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Sculpture Drawing

A two sided drawing in charcoal and graphite pencil on white paper. One side features drawings of figurative sculptures from antiquity displayed on plinths. Featuring the head of an Egyptian style sculpture and torso. The other side is a composition in pencil showing sculptures on plinths and lilies in the foreground.

Taylor, Fraser

Sketchbook

Sketchbook/scrapbook featuring drawings and paintings by a variety of artists, some of whom are believed to have been students at The Glasgow School of Art in the early 1900s. The sketchbook belonged to Isa and May McKerrow.

Watt, Elizabeth Mary

Morvich sketchbook

Two sided drawing on sketchbook page. Side one shows a black ink drawing of cows grazing in a field, with gestural marks. Side two has a faint pencil drawing of leaves and a drawing in conte crayon on tracing paper and taped to the paper with masking tape.

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.

Taylor, Fraser

Morvich sketchbook

Abstract drawing in black ink with crosshatched lines and solid ink circles. Annotated verso "drawing of bay- quick almost child like drawing. Leaving the line as free as possible ignoring all detail- development, select lines and put into new format".

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.

Taylor, Fraser

Morvich sketchbook

One sketchbook page divided into two drawings in charcoal, crayon, gouache and ink. Depicting a mountainous landscape with overdrawn figurative outlines. Annotated verso "Fraser Taylor 1980". Similar to DC 089/1/2/4/30.

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.

Taylor, Fraser

Life drawing

An abstract composition with outline of two figures. Small pieces of paper collaged to surface and shaded in a cream coloured gouache, and black crayon. Pale blue paint in background.

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.

Taylor, Fraser

Catterline, Aberdeenshire

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of Catterline shoreline, looking northwards over the bay and showing the pier, boat shed, and salmon bothie, with 'the Watchie' building above.

Eardley, Joan Kathleen Harding

Fairies

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.

Mackintosh, Charles Rennie

The Village, Worth Matravers

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

Wall hanging designed for The Dug-Out, Willow Tea Rooms, Glasgow

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.

Mackintosh, Charles Rennie

The Building Committee of the Board of Governors of The Glasgow School of Art

Portrait group. Inscribed on frame: "Mr. Charles. R. Mackintosh FRIBA The Architect/Col. R.J.Bennett V.D./Mr. David Barclay FRIBA/Sir Francis Powell, LLD, PRSW/Mr. John Munro FRIBA/Mr. Patrick S. Dunn - Convener/Councillor J. Mollison, MINA/ Mr. Hugh Reid DL/ Sir Wm Bilsland, Bart. LLD, DL/Sir John J. Burnet, RSA, FRIBA, LLD/Mr. John Henderson MA/Sir James Fleming - Chairman of Governors/Mr. John M. Groundwater - secretary/ Mr. Francis H. Newbery CAV OFF, INT, SBC, ARCA - Director, pinxit". When Newbery exhibited this group at the Glasgow Institute of the Fine Arts in 1913 it did not include the figure of Mackintosh. In 1914 he painted his large portrait of Mackintosh (collection: Scottish National Portrait Gallery) and his Building Committee portrait group was offered to the Board and accepted. When it was unveiled in 1914 it was seen that he had added Mackintosh's figure, a smaller version of his individual portrait, to the left of the group, and redated the whole canvas 1914. Painting cleaned and relined in 1963 by Mr Harry McLean who discovered the late addition of the figure of Mackintosh.

Newbery, Francis Henry

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