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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.

The George and Cordelia Oliver Archive consists of:

• Newscuttings (featuring articles by Cordelia Oliver)
• photographs and negatives by George Oliver
• personal papers
• examples of artwork by Cordelia and George Oliver, various publications
• posters relating to cultural events in Glasgow and Scotland.

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.

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 Glasgow School of Art uniform, worn by a previous student.

Diploma in Design and Decorative Art (Interior Design) from The Glasgow School of Art, awarded to Charles Alexander Wallace Shaw. Calligraphic writing dates the diploma from the 13th of June 1961. The diploma is stored in a blue tube, embossed with The Glasgow School of Art logo, and '35. Charles Shaw.' attached to the top.

To mark the centenary of the First World War, GSA’s Archives & Collections and Exhibitions worked with Louise Welsh, Professor of Creative Writing at the University of Glasgow and Edwin Pickstone, GSA Lecturer, to create a memorial to GSA students, staff and governors who undertook work on the home front.

Consisting of three panels with text written by Louise and letterpress prints created by Edwin, the memorial was informed by archival research. The frame was designed and made by Steven Higgins with lettering from Erin Bradley-Scott.

This memorial is a partnership piece to GSA’s WWI Roll of Honour, created in 1925 by Dorothy Doddrell to commemorate students, staff and governors who had served in the armed forces.

The project was generously funded by Mr James McBroom whose father, James Nicol McBroom, was a prize-winning student at the School and who undertook munitions work during the war.

Architectural drawing of the GSA Mackintosh Building. Scale 1:100.

Architectural drawing of the GSA Mackintosh Building. Scale 1:5.

Oblong metal box on fretwork pedestal with four decorative enamel plaques, two ships on the shorter sides, GSA letters and a list of makers on the longer sides.  Remains of hinge and catch suggest missing lid. Makers were: J C Kant; G G Killin; M E Robley;  I T Smith;  E Wilson.

Blue linen artist's painting smock worn by a student of The Glasgow School of Art.

The Glasgow School of Art promotional book of matches. Annotated with GSA 12 squares logo on front flap, '167 Renfrew Street Glasgow G3 6RQ Scotland' and 'BRITISH MADE' on the reverse, and 'Glasgow School of Art' on the top fold.

The Glasgow School of Art scarf featuring the school emblem.

Heavy metal embosser for stamping paper with the GSA badge.  Maker's mark reading D. Cunninghame Die Sinkers & Co., 48 Buchanan, Glasgow.  Working order, but some rusting.

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.

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.

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.

14 textile items, thought to have been designed as part of Grace Melvin's diploma show c1918.

There are 4 known surviving volumes: The Magazine 1893, The Magazine April 1894, The Magazine November 1894, The Magazine 1896.

The Magazine was a publication of original writings and designs by students from the Glasgow School of Art, Glasgow, Scotland, and their friends. Appearing in 4 volumes between November 1893 and Spring 1896, The Magazine contains text from contributors handwritten by Lucy Raeburn, editor, accompanied by original illustrations. These volumes are the only known copies of The Magazine. In addition to rare, early watercolours and designs by Charles Rennie Mackintosh, the volumes contain early designs by Frances MacDonald and Margaret MacDonald, at a stage in their development which has been labelled 'Spook School', and two sets of photographs by James Craig Annan, when he was beginning to establish a reputation at home and abroad. Among other contributors were Janet Aitken, Katherine Cameron, Agnes Raeburn and Jessie Keppie, all of whom enjoyed lengthy careers in art and design.

The Magazine is similar to an album amicorum such as those which originated in the middle of the 16th century among German university students, who collected autographs of their friends and notable persons, sometimes adding coats of arms and illustrations. The Magazine resembled the album amicorum in that contributions were by a close group of students and their friends and is all the more interesting because the illustrations were produced by young people who had a common social background, were trained at the same school, and subjected to the same artistic influences. The contributors were closely linked, some by family, some by romantic attachments and had close social connections. Other contributors include C Kelpie, John M Wilson, Jane Keppie, and Ethel M Goodrich. Source: Jude Burkhauser, Glasgow Girls: women in art and design (Edinburgh : Canongate, 1990).