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Display of block printing process in wooden display case, featuring toucan design. Back of case has GSA label with writing "Block Printing C". Due to information in archival documentation, display case can be dated pre-1943.

Metal, possibly tin, coffee pot with repair to handle using a more elaborate metal handle from another vessel to replace damaged section. Part of the GSA handling collection, marked 'sch 19' in red paint on base.

Simple metal candleholder on circular tray base with row of  piercings on base.  Part of the GSA handling collection, 'GSA 49' in red paint on base.

Metal trefoil style candle holder on flat tray base,for thick candle, possibly ecclesiastical.  Used for school handling collection, marked 'sch 66' in red paint on the base.

Metal, possibly brass, simple inverse funnel shape candlestick from the GSA handling collection with 'GSA 927' marked in red on the base.

Heavy, machined brass candle holder. Threaded bore in base suggests that there may have been other parts to this originally, possibly the base for a candelabra. Part of the School handling collection, marked 'sch 40' in red paint on base.

Collection of items related to the Glasgow based firm J. Giusti & Co. which specialized in the production of plaster figures, mould making, statuary repair, and other plaster work. The collection is primarily composed of plaster busts and portraits, six moulds, and two medals. The casts and moulds are formed after a range of sculptural styles including ancient Greek and Roman, French Gothic, Italian Renaissance, and 19th century anatomical studies.

The Giusti Plaster Cast Collection highlights mould making and casting processes that were used to produce objects for retail and to repair existing plaster casts. Records from The Glasgow School of Art document purchases and repairs from J. Giusti & Co. from as early as 1890, and casts related to those in the collection were widely used as teaching and learning tools at the GSA through at least mid-20th century.

As most of the items in the collection were used in commercial casting processes, very few items have a plain white, white washed, or decoratively painted surface that are often observed in plaster cast collections. Many of the plaster casts and all of the plaster moulds are widely covered with uneven layers of shellac that appear yellow, red, or brown. Shellac was applied as a sealant and resist agent to prevent existing plaster elements from sticking to fresh plaster elements during the casting process.

In addition to the plaster casts and plaster moulds, several items provide further insights into the material processes employed by J. Giusti & Co. Two medals (likely bronze) showcase the company's involvement with mould making for metal casting, and a gelatine mould is a surviving example of a traditional process used to produce detailed casts in small quantities.

The collection consists of 305 photographs taken between 1853 and 1896. Sitters included local dignitaries, friends and family including John Brown, Queen Victoria's Ghillie. The collection also includes landscapes and the streets of Glasgow, particularly around the Pollokshields area on the south side of the city. Other subjects include ships, ship yards and stately houses.

This material mainly relates to Ted Odling's time teaching at The Glasgow School of Art from the 1950s to the early 1980s. It contains the following items:

• Copy of a staff photograph, 1950
• CD ROM titled 'family scene part 2', 1956-68
• 9 x letters from Ted Odling to Harry Barnes, sent whilst on a Leverhulme travel award, 1965
• 4 x folders of lecture notes / preparatory material covering perception, anatomy and perspective amongst other subjects, 1970s-80s
• A letter from Ted Odling to Mr Garbett of Ulster Polytechnic regarding Ted Odling's external assessors report, July 1981
• Loose notes on stereo television
• 1 x notebook
• 38 x colour wheels
• 3 x colour swatches (red, blue and green)

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

The collection consists of the surviving papers of the Needlework Development Scheme and over 100 examples of needlework. Of these examples, 28 are from Great Britain and 54 are examples of non-British work including examples from Greece, India, Norway, Sweden, Italy, Switzerland, Turkey and Bosnia. Items include ecclesiatical, domestic, costume, clothing and modern embroideries, tea cosies, funeral pall, clothing, lace work, wall hangings, samplers, linen work and cushion covers.

The surviving papers include a complete inventory of 1012 items that were part of the Needlework Development Scheme prior to its dispersal in 1961. This provides information on the original numbering scheme used for the needlework examples and also provides information on the provenance of each item, although this is not necessarily the creator of the item but the person from whom the item was received, as well as a description of the item itself. There is an inventory of the parts of the collection received by the Glasgow School of Art, insurance details concerning the collection and the correspondence of the Needlework Development Scheme, 1931-1941.

This material may contain sensitive information about individuals that is protected by the Data Protection Act. Until this material has been checked for sensitive information, it will not be available for researchers. Once this Data Protection work is complete the collection will be open for access, however any sensitive information will be closed and inaccessible for 75 years from the date of creation.

Includes flower prints, animal prints, architectural prints, and a print of a painting of a rhinoceros.

Turquoise glaze on both sides. Blue, black, brown and white hand-painted figure on recto with some gold leaf.

1st piece of rim fragment with cream glaze and band of blue, light turquoise, and red/brown paint on recto. Small band of blue paint on verso.

Slightly curved fragment with blue glaze and dark green hand-painted design and bands on recto. Blue glaze with dark green hand-painted Arabic writing and a green band on verso.

Rim fragment with cream glaze and blue, turquoise, red, and dark brown hand-painted patterns on recto. '15 SAVEH' and '15' handwritten on verso. Saveh is a city in Iran.

Small fragment with raised blue hand-painted pattern. 'SAVEH 11' handwritten on verso. Saveh is a city in Iran.

2nd piece of rim fragment with cream glaze and band of blue, light turquoise, and red/brown paint on recto. Band of blue paint on verso.

Fragment with blue glaze on recto and cream glaze with brown/gold hand-painted pattern on verso. Handwritten letters on one edge - possibly 'C S RAZ.'

Rim fragment with cream glaze and dark blue, red, turquoise, and gold hand-painted pattern on recto. Cream glaze with hand-painted red band and black Arabic inscription on verso.

Fragment with cream glaze and light yellow/gold hand-painted patterns and figures riding horses on recto. Cream glaze with brown hand-painted designs on verso.

Rim fragment from dish or plate. Hand-painted black Arabic writing on recto. 'GOMBAZ KAOUE near Persepolis' handwritten on verso. Persepolis is a city in Iran.

Small fragment with cream glaze and gold hand-painted face on recto. Blue glaze with faint green hand-painted pattern on verso.

Part of group of 31 glazed and gilded pottery fragments from Persia/Egypt/Syria. Includes imagery of ornamental designs, figures, animals, and Arabic/Cufic lettering.

Fragment of wall hanging bowl or dish. Yellow/gold glaze on recto with hand-painted light brown swirl pattern.

Rim fragment with cream glaze and yellow/gold hand-painted design on recto. Gold hand-painted patterns with figure on verso. Possibly small handwritten letters on an edge.

Rim fragment from dish or plate. Cream glaze with yellow/gold hand-painted pattern with crown on recto. Small area of cream glaze and red/brown section of hand-painted band on verso.

Triangular shaped ceramic fragment with cream glaze with yellow/gold hand-painted design on recto.

One of thirty-one different pottery fragments from Persia/Egypt/Syria. Likely brought to the Glasgow School of Art to be used as teaching aids.

Fragment from what might be a tile. Hand-painted flower and petal shapes in blue, black, yellow, and turquoise paint. '85' and 'SHAH ISF' handwritten on verso. Shah (Persian) is a title given to the emperors/kings and lords of Iran.

Turquoise glaze and hand-painted black band with white Arabic inscription.

Rim fragment with cream, blue, and black paint with hand-painted band on recto. Hand-painted blue and black bands on verso with metallic/mineral shine.

Fragment with aqua green glaze over embossed pattern on recto. '24' handwritten on verso.

Small fragment with cream glaze and yellow/gold, blue, and red hand-painted designs with gold leaf on recto.

Fragment of dish or plate. Cream glaze with dark blue, turquoise, black, red, hand-painted figures and animal on recto with some gold leaf. Cream glaze with turquoise, blue, and red hand-painted figures on verso with some gold leaf. One large crack down the centre.

Slightly curved fragment with pastel blue glaze on recto and verso.

Rim fragment with green/brown glaze with dark blue hand-painted desgin on recto. Dark blue glaze on verso.

Rim fragment with cream glaze and blue and black hand-painted band on recto. Cream glaze with hand-painted black band with what might be Arabic writing on verso.

One of thirty-one different pottery fragments from Persia/Egypt/Syria. Likely brought to the Glasgow School of Art to be used as teaching aids.

Collection of plaster casts comprising human figures, architectural fragments, plaster friezes, plaster reliefs, marble reliefs, tondos and busts.

Casts were used as an important teaching aid by the School, from the late 19th century onwards. The casts are generally based on classical statuary and were originally sourced from Greek, Roman and later Italian and medieval periods. Whilst not totally unique (most art schools in the UK and across Europe owned their own collections, purchased from established suppliers in London, Paris etc.), their continued existence within their original setting gives them an added significance. Importantly, the Glasgow School of Art's photographic archive contains many period images of how these casts have been used by staff and students since they were first introduced.

The majority of GSA's plaster cast collection was located in the School's Mackintosh Building at the time of a fire in the building on 23rd May 2014. As a result the majority of the collection suffered damage, of varying degrees, and all casts were subsequently surveyed by a conservator. Six casts were lost in the fire and eleven larger casts have undergone remedial conservation in 2016-17. The majority of the remaining casts have undergone cleaning before being repositioned around GSA's campus during 2019.

Framed display of pink and black embroidery with beading, with engraved title "Samples and Examples by Anne Knox Arthur, The Glasgow School of Art". Includes label "Embroidery C_Black and Pink" and instruction on back of frame. Due to information in archival documentation, display case can be dated pre-1943.

Includes photographs collected by Alexander McGibbon, Charles Edward Whitelaw, and Eugene Bourdon. Also includes collection of cloud studies, copies of George Henry works, and miscellaneous photographs.

Pewter mug with handle. Red marking on bottom, "SCH.298". Small indented markings on side "QUART", "A8", "Wood & Sons, Glasgow", and Queen Victoria royal cypher. Due to information in an inventory, mug can be dated pre-1958.

A collection of Kath Whyte's personal papers which comprises:

• Family papers, press cuttings and photographs, c1909-1981
• School certificates, c1922
• Correspondence, 1927-1996
• Early sketches and drawings, 1920s
• ketchbooks, notebooks, photographs and correspondence from Gray's School of Art, c1922-1947
• Personal correspondence, 1922-1996
• National Identification Card, 1943
• Travel diary, c1940s
• Lecture notes, sketchbooks and notebooks, 1948-1974
• Assorted textile samples, sketch books and notebooks, 1950s-1970s
• Examples of weaving by Kath Whyte and her pupils, c1950s-1970s
• Diaries 1974-1988 and miscellaneous books owned by Kath Whyte
• Photographs (professional and personal), 1909-1996
• MBE medal and associated correspondence and photograph
• Extensive collection of undated slides
• Exhibition catalogues
• Textile and design pieces, c1930s-1970s

This material may contain sensitive information about individuals that is protected by the Data Protection Act. Until this material has been checked for sensitive information, it will not be available for researchers. Once this Data Protection work is complete the collection will be open for access, however any sensitive information will be closed and inaccessible for 75 years from the date of creation.

This collection contains:

• Family papers, 1805-1889;
• Wartime records, 1914-1916;
• Lectures and speeches, c1930-1950;
• Photographs; c20th century;
• Miscellaneous papers, c1930-1972;
• Sketchbooks and drawings; c20th century.

This material may contain sensitive information about individuals that is protected by the Data Protection Act. Until this material has been checked for sensitive information, it will not be available for researchers. Once this Data Protection work is complete the collection will be open for access, however any sensitive information will be closed and inaccessible for 75 years from the date of creation.

Includes

• a selection of Christmas cards and other ephemera collected by Conrad McKenna, a former student and staff member at The Glasgow School of Art, plus typed and handwritten materials used by McKenna to deliver teaching at The Glasgow School of Art
• correspondence between Conrad McKenna and The Glasgow School of Art and members of staff, and correspondence and printed ephemera regarding The San Gimignano Summer School.

The cards and ephemera have been created by former Glasgow School of Art staff and students and friends of Conrad McKenna, including Gordon Huntly, Rosalind Bliss, Michael Moulder, Peter Sumsion, Michael Healey, Mark Severin and James Cosgrove.

This material may contain sensitive information about individuals that is protected by the Data Protection Act. Until this material has been checked for sensitive information, it will not be available for researchers. Once this Data Protection work is complete the collection will be open for access, however any sensitive information will be closed and inaccessible for 75 years from the date of creation.

A collection of personal papers and documents belonging to William Drummond Bone, including exam papers, army correspondance, fashion designs, essays, teaching notes and exhibition catalogues.

A collection of 6 mounted boards with hand-drawn, hand-painted designs for shawls, featuring the Kashmir cypress cone or 'Paisley' pattern.

A collection of 27 mounted boards with hand-drawn designs for shawls, featuring the Kashmir cypress cone or 'Paisley' pattern.

Framed display of navy and green embroidery with beading, with engraved title "Samples and Examples by Anne Knox Arthur, The Glasgow School of Art". Includes label "Embroidery A_Navy and Green" and instruction on back of frame. Due to information in archival documentation, display case can be dated pre-1943.

A variety of drawings and graphic designs created by Gerard V. Murphy, a former student at The Glasgow School of Art in the 1930s. The diverse subjects of his drawings include animals, plants, architecture, human anatomy and figures. A subfonds titled 'Teaching examples' features his teaching materials as an art teacher at schools, intended for printmaking techniques and pattern design education.

Most items have been marked with his name or student registration numbers, assuming they were created during his time as a student at GSA. The dominant materials in his works are pencil and watercolour, worked on cartridge paper.

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