In 1896, Kate Cranston, the pioneer of Glasgow tea rooms in the late nineteenth century, commissioned Charles Rennie Mackintosh -- who would become one of the Western world's most renowned designers -- to design her tea rooms, and over the next two decades he did so with dazzling inventiveness. (Mackintosh's wife, Margaret, herself an artist, also made important contributions to the interior designs.) A pair of perfectionists, Cranston and Mackintosh opened up a unique, avant-garde artistic world to thousands of ordinary people. Their tea rooms became internationally famous. Taking Tea with Mackintosh illustrates this exciting collaboration with black-and-white historical photographs of the tea rooms and color photographs of their surviving components. In addition, sixteen recipes for traditional tea room cakes, breads, and pastries are supplied, offering the best chance the reader will have to revisit these extraordinary places.

A showcase of the artistic output of Charles Rennie Mackintosh, Herbert MacNair, Margaret and Frances Macdonald, known simply as 'The Four'.

An outstanding debut collection of stories in a similar vein as Nobody Belongs Here More than Me; Girl, Interrupted; and Prozac Nation Announcing the arrival of an extraordinary new voice, this is a viciously funny, gut-wrenching, and shockingly frank account of sexual misadventure, familial disintegration, bereavement, and self-discovery. To produce this highly autobiographical work, Anneliese Mackintosh has taken the most intense episodes of her life so far, and reimagined them in these profound, funny, and poignant tales of damaged young women trying to understand what womanhood means in the 21st century.

Discover the twisty, gripping Richard & Judy Book Club pick and Sunday Times Number One bestseller. And don't miss Clare's brand-new thriller: A Game of Lies is out now. You do the same thing every day. You know exactly where you're going. You're not alone . . . When Zoe Walker sees her photo in the classifieds section of a London newspaper, she is determined to find out why it's there. There's no explanation: just a grainy image, a website address and a phone number. She takes it home to her family, who are convinced it's just someone who looks like Zoe. But the next day the advert shows a photo of a different woman, and another the day after that. Is it a mistake? A coincidence? Or is someone keeping track of every move they make . . . Praise for I See You: 'A breathless thriller . . . It's a must-finish-at-all-costs job' Daily Mail 'A chilling and original story . . . kept me reading until dawn' Rachel Abbott 'Accomplished, addictive and thought-provoking - you'll never feel the same about taking the tube again' B A Paris 'A deliciously creepy tale of urban paranoia' Ruth Ware 'Wonderfully sinister. Had me looking over my shoulder every time I travelled on the tube' Fiona Barton 'Another edge-of-your-seat thriller . . . a terrifyingly plausible plot and gasp-inducing ending' Good Housekeeping 'I had chills the entire way through' Jenny Blackhurst

Pamela Robertson, an acknowledged authority on Mackintosh, examines the artist's use of plant forms as decorative and formal sources for his designs in architecture, interiors, textiles, and graphics. She shows the ways in which nature provided lifelong inspiration for his work and analyzes his recurring use of the rose, a design motif which held a special significance as a symbol of art, beauty, and love for both Mackintosh and his artist wife, Margaret Macdonald. In addition, the author looks at Mackintosh's paintings and designs in relation to the work of contemporary symbolists, Japanese floral art, and the European tradition of scientific botanical illustration. Mackintosh's renowned skills as a draftsman are immediately apparent in his flower paintings. The sixty full-page colorplates presented here reveal early pencil sketchbook drawings done while Mackintosh was an apprentice architect and a student at the Glasgow School of Art, watercolors made on England's North Sea coast in 1914-15, and sophisticated still-life compositions of later years. Reproduced as well are striking floral-based textile designs of the 1920s, abstractions that placed him at the forefront of Britain's avant-garde movement. Photographs of his work in architecture and interiors are also included.