To see works by Charles Rennie Mackintosh, a good place to start is Glasgow, where he spent much of his career. The Hunterian Museum and Art Gallery^[1] in Glasgow has holdings of his work, along with that of other Scottish Arts and Crafts^[4] designers. The Burrell Collection, located in Pollok Country Park in Glasgow, also contains items of interest. Elsewhere in the UK, the Brighton Museum & Art Gallery, the Geffrye Museum in London, the Manchester Art Gallery, the National Museums of Scotland (Royal Museum) in Edinburgh, and the Victoria & Albert Museum in London all hold relevant pieces. Outside the UK, several museums have collections that include Mackintosh. These are the Charles Hosmer Morse Museum of American Art (Winter Park, Florida), the Los Angeles County Museum of Art, the Metropolitan Museum of Art^[3] (New York), the Minneapolis Institute of Arts, the Museum of Modern Art (New York), the Royal Ontario Museum (Toronto), the Virginia Museum of Fine Arts (Richmond), and the Wolfsonian at Florida International University (Miami Beach).

Charles Rennie Mackintosh's works can be seen at Hunterian Museum and Art Gallery^[1], Metropolitan Museum of Art^[3], Aberdeen Archives, Gallery and Museums collections^[2].

Charles Rennie Mackintosh's works can be seen at Hunterian Museum and Art Gallery^[1], Metropolitan Museum of Art^[3], Aberdeen Archives, Gallery and Museums collections^[2].

Charles Rennie Mackintosh was a versatile designer; his artistic output included architecture, furniture, and graphic work. Although not as widely known as his other designs, prints were a part of his wider artistic practice. When considering prints, it is important to understand editioning. An edition is a set of identical prints made from the same block or blocks. Editions can be open (unlimited) or limited, depending on the artist's choice. The number of prints is not usually dictated by the block's physical limitations; a block can produce many prints if cared for properly. The artist decides to limit an edition, not the medium. Each print in a limited edition is considered an original. The Professional Art Dealers Association of Canada defines an original print as an image conceived and executed solely as a print, usually in a numbered edition and signed by the artist. Each print is individually inked and pulled, making it a "multi-original". The artist determines the number of prints in the edition, and sequential numbering accounts for the prints; for example, 12/25 indicates the 12th print in an edition of 25.

Charles Rennie Mackintosh (1868^[4]-1928^[4]) is significant as an architect and designer whose work gained considerable recognition after his death. Today, the Glasgow School of Art building, where he once studied, is celebrated by architectural critics and has been renamed the Mackintosh Building. The Charles Rennie Mackintosh Society promotes awareness of his contributions as an architect, artist, and designer. Mackintosh, along with his wife Margaret MacDonald, her sister Frances, and Herbert MacNair, formed the artistic group known as "The Four". Together and independently, they designed diverse objects, including lights, posters, and buildings. Mackintosh's designs often drew inspiration from nature. His chairs, for example, feature tall, slim forms with shapes that interlock. Mackintosh and MacDonald were invited to contribute to the eighth exhibition of the Vienna Secession in 1900^[4]. They designed a tea room that influenced Josef Hoffmann and Koloman Moser, who later founded the Wiener Werkstätte (Vienna Workshops).

Charles Rennie Mackintosh was born in Glasgow, Scotland, in 1868^[4], and he pursued architectural training in his native city.

Charles Rennie Mackintosh worked across several media, including watercolour, furniture design, and architecture. He is associated with the Glasgow School style, also called "Spook School" because of its attenuated, ghostly figures. Mackintosh often used a limited palette of colours, especially rose, purple, and white. He incorporated symbolic elements, such as the Glasgow rose motif, into his designs. Mackintosh favoured clean lines and geometric forms. His architectural projects include the Glasgow School of Art (1897^[4]-1909^[4]), which combines Arts and Crafts^[4] principles with Art Nouveau aesthetics. Mackintosh designed every aspect of the building, from the structure itself to the interior fittings and furniture. The library, with its distinctive lighting and shelving, is a particularly famous space. For furniture, Mackintosh often employed ebonised wood and contrasting inlays. His chairs, such as the Argyle Chair, are characterised by their high backs and elongated forms. He collaborated with his wife, Margaret Macdonald Mackintosh, on many projects. She contributed textile panels and gesso work to their interiors.

Charles Rennie Mackintosh worked within a late-19th-century Scottish version of Art Nouveau, known as the Glasgow Style. He is associated with a group called The Four, including his future wife Margaret MacDonald, her sister Frances MacDonald, and Herbert MacNair. They met through the Glasgow School of Art in the early 1890s and collaborated on designs. The Glasgow Girls, a larger group of artists and designers including the MacDonald sisters, were also loosely connected to the school. Their ethereal Symbolist designs were criticised in London, where they were labelled the Spook School. Mackintosh's style, along with that of Margaret MacDonald, had an impact on the development of Art Nouveau. In 1900^[4], Mackintosh and MacDonald exhibited a tea room design at the Vienna Secession, influencing Josef Hoffmann and Koloman Moser, who went on to found the Wiener Werkstätte (Vienna Workshops). Mackintosh also cited W. R. Lethaby, an architect associated with the Arts and Crafts^[4] Movement, as an influence.