, textile, and architectural projects throughout his career. It is a clear example of his ability to reduce complex organic subjects into a series of balanced, linear elements.
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Fertigung
Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Spurge With Withyham - Charles Rennie Mackintosh
Artist Biography
Charles Rennie Mackintosh
He was the fourth of eleven children, seven of whom survived infancy. His father was a police superintendent. The boy was probably dyslexic, struggled badly at school, and used sketchbooks to manage what appear to have been emotional difficulties. He had a contracted sinew in one foot that gave him a limp, and childhood rheumatic fever left one side of his face permanently drooped. None of this stopped him drawing.
He enrolled at Glasgow School of Art at fifteen, studying part-time while apprenticed to the architect John Hutchinson. In 1889 he joined Honeyman and Keppie, where he would remain for nearly two decades. He met Margaret Macdonald in 1892. Together with her sister Frances and Herbert McNair, they formed a group that became known as The Four. Mackintosh and Margaret married in 1900. He acknowledged publicly that Margaret had genius where he had only talent.
His greatest commission was the Glasgow School of Art building itself, won in competition in 1897. The library wing, completed in 1909, is considered one of the finest interiors of the twentieth century. He designed all four tea rooms for the entrepreneur Catherine Cranston, going so far as to specify the waitresses' dresses and order the flowers. In Vienna, at the eighth Secessionist Exhibition in 1900, his work was received with an enthusiasm Glasgow never matched.
His style fell from favour. He drank. He was asked to leave his firm. In 1914 he and Margaret moved to Walberswick in Suffolk, where he was briefly arrested as a suspected German spy because of his Vienna correspondence and unusual manner. He was released without charge but effectively driven from the village.
In 1923, they moved to Port Vendres in the south of France. The light and landscape revived him. He painted watercolours of the surrounding hills and harbour with an obsessive attention to geological detail, completing around forty before returning to London for the last time.
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