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Hugh Adam Crawford

Hugh Adam Crawford

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Self portrait. Two of Hugh Adam Crawford's self portraits were exhibited at the Royal Scottish Academy in 1951 and 1960. Another earlier self portrait is also owned by the Scottish National Portrait Gallery.

Crawford, Hugh Adam

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

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

A Cord, Walberswick

A Cord, Walberswick

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. The Ferry on the River Blyth, Walberswick, Suffolk. The subject is the ferry at Walberswick in Suffolk where Newbery and his family spent many holidays.

Newbery, Francis Henry

Portrait of James Craig Annan

Portrait of James Craig Annan

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of the Glasgow photographer James Craig Annan, 1884-1945. Inscribed on frame: "James Craig Annan 1884-1945 by Francis H. Newbery, Director GSA, 1885-1917".

Newbery, Francis Henry

God Bless the Men...

God Bless the Men...

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Decorative panel with lettering: Script reads: God Bless The Men That Build The Ship/Tis Not For Wages/Only That They/Labour But To Save/Men's Lives.'.

Craig, Ailsa

Wrecking Ball

Wrecking Ball

Wrecking Ball woodcut and cardboard print

Note from the artist: This print is part of the collection Wank!, a series of six posters for various sources - such as essays, video clips, movies or performances - all dealing with the taboo subject of female masturbation. Acting like a curator of these references, I aim to highlight that any attempt to represent feminine masturbation through a feminist eye still finds its limits where a branded masculine interpretation of feminine sexuality starts.

Campistron, Dominique

Fairies

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

Cabbages in an Orchard

Cabbages in an Orchard

From The Magazine, April 1894. The long text by Mackintosh which accompanies this watercolour in The Magazine (reproduced in full in Billcliffe's catalogue) suggests that he had already encountered public hostility to his work, possibly even from fellow students, on the grounds of incomprehensibility.

Mackintosh, Charles Rennie

The Tree of Personal Effort

The Tree of Personal Effort

From The Magazine, Spring 1896. Inscribed: The Tree of Personal Effort, The Sun of Indifference, Charles Rennie Mackintosh, January 1895.' The exact meaning of the symbolism of this work, and its companion, 'The Tree of Influence' has eluded all commentators on Mackintosh's early water-colours. The obvious source of the symbolism is nature, and Mackintosh here reaches his most extreme distortion of organic forms.' (Roger Billcliffe).

Mackintosh, Charles Rennie

The Downs, Worth Matravers

The Downs, Worth Matravers

'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

Autumn

Autumn

Bound in volume, The Magazine, November 1894. 'Behind a stylised tree stands another of Mackintosh's mysterious female figures, but this is the first one to appear that is not meticulously drawn. Only the head is shown in any detail, and the shape of the body is hidden by a voluminous cloak from which not even its limbs appear. This figure was to be repeated many times, becoming more and more stereotyped until, with the banners designed for the Turin Exhibition in 1902, the head is the only recognisably human part of a figure with a twelve-foot long, pear shaped torso. In 1895-96, Mackintosh was to develop this drawing into a poster for the Scottish Musical Review (Howarth, p1, 9F). The same cloaked figure appears with similar formal emblems at the ends of the branches of the bush.' (Roger Billcliffe).

Mackintosh, Charles Rennie

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