- NMC/0469
- Item
- c1910s-1940s
Landscape with doves.
Raeburn, Agnes
Landscape with doves.
Raeburn, Agnes
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Landscape with figure amongst trees, Ayrshire.
Raeburn, Agnes
Landscape with cottage.
Raeburn, Agnes
View of Italian hill-top Town. One of seven works presented to GSA by the Scottish Arts Council, as a result of the Council's collection being broken up and dispersed across Scotland.
McKenzie, Alison
Alison, Henry Young
Landscape under snow. Possibly near Pinwherry, Ayrshire.
Alison, Henry Young
Study of trees.
Alison, Henry Young
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.
Alison, Henry Young
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Country track under snow; possibly near Pinwherry, Ayrshire.
Alison, Henry Young
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Beach and rocks in foreground; land on left, mid-distance.
Alison, Henry Young
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Mountain scene.
Alison, Henry Young
Landscape under snow. Possibly near Pinwherry, Ayrshire.
Alison, Henry Young
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Summer landscape, with trees and water to foreground.
Alison, Henry Young
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Winter landscape with cottage under snow. Location: Pinwherry, Ayrshire.
Alison, Henry Young
Breaking waves, with rock formation to the foreground.
Alison, Henry Young
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.
Alison, Henry Young
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.
Alison, Henry Young
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Seascape with rocks in foreground, land in mid-ground.
Alison, Henry Young
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of cliff face.
Alison, Henry Young
Sandy shoreline with headland in distance.
Alison, Henry Young
Open flats.
Pringle, John Quinton
Cottage.
Pringle, John Quinton
Trees and buildings, 'Bewdley'.
Pringle, John Quinton
Fenced field.
Pringle, John Quinton
Landscape study.
Pringle, John Quinton
Unfinished abstract landscape. Lower left: The early stages of a water colour drawing (subsequently damaged) made by Mr. J. Q. Pringle when at Whalsay.
Pringle, John Quinton
Houses and skyline.
Pringle, John Quinton
Abstract skyline.
Pringle, John Quinton
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Landscape study.
Pringle, John Quinton
Unfinished study of trees.
Pringle, John Quinton
Study of trees.
Pringle, John Quinton
Country skyline.
Pringle, John Quinton
Woman with hat.
Pringle, John Quinton
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
'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).
Mackintosh, Charles Rennie
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).
Mackintosh, Charles Rennie