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Mackintosh, Charles Rennie Fine arts With digital objects
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Materials relating to Francis Newbery

Materials relating to Francis Newbery

Various papers and documents relating to Francis Newbery, including articles written by and about him, possibly related to the exhibition 'Fra H Newbery, Artist and Art Educationist, 1855-1946', held at The Glasgow School of Art, 29 Jul 1996-30 Aug 1996, curated by George Rawson. File includes: postcard of ‘The Paisley Shawl’, a painting by Francis Newbery c1910; printed image with description hand-written on back which reads ‘caricature of F H Newbery by Hugh Munro – in “St Mungo” 1897’; photocopy of article by Francis Newbery titled ‘Art Education’ and labelled ‘article by Fra Newbery, BA meeting Glasgow 1901’, about art education in Glasgow with particular focus on The Glasgow School of Art; typed copies of song titled ‘Dumble-Dum-Dearie or How Fra Newbery Got His Cloak and Hat; The School of Art Song’, unauthored, likely related to Newbery’s retirement [1916] (3 copies); typed page with biographical information regarding Francis Newbery’s artistic and educational career titled ‘Who’s Who In Glasgow In 1909’, unauthored and undated; typed page titled ‘Francis Henry Newbery 1853-1946’ with a biography of Newbery’s life and career from birth to death, focused on Newbery’s connection to Bridport in Dorset, unauthored and undated but likely related to and written by someone associated with Bridport; typed copy of a text titled ‘Francis Henry Newbery (1853-1946)’, possibly a draft of a catalogue published to accompany the exhibition 'Fra H Newbery, Artist and Art Educationist, 1855-1946', The Glasgow School of Art, 29 Jul-30 Aug 1996, written by George Rawson (2 copies); photocopy of article titled ‘Francis Newbery and the Glasgow Style’ by Isobel Spencer (now Isobel Johnstone) for Apollo Magazine, Oct 1973.

Newbery, Francis Henry

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

The Descent of Night

The Descent of Night

Appears in The Magazine, April 1894. 'The central figure is based upon that used in the 1893 design for a diploma for the GSA and like that in 'The Harvest Moon', has wings like an angel. Here, however, she appears naked and her outstretched arms and hair merge and are transformed into barren tree-like forms. These descend to the horizon behind which the sun is gradually disappearing under the feet of the winged figure. From the bottom of the picture, and directly beneath the sun, rises a flight of menacing birds. They are presumably nocturnal birds of prey and they seem to be flying directly towards the viewers. This is one of Mackintosh's earliest uses of this strange bird, which was to become more stylised and to appear in many different forms, in several media in his oeuvre.' (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

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