Showing 154 results

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).

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.

Painted on Mackintosh's tour of Italy in 1891 with Alexander 'Greek' Thomson travelling scholarship.

Mackintosh's style here is the closest he came to that of Margaret and Frances Macdonald, but his figures are always more substantial and the subject matter less whimsical than theirs.

In July Mackintosh and Margaret Macdonald spent a holiday in Dorset re-visiting many of the place he had visited in 1895. 'In 'The Village' and 'The Downs' Mackintosh makes his first conscious moves towards his mature style of the Port Vendres period. He is obviously concerned with the pattern of the landscape, picking out features like the stepped hillside, the stone walls, paths and roofs of village houses. These ordinary motifs are given an eerie emphasis by being painted in an equally detailed manner whether they are in the foreground of the the distance... it was probably at this time... that he decided to concentrate more and more on painting. By 1923 he had decided to forsake architecture and design and devote the rest of his life to producing watercolours.' (Roger Billcliffe).

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.

Sketch of three angels playing musical instruments.

'As in 'The Village' there are no figures in this view of the Dorset countryside. This absolute lack of human activity gives Mackintosh's pictures an air of eerie, even surreal, desertion. They are formal landscapes... the most dominant feature in this work is the tall telegraph pole, a formal and unnatural element in this gentle Dorset landscape.' (Roger Billcliffe).

From The Magazine, April 1894. The long text by Mackintosh which accompanies this watercolour in The Magazine (reproduced in full in Billcliffe's catalogue) suggests that he had already encountered public hostility to his work, possibly even from fellow students, on the grounds of incomprehensibility.

Bound in volume, The Magazine, Spring 1896. One of three watercolours depicting the seasons drawn for The Magazine.

Appears in The Magazine, April 1894. 'The central figure is based upon that used in the 1893 design for a diploma for the GSA and like that in 'The Harvest Moon', has wings like an angel. Here, however, she appears naked and her outstretched arms and hair merge and are transformed into barren tree-like forms. These descend to the horizon behind which the sun is gradually disappearing under the feet of the winged figure. From the bottom of the picture, and directly beneath the sun, rises a flight of menacing birds. They are presumably nocturnal birds of prey and they seem to be flying directly towards the viewers. This is one of Mackintosh's earliest uses of this strange bird, which was to become more stylised and to appear in many different forms, in several media in his oeuvre.' (Roger Billcliffe).

Bound in volume, The Magazine, November 1894.

Bound in volume, The Magazine, November 1894. 'Behind a stylised tree stands another of Mackintosh's mysterious female figures, but this is the first one to appear that is not meticulously drawn. Only the head is shown in any detail, and the shape of the body is hidden by a voluminous cloak from which not even its limbs appear. This figure was to be repeated many times, becoming more and more stereotyped until, with the banners designed for the Turin Exhibition in 1902, the head is the only recognisably human part of a figure with a twelve-foot long, pear shaped torso. In 1895-96, Mackintosh was to develop this drawing into a poster for the Scottish Musical Review (Howarth, p1, 9F). The same cloaked figure appears with similar formal emblems at the ends of the branches of the bush.' (Roger Billcliffe).

In art nouveau frame drawn in ink on brown backing paper: The Harvest Moon, Chas. R. Mackintosh, 1893, To John Keppie, October 1894.

From The Magazine, Spring 1896. Inscribed: The Tree of Influence, The Tree of Importance, The Sun of Cowardice, Charles Rennie Mackintosh, Jan 1895.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of GSA art students, including Dorothy Ballantyne, Marion Fletcher, Sheila Wilson, Tom Gardner (the artist), Jimmy Spiers, Audrey Scarle, Florence Jamieson, Fay Campbell as well as tutor David Donaldson, his wife Pat and son David, plus a life model who is thought to be a music student from Falkirk who studied at The Atheneum.

Organic shapes painted in black ink on paper. Background painted in cream coloured gouache with pink, gold and blue paint marks. Abstract piece on card and white ink attached to item with line drawing of leaf motif in ballpoint pen adjacent. Similar style and application of material to DC 089/1/2/4/9.

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation took place in 2018. Textile conservation was completed in 2019.

Painted during their stay in Suffolk, when Mackintosh and Margaret Macdonald had left Glasgow.

Mackintosh produced a number of very similar paintings of stylised bouquets of flowers at this time, c1918-20.

Three abstract compositions of organic like shapes. Painted in ink, gouache and metallic ink on white paper. Similar in design and application of media to DC 089/1/2/4/10.

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation took place in 2018. Textile conservation was completed in 2019.

Two painted figures in ink and gouache mounted onto white card. Design one shows an abstract face painted in coloured inks and white gouache. Design two shows an abstract face painted in black ink and purple, blue and cream gouache.

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation took place in 2018. Textile conservation was completed in 2019.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Landscape study of woods in Milngavie, near Glasgow. Verso: 'Edge of a wood, Milngavie', John Laurie, 4 Somerset Place Mews Glasgow G3.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of Sir Hector Clare Cameron (1843-1928), Professor of Clinical Surgery at the University of Glasgow. This is a study of the finished work held at the Hunterian Art Gallery, University of Glasgow.

Oil pastel background with acrylic painted onto surface. Tool used (most likely pencil) to draw figurative suggestions to reveal the pastel background. Work on white card.

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation took place in 2018. Textile conservation was completed in 2019.

Gouache painting of figures in Native costume. One figure wearing a leopard style costume and mask and the other wearing a blue poncho and animal mask. Painted on white paper.

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation took place in 2018. Textile conservation was completed in 2019.

Organic shapes painted in black ink and rendered in pink, white and green gouache. Gold and copper coloured flecks of ink on surface of design.

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation took place in 2018. Textile conservation was completed in 2019.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of the Glasgow photographer James Craig Annan, 1884-1945. Inscribed on frame: "James Craig Annan 1884-1945 by Francis H. Newbery, Director GSA, 1885-1917".

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. The canvas relates to smaller watercolours in the Hunterian collection, formerly thought to be textile designs, and to their painted canvas, 'The Little Hills' by Margaret Macdonald. It is likely that they were intended for 'The Dug-Out', though it is not known whether they were ever installed there. Jessie Newbery recalled in 1933, that 'He (Mackintosh) and his wife spent the winter of 1914 painting two large decorations for Miss Cranston'. This would have been in Suffolk, after they had left Glasgow. Although The Dug-Out was not created till 1917-18 it is not unlikely that Miss Cranston was considering the project some years earlier. The canvas was found in the GSA in a single roll in 1981 and was cleaned and mounted on two stretchers.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. The canvas relates to smaller watercolours in the Hunterian collection, formerly thought to be textile designs, and to their painted canvas, 'The Little Hills' by Margaret Macdonald. It is likely that they were intended for 'The Dug-Out', though it is not known whether they were ever installed there. Jessie Newbery recalled in 1933, that 'He (Mackintosh) and his wife spent the winter of 1914 painting two large decorations for Miss Cranston'. This would have been in Suffolk, after they had left Glasgow. Although The Dug-Out was not created till 1917-18 it is not unlikely that Miss Cranston was considering the project some years earlier. The canvas was found in the GSA in a single roll in 1981 and was cleaned and mounted on two stretchers.

Fabric design in blue and pink paint on white card. Annotated on front: "Dots + stripes- print silk, fashion fabric".

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation took place in 2018. Textile conservation was completed in 2019.