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Various papers and documents relating to Francis Newbery, including articles written by and about him, possibly related to the exhibition 'Fra H Newbery, Artist and Art Educationist, 1855-1946', held at The Glasgow School of Art, 29 Jul 1996-30 Aug 1996, curated by George Rawson. File includes: postcard of ‘The Paisley Shawl’, a painting by Francis Newbery c1910; printed image with description hand-written on back which reads ‘caricature of F H Newbery by Hugh Munro – in “St Mungo” 1897’; photocopy of article by Francis Newbery titled ‘Art Education’ and labelled ‘article by Fra Newbery, BA meeting Glasgow 1901’, about art education in Glasgow with particular focus on The Glasgow School of Art; typed copies of song titled ‘Dumble-Dum-Dearie or How Fra Newbery Got His Cloak and Hat; The School of Art Song’, unauthored, likely related to Newbery’s retirement [1916] (3 copies); typed page with biographical information regarding Francis Newbery’s artistic and educational career titled ‘Who’s Who In Glasgow In 1909’, unauthored and undated; typed page titled ‘Francis Henry Newbery 1853-1946’ with a biography of Newbery’s life and career from birth to death, focused on Newbery’s connection to Bridport in Dorset, unauthored and undated but likely related to and written by someone associated with Bridport; typed copy of a text titled ‘Francis Henry Newbery (1853-1946)’, possibly a draft of a catalogue published to accompany the exhibition 'Fra H Newbery, Artist and Art Educationist, 1855-1946', The Glasgow School of Art, 29 Jul-30 Aug 1996, written by George Rawson (2 copies); photocopy of article titled ‘Francis Newbery and the Glasgow Style’ by Isobel Spencer (now Isobel Johnstone) for Apollo Magazine, Oct 1973.

Diploma Certificate awarded to William McCance by The Glasgow School of Art.

This collections contains:

• A notebook containing the constitution and rules of the society signed by its members
• Printed version of the constitution and rules, c1898
• Minute book, 1898-1900
• Letter from John Keppie to Fra. Newbery re: the Glasgow School of Art receiving a copy of the constitution and rules, 1901

Magazine produced by the students of the Department of Printed Textiles, June 1979.

Cover design by Colin Renfrew.

Group III Certificate in Drawing and Painting awarded to William McCance by The Glasgow School of Art.

Archibald Haswell Miller is granted a £5 Haldane Bursary for Session 1906-07.

Contains 28 performance programmes, as well as one poster, drawings of the stage extensions and set designs for the March 1960 production of Hot Summer Night.

Includes:

• Administrative paperwork, minute book
• Student activities (handbooks, Activities Week schedules, posters)
• Newsletters, SRC guidelines and flyers
• Publications
• Banners

Please note that this material is not yet fully catalogued and therefore some items may not be accessible to researchers.

Papers of the Newbery family including papers dating to after Newbery's retirement; papers of his wife, Jessie Newbery; and documents relating to Mary Newbery Sturrock, daughter of Francis and Jessie Newbery. Papers as follows:

• DIR/5/38/6/1: Letter from F R Benson of the Royalty Theatre, Glasgow, to Miss Newbery enclosing tickets for a Box for the play 'Much Ado', 12 Mar 1906 (1 sheet).

• DIR/5/38/6/2: Headed letter paper of Francis Newbery, Eastgate, Corfe Castle, Dorset, c1918 (10 sheets).

• DIR/5/38/6/3: Order of Proceedings for the inauguration of the Sign of Saint Edward, King and Martyr, Patron Saint of the Village, at Corfe Castle. Newbery made many of the readings at the event, 02 Jul 1927 (1 item).

• DIR/5/38/6/4: Cardboard silhouette of Francis and Jessie Newbery in a photograph mount, c1930s (1 item).

• DIR/5/38/6/5: Letters and fragments of letters from Jessie Newbery to her daughter Elsie and perhaps Mary. One of the letters to Elsie is dated 24 Sep 1934. The other letters are fragmentary and include topics such as recipes, books and sewing projects, c1934. (4 sheets)

• DIR/5/38/6/6: Letter from George M Baltus to Mr and Mrs Newbery catching up with them following the Second World War, telling them of his experiences during that time, and telling them family news, 07 Jan 1946 (1 sheet).

• DIR/5/38/6/7: File of photographs, pressclippings, sketches, designs, documents and letters relating to Mary Newbery Sturrock, daughter of Francis and Jessie Newbery, c1930s-80s (1 folder). File includes:

• DIR/5/38/6/7/1: postcard of ‘Port Vendres’, watercolour by Charles Rennie Mackintosh c1926-27, dated 1979;

• DIR/5/38/6/7/2: mounted photograph of Mary Newbery Sturrock at South Gray Street Edinburgh, undated;

• DIR/5/38/6/7/3: letter from Mary Newbery Sturrock thanking her correspondent (name not given) for the Mackintosh card and about her memories of the doors of The Glasgow School of Art being white, 16 Oct 1984;

• DIR/5/38/6/7/4: mounted photograph of Mary Newbery Sturrock and another woman, front of mount reads ‘Wedding’, undated;

• DIR/5/38/6/7/5: pressclipping from the Helensburgh Advertiser about the opening of a special Mackintosh exhibition held at the Hill House, 03 May 1977;

• DIR/5/38/6/7/6: card addressed to Mary, from ‘Pamela’ thanking her for a recent note. Front of card depicts ‘Painted gesso panel set with glass beads and shell’ by Margaret Macdonald Mackintosh, 1904, card is undated.

• DIR/5/38/6/7/7: postcard from ‘Pat’ and Harry Barnes to Mary Newbery Sturrock, from Port-Vendres in France, 1981.

• DIR/5/38/6/7/8: postcard from Tom Howarth to Mary Newbery Sturrock, from Port-Vendres in France, undated; photograph of Jessie and Francis Newbery; photograph of Mary Newbery Sturrock and another woman; photograph of two women, one likely Mary Newbery Sturrock, signed ‘Whiteleigh, Christmas 66’, 1966;

• DIR/5/38/6/7/9: photographs of Mary Newbery Sturrock (x4), undated;

• DIR/5/38/6/7/10: photographs of Mary Newbery Sturrock (x3), undated; close-up photograph of a necklace, undated;

• DIR/5/38/6/7/11: photographs of Mary Newbery Sturrock (x2), undated;

• DIR/5/38/6/7/12: photographs of Mary Newbery Sturrock (x2), undated;

• DIR/5/38/6/7/13: photographs of Mary Newbery Sturrock and family (x4), undated;

• DIR/5/38/6/7/14: photograph of Eastgate, Corfe Castle, undated; photographs of Jessie and Francis Newbery at Eastgate (x3), undated;

• DIR/5/38/6/7/15: photograph of Jessie and Francis Newbery and family, undated; photograph of village street, likely Corfe Castle;

• DIR/5/38/6/7/16: letter from Rodrigo Rodriguez of Cassina S.p.A to Mary Sturrock regarding the terms of an agreement between them for the reproduction of items (cutlery and the 'Six Columns Clock') designed for Sturrock by C.R. Mackintosh, 30 Oct 1979;

• DIR/5/38/6/7/17: change of address card for Mr and Mrs A. R. Sturrock, from 2 Mansfield Place Edinburgh to 13 South Gray Street, c1945 (7 copies);

• DIR/5/38/6/7/18: two hand-printed floral designs with addition of watercolour, unsigned and undated (possibly 1937 based on related designs); two versions of a hand-printed design with addition of watercolour depicting a woman with floral headdress, signed ‘M.N.S.’, undated (possibly 1937 based on related designs);

• DIR/5/38/6/7/19: hand-printed floral Christmas card design with addition of watercolour and ink, back of card is signed ‘C.R., 1/-', dated 1937;

• DIR/5/38/6/7/20: bundle of sketchbook and loose pages featuring sketches of, notes about and designs for ceramics, unsigned and undated (one example, drawn on the back of a card to Mary reads ‘wishing her good business and good health in 1956’);

• DIR/5/38/6/7/21: invitation for exhibition of Sigrid Mavor (Ceramic flora and fauna) and M.N. Sturrock (Flower Drawings) from 30 Oct – 10 Nov at ‘The Open Eye Gallery’ Edinburgh [1982];

• DIR/5/38/6/7/22: letter from Alison Adburgham to MNS Sturrock in response to a letter sent by Sturrock related to her family history and relationship to Liberty fabrics, 01 Jul 1983;

• DIR/5/38/6/7/23: interview between Mary Newbery Sturrock and Tony Jones (director of GSA 1980-1986) about the history of The Glasgow School of Art, Fra Newbery and Charles Rennie Mackintosh, c1980.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. GSA students and staff featured in this work include (from left to right), amongst others: Harry McLean, GSA student and conservator (seated at table bottom left, resting elbow on table); Hugh Adam Crawford, GSA staff, Drawing and Painting department (standing, front-facing, slightly left of centre); Joan Eadley, GSA student and artist (centre, standing, facing left); John Miller, GSA staff, Drawing & Painting department (slightly right of centre, facing right, carrying portfolio under right arm); Margot Sandeman, GSA student and artist (slightly right of centre, facing right, arms folded, in conversation with Cordelia Oliver); Cordelia Oliver, GSA student, art critic and journalist (slightly right of centre, facing left, in conversation with Margot Sandeman); Margaret McGavin, GSA student and artist (right of centre, adjacent to Cordelia Oliver, front-facing but looking right, in conversation with another female student); David Donaldson, GSA staff, Drawing and Painting department (right of centre, left-facing, positioned between Margaret McGavin and the female student she is talking to); Benno Schotz, GSA staff, Modelling and Sculpture department and sculptor (right hand side, facing left); Timothy Powell, GSA staff, Graphic Design department (right hand side, in the foreground, front-facing, wearing a suit).

The exact date and location of the 1982 fashion show are unknown.  Other shows held around this time were however held in the spring, and in the Assembly building or in the Assembly Hall of the Bourdon Building. The film comprises footage of students modelling on the stage. There is a mixture of men’s and women’s garments.  Styles and themes of garments include rainbow, futuristic, Oriental, Egyptian, ballgowns, stripes, geometry, hats, formal, off-the-shoulder, utility wear, white, accessories, metallic, fantasy, swimwear. The show also features an extravagant period ballgown, designed by Kenny McLellan, which was subsequently shown at the “Young Blood” exhibition at the Barbican Centre in London, in November 1983 to January 1984. The set for the show consisted of a pale, self-coloured fabric backdrop. The soundtrack for this film was added during the editing phase of the film and contains music which was played at the fashion show. Soundtrack: Fever – Little Nell, You Make Me Feel (Mighty Real) – Jimmy Sommerville, Nice 'n' Easy – Frank Sinatra, Whip it – Devo, Lullaby of Broadway – Ella Fitzgerald, Move On (Extended Version) – Fashion, Life in a Day – Simple Minds, Living Doll – Cliff Richard, Lullaby of Broadway – Ella Fitzgerald, Move On (Extended Version) – Fashion, Je ne regrette rien – Edith Piaf, Walking on Thin Ice – Yoko Ono, You Make Me Feel (Mighty Real) – Jimmy Sommerville, Nice 'n' Easy – Frank Sinatra, I wanna be loved by you – Marilyn Monroe, It ain't what you do – Bananarama, The Hunter Gets Captured By the Game – Grace Jones, Move On – Fashion, Life in a Day – Simple Minds, The Hunter Gets Captured By the Game – Grace Jones, The Farmer and the Cowman should be Friends – Oklahoma, Poison Arrow– ABC, Those Lazy Hazy Crazy Days of Summer – Nat King Cole, Poison Arrow – ABC, Fever – Little Nell, Land of Hope and Glory, plus seven unidentified pieces of music. Captions for the film were provided by the Mackintosh School of Architecture Computer Department. A short clip of this film is available online at https://vimeo.com/channels/504825/222346080. To view the full length film, please contact GSA Archives and Collections. The information above has in part been provided by staff and alumni of GSA.

A collection of photographs and negatives taken by George Oliver dating from 1948-1990 (apart from two dated c1897). George arranged his photographs into folders by approximate subject matter and gave each folder a title. This has been reflected in the catalogue with the folder titles in the catalogue being the exact titles George used. The folders have been arranged by subject matter where possible. There are exceptions to the above. Folders DC 066/2/20 and DC 066/2/86 have not been given a title by George and have been catalogued as 'Untitled'. There are exceptions to this with DC 066/2/78 containing photographs taken by Cordelia Oliver as they date from after George's death. As a result of the Mackintosh Building fire in 2014, folders DC 066/2/87, DC 066/2/88 and DC 066/2/89 contain photographs that have been rehoused since their deposit and are likely to have been taken out of other folders. It is not clear from which folders these photographs came originally, so they have been catalogued separately with their titles reflecting the subject matter of the photographs they contain.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

The symbols which form the Glasgow coat of arms all refer to miracles performed by St. Mungo, the patron saint of the city who is normally represented with these emblems on the coat of arms. They first appeared on the seals of bishops of Glasgow, the fish on the seal of William Wishart in 1270, the bird on the seal of Robert Wishart in 1271. They were used together for the first time on the seal of the Chapter of Glasgow in 1488. The salmon with the ring in its mouth refers to the story of the local Queen who gave her ring to a knight she was in love with, the jealous King stole the ring from the knight while he was asleep and then demanded it back from the Queen, having thrown it into the Clyde. In desperation she prayed to St. Mungo who told his followers to cast their fishing nets in the river and bring him the first fish that they caught, a salmon with the Queen's ring in its mouth. The tree represents the green hazel twig which Mungo restored to life after his companions had killed it. The bell represents the service bell used in Mungo's church and still in Glasgow until c1700. Mackintosh's tree is highly abstract in its Art Nouveau 'whiplash' spirals untypical of his work. The bird is a modern replacement of the stolen original.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

The symbols which form the Glasgow coat of arms all refer to miracles performed by St. Mungo, the patron saint of the city who is normally represented with these emblems on the coat of arms. They first appeared on the seals of bishops of Glasgow, the fish on the seal of William Wishart in 1270, the bird on the seal of Robert Wishart in 1271. They were used together for the first time on the seal of the Chapter of Glasgow in 1488. The salmon with the ring in its mouth refers to the story of the local Queen who gave her ring to a knight she was in love with, the jealous King stole the ring from the knight while he was asleep and then demanded it back from the Queen, having thrown it into the Clyde. In desperation she prayed to St. Mungo who told his followers to cast their fishing nets in the river and bring him the first fish that they caught, a salmon with the Queen's ring in its mouth. The tree represents the green hazel twig which Mungo restored to life after his companions had killed it. The bell represents the service bell used in Mungo's church and still in Glasgow until c1700. Mackintosh's tree is highly abstract in its Art Nouveau 'whiplash' spirals untypical of his work. The bird is a modern replacement of the stolen original.

This poster advertised the work of graduating students from the fine art department who were exhibiting as part of The Glasgow School Of Art's annual degree show in 1990. The exhibition included work by students studying environmental art, painting, photography, printmaking and scupture. The poster features a photograph taken by Andrew Stark which shows the exhibitors sitting on the steps of the Mackintosh Building. Martin Boyce winner of the Turner Prize in 2011 can be seen sitting in the front row fifth from the left. The poster was designed at The Glasgow School Of Art and printed by David J Clark Limited. Students in the photograph include: - Martin Boyce - Alan Bullas - Alison Chisholm - Michelle Davies - Alex Dempster - Laura Donnelly - Barry Fielder - Alan Frame - Jim Hamlen - Moray Hillary - Richard Leroyd - Christina McBride - Jackie Munro-McGoldrick - Calum Angus McKay - Gregory Patterson - Alan Pike - Leslie Pontin - Mark Sadler - Ross Sinclair - Andrew Sneddon This list was compiled with the help of Eddie Stewart who tutors in the school's painting and printmaking department. Stewart previously studied fine art at The Glasgow School Of Art at both undergraduate and postgraduate level and is pictured in the degree show posters from 1988 and 1990. A key naming each student can be found alongside this poster.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

The symbols which form the Glasgow coat of arms all refer to miracles performed by St. Mungo, the patron saint of the city who is normally represented with these emblems on the coat of arms. They first appeared on the seals of bishops of Glasgow, the fish on the seal of William Wishart in 1270, the bird on the seal of Robert Wishart in 1271. They were used together for the first time on the seal of the Chapter of Glasgow in 1488. The salmon with the ring in its mouth refers to the story of the local Queen who gave her ring to a knight she was in love with, the jealous King stole the ring from the knight while he was asleep and then demanded it back from the Queen, having thrown it into the Clyde. In desperation she prayed to St. Mungo who told his followers to cast their fishing nets in the river and bring him the first fish that they caught, a salmon with the Queen's ring in its mouth. The tree represents the green hazel twig which Mungo restored to life after his companions had killed it. The bell represents the service bell used in Mungo's church and still in Glasgow until c1700. Mackintosh's tree is highly abstract in its Art Nouveau 'whiplash' spirals untypical of his work. The bird is a modern replacement of the stolen original.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

The symbols which form the Glasgow coat of arms all refer to miracles performed by St. Mungo, the patron saint of the city who is normally represented with these emblems on the coat of arms. They first appeared on the seals of bishops of Glasgow, the fish on the seal of William Wishart in 1270, the bird on the seal of Robert Wishart in 1271. They were used together for the first time on the seal of the Chapter of Glasgow in 1488. The salmon with the ring in its mouth refers to the story of the local Queen who gave her ring to a knight she was in love with, the jealous King stole the ring from the knight while he was asleep and then demanded it back from the Queen, having thrown it into the Clyde. In desperation she prayed to St. Mungo who told his followers to cast their fishing nets in the river and bring him the first fish that they caught, a salmon with the Queen's ring in its mouth. The tree represents the green hazel twig which Mungo restored to life after his companions had killed it. The bell represents the service bell used in Mungo's church and still in Glasgow until c1700. Mackintosh's tree is highly abstract in its Art Nouveau 'whiplash' spirals untypical of his work. The bird is a modern replacement of the stolen original.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

The symbols which form the Glasgow coat of arms all refer to miracles performed by St. Mungo, the patron saint of the city who is normally represented with these emblems on the coat of arms. They first appeared on the seals of bishops of Glasgow, the fish on the seal of William Wishart in 1270, the bird on the seal of Robert Wishart in 1271. They were used together for the first time on the seal of the Chapter of Glasgow in 1488. The salmon with the ring in its mouth refers to the story of the local Queen who gave her ring to a knight she was in love with, the jealous King stole the ring from the knight while he was asleep and then demanded it back from the Queen, having thrown it into the Clyde. In desperation she prayed to St. Mungo who told his followers to cast their fishing nets in the river and bring him the first fish that they caught, a salmon with the Queen's ring in its mouth. The tree represents the green hazel twig which Mungo restored to life after his companions had killed it. The bell represents the service bell used in Mungo's church and still in Glasgow until c1700. Mackintosh's tree is highly abstract in its Art Nouveau 'whiplash' spirals untypical of his work. The bird is a modern replacement of the stolen original.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

The symbols which form the Glasgow coat of arms all refer to miracles performed by St. Mungo, the patron saint of the city who is normally represented with these emblems on the coat of arms. They first appeared on the seals of bishops of Glasgow, the fish on the seal of William Wishart in 1270, the bird on the seal of Robert Wishart in 1271. They were used together for the first time on the seal of the Chapter of Glasgow in 1488. The salmon with the ring in its mouth refers to the story of the local Queen who gave her ring to a knight she was in love with, the jealous King stole the ring from the knight while he was asleep and then demanded it back from the Queen, having thrown it into the Clyde. In desperation she prayed to St. Mungo who told his followers to cast their fishing nets in the river and bring him the first fish that they caught, a salmon with the Queen's ring in its mouth. The tree represents the green hazel twig which Mungo restored to life after his companions had killed it. The bell represents the service bell used in Mungo's church and still in Glasgow until c1700. Mackintosh's tree is highly abstract in its Art Nouveau 'whiplash' spirals untypical of his work. The bird is a modern replacement of the stolen original.

This poster advertised an exhibition of work by postgraduate fine art students which was held in the Mackintosh Building at The Glasgow School Of Art from the 23rd to the 29th of June 1990. The show included work by Marta Estrella, Martyn Greenhalgh, Christopher Hoddinott, Brigitte Jurack, Richard Learoyd, Rachel Meehan, Gregory Patterson, Robert Stark and Euan Sutherland. The poster was designed at The Glasgow School Of Art and printed at David J Clark Limited. The image used on the poster was taken by Richard Learoyd and shows a number of students including: - Alex Dempster - Jim Hamlyn - Peter McCaughey - Craig Richardson - Julie Roberts - Andrew Sneddon - Eddie Stewart - Cathy Whippey The list of names was gathered with the help of Eddie Stewart who works as a tutor in the school's painting and printmaking department. Stewart previously graduated from the school with an undergraduate degree in drawing and painting and a postgraduate degree in fine art. He is pictured in The Glasgow School Of Art's degree show posters for 1988 and 1990, both of which appear in The Glasgow School Of Art poster collection. A key identifying each student in the photograph can also be found in the archival folder for this item.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

The symbols which form the Glasgow coat of arms all refer to miracles performed by St. Mungo, the patron saint of the city who is normally represented with these emblems on the coat of arms. They first appeared on the seals of bishops of Glasgow, the fish on the seal of William Wishart in 1270, the bird on the seal of Robert Wishart in 1271. They were used together for the first time on the seal of the Chapter of Glasgow in 1488. The salmon with the ring in its mouth refers to the story of the local Queen who gave her ring to a knight she was in love with, the jealous King stole the ring from the knight while he was asleep and then demanded it back from the Queen, having thrown it into the Clyde. In desperation she prayed to St. Mungo who told his followers to cast their fishing nets in the river and bring him the first fish that they caught, a salmon with the Queen's ring in its mouth. The tree represents the green hazel twig which Mungo restored to life after his companions had killed it. The bell represents the service bell used in Mungo's church and still in Glasgow until c1700. Mackintosh's tree is highly abstract in its Art Nouveau 'whiplash' spirals untypical of his work. The bird is a modern replacement of the stolen original.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

The symbols which form the Glasgow coat of arms all refer to miracles performed by St. Mungo, the patron saint of the city who is normally represented with these emblems on the coat of arms. They first appeared on the seals of bishops of Glasgow, the fish on the seal of William Wishart in 1270, the bird on the seal of Robert Wishart in 1271. They were used together for the first time on the seal of the Chapter of Glasgow in 1488. The salmon with the ring in its mouth refers to the story of the local Queen who gave her ring to a knight she was in love with, the jealous King stole the ring from the knight while he was asleep and then demanded it back from the Queen, having thrown it into the Clyde. In desperation she prayed to St. Mungo who told his followers to cast their fishing nets in the river and bring him the first fish that they caught, a salmon with the Queen's ring in its mouth. The tree represents the green hazel twig which Mungo restored to life after his companions had killed it. The bell represents the service bell used in Mungo's church and still in Glasgow until c1700. Mackintosh's tree is highly abstract in its Art Nouveau 'whiplash' spirals untypical of his work. The bird is a modern replacement of the stolen original.

This collection relates to Jane Richards and her granddaughter Fiona Jean Paton who both studied at The Glasgow School of Art.

It includes:

• An artist’s palette owned by Jane Richards, c1910
• a small box of watercolour paints owned by Jane Richards, early 20th century
• a portrait drawn by Jane Richards, c1908-1910
• a photograph of Jane Richards, c1914-1918
• a photograph of Jane Richards' husband in uniform, c1914-18
• two watercolour landscapes by Jane Richards, 1907 and 1911
• seven prints produced by The Dux Engraving Co Ltd, early 20th century
• two portraits drawn by Robert Eadie, c1909
• three sketchbooks for product design furniture by Fiona Jean Paton, early 1980s
• eight photographs and eleven slides relating to product design furniture, early 1980s.

Please note that this material is not yet fully catalogued and therefore some items may not be accessible to researchers.

One item was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014 and was conserved in 2018-19.

This poster was used to advertise The Glasgow School Of Art's annual activities week. A number of events were organised including: films, lectures, poetry, jazz folk, drama, contests, disco, a bar in the Haldane building, dance art, a drag talent show and a snooker competition. Activities week ran annually from the 1970s until the mid 1980s. During this week, classes stopped and various events were organised instead. The poster is annotated on the reverse with "J.Cosgrove".

This poster advertised an exhibition of work by graduating fine art students included in The Glasgow School Of Art degree show in 1988. The exhibition showcased work by students studying environmental art, painting, photography, printmaking and sculpture and was held in the Mackintosh Building at The Glasgow School Of Art from the 18th to the 23rd of June. The image on the poster is a photograph taken by previous lecturer Vaughan Judge and shows the exhibiting students sitting on the steps of the Mackintosh Building. A key naming most of the students can be found alongside the poster under the same reference number. The list was compiled with the help of Eddie Stewart who was a former student at The Glasgow School Of Art who then became a tutor in painting and printmaking. Stewart graduated with an undergraduate degree in drawing and painting in 1988 and is included in the photograph on this poster. He then went on to do a Masters in 1990. The poster was designed by The Glasgow School Of Art and printed at David J Clark Limited. Names of students in the photograph: - Leslie Anderson - Suzanne Appleford - Shona Barr - David Burns - Christine Campbell - Alan Connell - Alex Dempster - Graham Fagan - Andrew Fitzpatrick - Jean Gavin - Douglas Gordon - Janice Gray - Simon Greer - Fiona Gurley - Janice Hunter - Fiona Leitch - David Lang - Richard Learoyd - Jeff MacDonald - Alison Mate - Anne McKay - Grant McTavish - Ann Morrison - William Mulraney - Murial Patterson - Craig Richardson - Julie Roberts - Ann Russell - John Shankie - Andrew Sneddon - Eddie Stewart - Pamela Topping - Cathy Wilkes

This poster advertised a lecture by Richard Smith which was held in the Haldane Building at The Glasgow School Of Art. The poster was designed and printed by Jimmy Cosgrove who worked as a senior lecturer in the textiles department at this time.

This poster is one of an edition of 100 posters advertising an exhibition which showcased the work of graduating postgraduate fine art students from The Glasgow School Of Art in 1987. The exhibition was held in the Mackintosh Building from the 13th to the 18th of June. Exhibitors included: - Carolyn Angus - Jean Baird - Stephen Beddoe - Di Blenkinsop - Stephen Conroy - Ashley Cook - Lorraine Cotterell - Peter Quinn - Fiona Robertson - Anne Russell - Andrew J Scott - Lucinda Wilkinson - Lorraine R. Turley Ashley Cook designed and printed the poster. Fiona Robertson went on to work as head of the fourth year painting and printmaking course at The Glasgow School Of Art.

This poster advertised a lecture given by Lily Greenham who was known for her concrete and sound poetry. The lecture was held in the Haldane Building at The Glasgow School Of Art.

This poster advertised a lecture given by Lily Greenham who was known for her concrete and sound poetry. The lecture was held in the Haldane Building at The Glasgow School Of Art.

This poster depicts a portrait of the artist with pink and blue fonts on a white background. It advertises a touring exhibition of the work of Jessie M. King, who is known for her book illustrations and paintings which are very much associated with the Glasgow Style. Known as one of the Glasgow Girls, the exhibition of King's work in 1979 marked the 20th anniversary of her death and was first shown at the Tolbooth Art Centre on Hill Street, Kirkcudbright from 4th June to 18th July. Later that same year, the exhibition was held at the Glasgow School of Art's Mackintosh Building from 27th July to 3rd September. The exhibition itself was sponsored by the Robertson Trust, The N.S. Macfarlane Trust and the Glasgow School of Art Enterprises.

The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.

The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.

Architectural drawing showing Renfrew Street elevation.

Designed for the Director's Room, Glasgow School of Art. Twelve chairs were made in 1904 for the GSA, but William Davidson acquired a further two, with six of MC/F/58 for use as dining chairs in the hall at Windyhill. Twelve chairs reupholstered in brown horsehair 1984. One chair on loan from Glasgow University, returned 1984. These items were assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Bound in volume, The Magazine, November, 1894.

From The Magazine, Spring 1896. Inscribed: The Tree of Personal Effort, The Sun of Indifference, Charles Rennie Mackintosh, January 1895.' The exact meaning of the symbolism of this work, and its companion, 'The Tree of Influence' has eluded all commentators on Mackintosh's early water-colours. The obvious source of the symbolism is nature, and Mackintosh here reaches his most extreme distortion of organic forms.' (Roger Billcliffe).

From The Magazine, Spring 1896. The shadow does not correspond with the object in front; it touches it and echoes it but is different.

Architectural drawing showing basement floor plan.

Architectural drawing showing north elevation. The main difference between the completed North elevation and that shown in the 1896-97 design is the addition of an attic storey, but by setting back the upper row of windows Mackintosh made them quite invisible from Renfrew Street.

Architectural drawing showing first floor plan.

Architectural drawing showing first floor plan.