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239 St Vincent Street, Glasgow

A Category B Listed Building in Glasgow, Glasgow

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Latitude: 55.8621 / 55°51'43"N

Longitude: -4.2639 / 4°15'49"W

OS Eastings: 258412

OS Northings: 665533

OS Grid: NS584655

Mapcode National: GBR 0JL.QB

Mapcode Global: WH3P2.GXTD

Plus Code: 9C7QVP6P+VF

Entry Name: 239 St Vincent Street, Glasgow

Listing Name: 217-245A (Odd Nos) St Vincent Street and 79 Blythswood Street, 128 St Vincent Lane

Listing Date: 15 December 1970

Category: B

Source: Historic Scotland

Source ID: 376647

Historic Scotland Designation Reference: LB33149

Building Class: Cultural

Location: Glasgow

County: Glasgow

Town: Glasgow

Electoral Ward: Anderston/City/Yorkhill

Traditional County: Lanarkshire

Tagged with: Building

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Symmetrical block of terraced classical houses built around 1825, between Blythswood Street and Douglas Street. No 233 extended 1896 by three-storey extension to rear by John Honeyman and Keppie (demolished 1989). Nos 231-233 redeveloped behind facade. Two- and three- storeys and basement. Ashlar, (No 239 stuccoed), rusticated at ground floor with voussoired window lintels, droved ashlar basement. Centre and end houses three-storeys, remainder two-storey except storey added to No 223; three-bays each house. Entries at heads of steps oversailing basement area, Roman Doric columned porticos, paired except at east end; Nos 225 and 227 altered to double entry with Gibbs surround architraves and continuous cornice. Double entry pilastered doorpiece at west house. 1896 front door to No 233 by John Honeyman and Keppie. Architraves and cornices first floor with apron panels, consoled cornices to three-storey blocks, also with pedimented central window at first floor. Eaves cornice, mutule at three-storey blocks, and blocking course.

Blythswood Street elevation: five-bays to original; second from north blank except in basement; same detailing as to St Vincent Street. Four later bays to left respecting floor levels and masonry finishes, but with bipartite and canted windows in outer bays, and mansard roof.

Douglas Street elevation: three-bays continuing main elevation detailing.

Interiors: include cast iron staircase balusters. No 233 has some decorative interior fittings by John Honeyman and Keppie, 1896, including doors, decorative woodwork panelling, roof trusses and a plaster-cast frieze of part of the Elgin marbles plaster-cast frieze. These were retained but installed in new locations during 1989 work (Mackintosh Architecture, 2014).

1989: No 229 redeveloped behind facade. 1896 John Honeyman and Keppie roof trusses from No 233 were reused in the new rear building at this number.

Statement of Interest

The terrace formed part of the redevelopment of the Blythswood estate as a spacious 'new town', located to the west Glasgow's over-populated city centre. The terrace was converted for commercial use in the late 19th century, as residents moved out to the developing West End and southern suburbs.

The addition to the rear, (79 Blythswood Street and 128 St Vincent Lane) which contained a workshop, showroom and offices with a studio located in the attic, was designed by Neil Campbell Duff for George Miller and built 1901-2.

In 1896 John Honeyman & Keppie were commissioned to design a three-storey addition at the rear of No 233 for H. L. Anderson & Co., house-painters, gilders and paper-hangers. A new front door was installed as part of this work, as well as internal decorative fittings that included new doors, decorative woodwork panelling, a newel post to the main stair and a plaster-cast frieze of part of the Elgin Marbles. The rear addition was demolished in 1988–9 but the roof trusses were retained and relocated. Much of the interior decorative fittings that were inserted in 1896 survive but have been relocated (Mackintosh Architecture, 2014).

The style and forms of the structural and decorative woodwork in No 233 suggests that Charles Rennie Mackintosh, who was then working for John Honeyman and Keppie, contributed to the design. The front and internal doors are similar in design and date to those he designed at Ferndean, Barrhead (LB51578). The carved stair newel post, originally to the main stair, features low-relief designs that recall the mid-1880s work of 'The Four'. This was removed around 1989 and is now in the hall at Queen's Cross church (LB33764) (Mackintosh Architecture, 2014).

Charles Rennie Mackintosh (1868-1928) was born in Glasgow and is regarded internationally as one of the leading architects and designers of the 20th century. He became known as a pioneer of Modernism, although his architecture took much inspiration from Scottish Baronial, and Scottish and English vernacular forms and their reinterpretation. The synthesis of modern and traditional forms led to a distinctive form of Scottish arts and crafts design, known as 'The Glasgow Style'. This was developed in collaboration with contemporaries Herbert McNair, and the sisters Francis and Margaret Macdonald (who would become his wife in 1900), who were known as 'The Four'. The Glasgow Style is now synonymous with Mackintosh and the City of Glasgow.

Mackintosh's work is wide-ranging and includes public, educational and religious buildings to private houses, interior decorative schemes and sculptures. He is associated with over 150 design projects, ranging from being the principal designer, to projects he was involved with as part of the firm of John Honeyman & Keppie (Honeyman, Keppie & Mackintosh from 1901). The most important work during this partnership was the Glasgow School of Art (LB33105), which was built in two phases from 1897 and culminated in the outstanding library of 1907.

Other key works include the Willow Tea Rooms (LB33173), the Glasgow Herald Building (now The Lighthouse) (LB33087) and Hill House (LB34761), which display the modern principles of the German concept of 'Gesamtkunstwerk', meaning the 'synthesis of the arts'. This is something that Mackintosh applied completely to all of his work, from the exterior to the internal decorative scheme and the furniture and fittings.

Mackintosh left Glasgow in 1914, setting up practice in London the following year. Later he and Margaret moved to France, where until his death, his artistic output largely turned to textile design and watercolours.

Listed building record revised in 2019.

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