Nine pieces of teaching examples for printmaking, attached to backing paper. These woodcut-printed examples include two pattern designs and seven printed drawings. Also used as teaching materials in schools in Scotland, as marked the level of students "Fourth year."
Five pieces of teaching examples for printmaking, attached to backing paper. A few prints were created using both intaglio and relief printing techniques, while the others are relief prints. Also used as teaching materials in schools in Scotland, as marked the level of students "Fifth year."
Two multicolour-printed pieces of teaching examples for printmaking, attached to backing paper. These prints illustrate the heroic myth of Saint George slaying a dragon. Also used as teaching materials in schools in Scotland, as marked with the level of students "Sixth year."
Four pieces of teaching examples for printmaking, attached to backing paper. These woodcut prints were created using potentially intaglio and relief printing techniques. Also used as teaching materials in schools in Scotland, as marked with the level of students "Sixth year."
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.
Four pieces of teaching examples for pattern designs, attached to backing paper. These pattern designs were created for possibly textiles and used as teaching materials in schools in Scotland, as marked the level of students "First year."
Nine pieces of teaching examples for printmaking, attached to backing paper. These prints appear to be intended as teaching materials in schools in Scotland, as marked the level of students "Third year."
Seven pattern designs examples are attached to backing paper. This work was used as teaching material in schools in Scotland during Murphy's career as an art teacher.
Seven pieces of teaching examples for basic pattern designs, attached to backing paper. This work was used as teaching material in schools in Scotland, as marked the level of students "Primary 5-7."
Four pieces of teaching examples for pattern designs, attached to backing paper. These pattern designs were used as teaching materials in schools in Scotland, as marked the level of students "Second year."
Study of a costumed male, standing. This item bears a label for The Glasgow School of Art, listing the 1915-1916 session, and Mr Robinson as the teacher.
Originally located inside portfolio folder (DC 110/1/4).
Study of a costumed male, standing. This item bears a label for The Glasgow School of Art, listing the 1915-1916 session, and Mr Robinson as the teacher.
On the reverse of this item is a sketch of a female figure.
Originally located inside portfolio folder (DC 110/1/4).
Study of a costumed female, seated. This item bears a label for The Glasgow School of Art, listing the 1915-1916 session, and Mr Robinson as the teacher.
Originally located inside portfolio folder (DC 110/1/4).
Study of a costumed female, seated. This item bears a label for The Glasgow School of Art, listing the 1915-1916 session, and Mr Robinson as the teacher.
Originally located inside portfolio folder (DC 110/1/4).
Three ornamental designs featuring symmetric strapworks in rectangular frames. Includes annotations of student registration no. ("No. 71") and signed "Gerard Murphy."
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Design for part of a memorial window for the Church of St Paul, Sandgate, Folkestone. Inscribed: 'For he that is mighty hath magnified me and holy is his name'.
Stained glass cartoon for a two light memorial window. Inscribed: 'Come Holy Ghost'. For the church of St Clement and St James, Horsley, near Derby. This window was one of two, two light windows designed for Guthrie and Wells, the Glasgow firm of decorators who began stained glass production in 1884 and won a reputation for first class craftsmanship and always employing excellent designers (beginning in 1887 with Sir James Guthrie). Bell first designed glass for the firm in 1895 when he won the competition for new windows for the Royal Church at Crathie, and he continued to design for them for twenty-three years. In the 1920s he also designed for the City Glass Company, and examples of his work are still in the Glasgow area.
Stained glass cartoon for a two light memorial window. Inscribed: Our Souls Inspire'. For the church of St Clement and St James, Horsley, near Derby. This window was one of two, two light windows designed for Guthrie and Wells, the Glasgow firm of decorators who began stained glass production in 1884 and won a reputation for first class craftsmanship and always employing excellent designers (beginning in 1887 with Sir James Guthrie). Bell first designed glass for the firm in 1895 when he won the competition for new windows for the Royal Church at Crathie, and he continued to design for them for twenty-three years. In the 1920s he also designed for the City Glass Company, and examples of his work are still in the Glasgow area.
Design for Isaiah. Preliminary drawings for one light windows for St Mark's, Southport, set into pairs in the facing North and South walls of the Church.
Design for St John (with bible). Preliminary drawings for one light windows for St Mark's, Southport, set into pairs in the facing North and South walls of the Church.
Design for Martin Luther (with hammer). Preliminary drawings for one light windows for St Mark's, Southport, set into pairs in the facing North and South walls of the Church.
The design depicts the Blessed Virgin Mary on the left side and a young boy (Hartley?) on the right. Design is for the lower section of a window in St Mark's, Southport; dedicated to the memory of Sir William Pickles Hartley of the Primitive Methodist Movement. Inscribed: 'What doth the Lord require of thee but to do justly and to love mercy and to walk humbly with thy God?'.
Design for St Paul (with staff). Preliminary drawings for one light windows for St Mark's, Southport, set into pairs in the facing North and South walls of the Church. See NMC/282A for replacement face used for St Paul.
Three printed graphic designs featuring school magazine covers, annotated "Motherwell R.C. H.G. School Magazine." and attached to textured backing paper. This work was used as teaching material in schools in Scotland, as marked the level of students "Fifth year."
Piece of experimental sandblasted glass made by the artist as a postgraduate student. This item was made as sample for possible commission for an architect in relation to a shop front for Leeds Building Society. The final piece was made with kiln-fired fused and lustred glass panels.
The image is one of a series based loosely on a setting sun behind a pyramidal island.
