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Mackintosh Art, Design and Architecture Collection

  • MC
  • Collection
  • c1891-2018

Items in The Glasgow School of Art's Mackintosh collection include: furniture, watercolours, drawings, architectural drawings, design drawings, sketchbooks, metalwork and photographs.

Mackintosh studied evening classes at the Glasgow School of Art between 1883-1894, winning numerous student prizes and competitions including the prestigious Alexander Thomson Travelling Studentship in 1890. Mackintosh and his contemporaries also produced four volumes of a publication called "The Magazine" during their time as students, which included examples of their writing and artworks. GSA Archives and Collections hold Mackintosh's Italian Sketchbook, as well as all four volumes of The Magazine, all of which can be browsed on our catalogue.

The majority of Mackintosh's three-dimensional work was created with the help of a small number of patrons within a short period of intense activity between 1896 and 1910. Francis Newbery was headmaster of The Glasgow School of Art during this time and was supportive of Mackintosh's ultimately successful bid to design a new art school building in 1896 - his most prestigious undertaking. For Miss Kate Cranston he designed a series of Glasgow tearoom interiors and for the businessmen William Davidson and Walter Blackie, he was commissioned to design large private houses, 'Windyhill' in Kilmacolm and 'The Hill House' in Helensburgh. In Europe, the originality of Mackintosh's style was quickly appreciated and in 1900 he was invited to participate at the 8th Vienna Secession.

In 1902 Mackintosh was invited to participate at the International Exhibition of Modern Decorative Art in Turin and later at exhibitions in Moscow and Berlin. Despite this success Mackintosh's work met with considerable indifference at home. Few private clients were sufficiently sympathetic to want his 'total design' of house and interior and he was incapable of compromise.

By 1914 Mackintosh had despaired of ever receiving true recognition in Glasgow and together with his wife Margaret Macdonald he moved, temporarily, to Walberswick on the Suffolk Coastline (in England), where he painted many fine flower studies in watercolour. In 1915 the Mackintoshes settled in London and for the next few years Mackintosh attempted to resume practice as an architect and designer. The designs he produced at this time for textiles, for the 'Dug-out' Tea Room in Glasgow and the dramatic interiors for 78 Derngate in Northampton, England show him working in a bold new style of decoration, using primary colours and geometric motifs.

In 1923 the Mackintoshes left London for the South of France, finally living in Port Vendres where Mackintosh gave up all thoughts of architecture and design and devoted himself entirely to painting landscapes. He died in London, of cancer, on 10 December 1928.

The majority of Mackintosh's design work, (including furniture and metalwork), architectural drawings, textile designs and watercolours are in the possession of three public collections - The Glasgow School of Art, Glasgow Museums, and the Hunterian Art Gallery at the University of Glasgow - although significant (individual) pieces can be found in museums across the UK and Europe, North America and Japan. However, some of Mackintosh's most important, symbolist watercolours from the early to mid-1890s are to be found in the collection of The Glasgow School of Art.

The Glasgow School of Art Archives and Collections hold a large number of items by Mackintosh, giving us one of the largest collections of his work held in public ownership. The collection is one of 50 Recognised Collections of National Significance to Scotland. We continue to investigate new routes of engagement for the collection. For example, our Mac(k)cessibility project in conjunction with GSA’s School of Simulation and Visualisation explores digital display and loans of our Mackintosh furniture. Find out more about the Mac(k)cessibility project here.

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

White Roses

The wavy pattern in the background is very similar to some of the most abstract designs for textiles for which Mackintosh was producing at this time.' (Roger Billcliffe).

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 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

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

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

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

The Village, Worth Matravers

The Village, Worth Matravers

In July Mackintosh and Margaret Macdonald spent a holiday in Dorset re-visiting many of the place he had visited in 1895. 'In 'The Village' and 'The Downs' Mackintosh makes his first conscious moves towards his mature style of the Port Vendres period. He is obviously concerned with the pattern of the landscape, picking out features like the stepped hillside, the stone walls, paths and roofs of village houses. These ordinary motifs are given an eerie emphasis by being painted in an equally detailed manner whether they are in the foreground of the the distance... it was probably at this time... that he decided to concentrate more and more on painting. By 1923 he had decided to forsake architecture and design and devote the rest of his life to producing watercolours.' (Roger Billcliffe).

Mackintosh, Charles Rennie

Wall hanging designed for The Dug-Out, Willow Tea Rooms, Glasgow

Wall hanging designed for The Dug-Out, Willow Tea Rooms, Glasgow

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.

Mackintosh, Charles Rennie

Wall hanging designed for The Dug-Out, Willow Tea Rooms, Glasgow

Wall hanging designed for The Dug-Out, Willow Tea Rooms, Glasgow

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.

Mackintosh, Charles Rennie

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

One print from 'Abstract Language' (The Philadelphia Series)

One of eight screenprints in a folder inspired by artists and architects who spent their whole lives thinking about squares, rectangles and straight lines: C R Mackintosh, Malevich, Modrian, Lloyd Wright, Newman, Stella, Martin and Halley.
Print 'A' inspired by C R Mackintosh. The screenprints are boxed with an introductory page.

Kilgour, Scott

Spring, Dalry

Spring, Dalry

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Landscape with figure amongst trees, Ayrshire.

Raeburn, Agnes

Museum, The Glasgow School of Art

Museum, The Glasgow School of Art

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. This painting of the first-floor museum, looking East, is one of the very earliest artistic depictions of the building's celebrated interior.

Anderson, Elizabeth

The Magazine

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).

Raeburn, Lucy

Eardley. JMK. McIntosh negs

Folder containing black and white negatives and contact sheets of photographs taken by George Oliver. Most are annotated. Includes: Joan Eardley exhibitions, Mackintosh furniture and the work of Jessie M. King.

Oliver, George

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

Corfe Castle, Dorset

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Corfe Castle, viewed from Corfe Castle Parish Church tower. Verso: To my friends Mary and Allan D. Mainds/ Corfe Castle Dorset/ A Souvenir from the Artists/ 1919.

Newbery, Francis Henry

A Pond

A Pond

Bound in the November 1894 edition of 'The Magazine'. "It must have been something like this watercolour.... that evoked the 'critics from foreign parts' (as reported by Gleeson White in The Studio, pp88-9) to deduce 'the personality of the Misses MacDonald from their works' and see them as 'middle-ages sisters, flat footed, with projecting teeth and long past matrimony... gaunt, unlovely females'. Gleeson White who visited Glasgow to see the Mackintosh group was pleasantly surprised to meet two laughing comely girls scarce out of their teens." (MacLaren Young).

MacNair, Frances Macdonald

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

Articles, reviews and features

Typed draft copies and email correspondence of around 22 articles of 800-3000 word length, by Clare Henry for The Scotsman, The Herald and The Financial Times, January-December 2007. During this period Henry worked between the UK and the USA with the majority of articles featuring exhibitions and events in New York and the USA. Articles also written for Art Newspaper. Other paper work includes handwritten notes and email correspondence.

  • 1 Jan (Scotsman) 42nd St Façade, Anne Militello
  • 9 Jan (Scotsman) Sol LeWitt, Whitney Museum, New York
  • 10 Mar (Financial Times) Vincent Van Gogh, Petit Boulevard, St Louis Museum, Staedel, Frankfurt, William T Kemper Foundation
  • 17 Apr (Financial Times) Paul Mellon, Yale Centre for British Art, New Haven
  • 6 Jun (Financial Times)Peter Paul Rubens, Hermitage Museum, Art Gallery of Ontario, Toronto
  • 12 Jun (Herald Magazine) Frank Lloyd Wright and Charles Rennie Mackintosh
  • 7 Jul (Herald Magazine) Frank Gehry, Jul (Exhibition Catalogue) Ian Scott, Jul (Art Newspaper) The Nordiska Akvarellmuseet, Sweden
  • 27 Jul (Financial Times) Beyond the Easel; Bonnard, Vuillard, Denis, Roussel, The Metropolitan Museum, New York
  • 4 Sep (Herald) William McTaggart, Gleneagles Auction
  • 3 Sep (Sculpture Magazine) Fernando Botero, Marlborough, New York
  • 10 Sep (Art Newspaper) Bulgarian Sculpture, Ilindentci Art Centre
  • 11 Sep (Art Newspaper) New York Festivals, Rockefeller Centre, Howard Scott Gallery, Corning Glass Gallery, Kitchen, New Museum, Gales Gates, New York
  • 26 Sep (Financial Times) Caspar David Friedrich, Metropolitan Museum, New York
  • 22 Oct (Financial Times) Alberto Giacometti, MoMA, New York Oct Armani Sidebar, Nov (Art Newspaper) Asia Society, New York
  • 3 Nov (Financial Times) Brazil Body and Soul, Guggenheim, New York
  • 28 Nov (Financial Times) Museum of Work Religions, Taipei
  • 12 Dec (Financial Times) Impressionist Still Life, Philips Collection, Washington
  • 19 Dec (Financial Times) Norman Rockwell, Guggenheim, New York

[i]Articles written in this year which are not present in the archive

  • 31 Jan (Financial Times) Polish Art 1945-2000, Chicago
  • May (Sculpture Magazine) George Ricky, Maxwell Davidson Gallery, New York
  • May Lynn Macritchie, Mark Walling
  • Jun Bill Packer, Venice Biennale, Malcolm Morley[/i]

Henry, Clare

Family Papers

Family Papers

Papers of the Newbery family including papers dating to after Newbery's retirement; papers of his wife, Jessie Newbery; and documents relating to Mary Newbery Sturrock, daughter of Francis and Jessie Newbery. Papers as follows:

  • DIR/5/38/6/1: Letter from F R Benson of the Royalty Theatre, Glasgow, to Miss Newbery enclosing tickets for a Box for the play 'Much Ado', 12 Mar 1906 (1 sheet).

  • DIR/5/38/6/2: Headed letter paper of Francis Newbery, Eastgate, Corfe Castle, Dorset, c1918 (10 sheets).

  • DIR/5/38/6/3: Order of Proceedings for the inauguration of the Sign of Saint Edward, King and Martyr, Patron Saint of the Village, at Corfe Castle. Newbery made many of the readings at the event, 02 Jul 1927 (1 item).

  • DIR/5/38/6/4: Cardboard silhouette of Francis and Jessie Newbery in a photograph mount, c1930s (1 item).

  • DIR/5/38/6/5: Letters and fragments of letters from Jessie Newbery to her daughter Elsie and perhaps Mary. One of the letters to Elsie is dated 24 Sep 1934. The other letters are fragmentary and include topics such as recipes, books and sewing projects, c1934. (4 sheets)

  • DIR/5/38/6/6: Letter from George M Baltus to Mr and Mrs Newbery catching up with them following the Second World War, telling them of his experiences during that time, and telling them family news, 07 Jan 1946 (1 sheet).

  • DIR/5/38/6/7: File of photographs, pressclippings, sketches, designs, documents and letters relating to Mary Newbery Sturrock, daughter of Francis and Jessie Newbery, c1930s-80s (1 folder). File includes:

  • DIR/5/38/6/7/1: postcard of ‘Port Vendres’, watercolour by Charles Rennie Mackintosh c1926-27, dated 1979;

  • DIR/5/38/6/7/2: mounted photograph of Mary Newbery Sturrock at South Gray Street Edinburgh, undated;

  • DIR/5/38/6/7/3: letter from Mary Newbery Sturrock thanking her correspondent (name not given) for the Mackintosh card and about her memories of the doors of The Glasgow School of Art being white, 16 Oct 1984;

  • DIR/5/38/6/7/4: mounted photograph of Mary Newbery Sturrock and another woman, front of mount reads ‘Wedding’, undated;

  • DIR/5/38/6/7/5: pressclipping from the Helensburgh Advertiser about the opening of a special Mackintosh exhibition held at the Hill House, 03 May 1977;

  • DIR/5/38/6/7/6: card addressed to Mary, from ‘Pamela’ thanking her for a recent note. Front of card depicts ‘Painted gesso panel set with glass beads and shell’ by Margaret Macdonald Mackintosh, 1904, card is undated.

  • DIR/5/38/6/7/7: postcard from ‘Pat’ and Harry Barnes to Mary Newbery Sturrock, from Port-Vendres in France, 1981.

  • DIR/5/38/6/7/8: postcard from Tom Howarth to Mary Newbery Sturrock, from Port-Vendres in France, undated; photograph of Jessie and Francis Newbery; photograph of Mary Newbery Sturrock and another woman; photograph of two women, one likely Mary Newbery Sturrock, signed ‘Whiteleigh, Christmas 66’, 1966;

  • DIR/5/38/6/7/9: photographs of Mary Newbery Sturrock (x4), undated;

  • DIR/5/38/6/7/10: photographs of Mary Newbery Sturrock (x3), undated; close-up photograph of a necklace, undated;

  • DIR/5/38/6/7/11: photographs of Mary Newbery Sturrock (x2), undated;

  • DIR/5/38/6/7/12: photographs of Mary Newbery Sturrock (x2), undated;

  • DIR/5/38/6/7/13: photographs of Mary Newbery Sturrock and family (x4), undated;

  • DIR/5/38/6/7/14: photograph of Eastgate, Corfe Castle, undated; photographs of Jessie and Francis Newbery at Eastgate (x3), undated;

  • DIR/5/38/6/7/15: photograph of Jessie and Francis Newbery and family, undated; photograph of village street, likely Corfe Castle;

  • DIR/5/38/6/7/16: letter from Rodrigo Rodriguez of Cassina S.p.A to Mary Sturrock regarding the terms of an agreement between them for the reproduction of items (cutlery and the 'Six Columns Clock') designed for Sturrock by C.R. Mackintosh, 30 Oct 1979;

  • DIR/5/38/6/7/17: change of address card for Mr and Mrs A. R. Sturrock, from 2 Mansfield Place Edinburgh to 13 South Gray Street, c1945 (7 copies);

  • DIR/5/38/6/7/18: two hand-printed floral designs with addition of watercolour, unsigned and undated (possibly 1937 based on related designs); two versions of a hand-printed design with addition of watercolour depicting a woman with floral headdress, signed ‘M.N.S.’, undated (possibly 1937 based on related designs);

  • DIR/5/38/6/7/19: hand-printed floral Christmas card design with addition of watercolour and ink, back of card is signed ‘C.R., 1/-', dated 1937;

  • DIR/5/38/6/7/20: bundle of sketchbook and loose pages featuring sketches of, notes about and designs for ceramics, unsigned and undated (one example, drawn on the back of a card to Mary reads ‘wishing her good business and good health in 1956’);

  • DIR/5/38/6/7/21: invitation for exhibition of Sigrid Mavor (Ceramic flora and fauna) and M.N. Sturrock (Flower Drawings) from 30 Oct – 10 Nov at ‘The Open Eye Gallery’ Edinburgh [1982];

  • DIR/5/38/6/7/22: letter from Alison Adburgham to MNS Sturrock in response to a letter sent by Sturrock related to her family history and relationship to Liberty fabrics, 01 Jul 1983;

  • DIR/5/38/6/7/23: interview between Mary Newbery Sturrock and Tony Jones (director of GSA 1980-1986) about the history of The Glasgow School of Art, Fra Newbery and Charles Rennie Mackintosh, c1980.

Newbery, Francis Henry

Articles, reviews and features

Articles written for The Glasgow Herald unless otherwise stated.

Hand written and typed draft copies of around 225 articles of 500-1500 word length, by Clare Henry for The Glasgow Herald, January-December 1996 with Monday weekly articles and a weekend feature art guide feature, including a short ‘Studio’ feature and regular book reviews. Articles also written for Art Extra covering visual art exhibitions in Glasgow, Edinburgh, and Kirkcudbright, Aberdeen, Stirling, Aberfoyle, Castlemilk, Dumfries, Dunfermline and Aberfoyle. Exhibitions in London, Venice, Geneva and New York also feature.

A number of the Scottish reviews are for exhibitions at former galleries: Compass Gallery, Gatehouse Gallery Glasgow. The reviews also cover private galleries: Edinburgh Printmakers Workshop, Fruitmarket Edinburgh, Talbot Rice, Billcliffe Fine Art, Nancy Smillie Gallery and Streetlevel Glasgow, as well as publicly funded galleries: Mclellan Galleries, Tramway, Kelvingrove (also known as Glasgow Art Gallery), Burrell Collection Glasgow, National Gallery of Modern Art Edinburgh, Royal Scottish Academy, and artist led galleries Collective Edinburgh and Transmission.

During this period Henry gives more context and opinion on, for example: the new Gallery of Modern Art Glasgow, Ian Cook new Glasgow Royal Concert Hall murals, Borrowed Light Public Art Project, row over Mackintosh show at McLellan Galleries, the opening of the new House for an Art Lover, Douglas Gordon wins Turner Prize, Copenhagen 1996 City of Culture and Charles Rennie Mackintosh in New York. The exhibitions covered are solo shows: Dalziel & Scullion, Ross Sinclair, Alberto Giacometti, George Wyllie, Callum Innes, Willie Rodger, Martin Parr, Annette Heyer, Jimmy Boyle, Victoria Morton and Andy Goldsworthy.

Group shows include British Art Show and Film Culture at Tramway. Edinburgh Festival is covered in detail as well as Glasgow Art Fair, Glasgow International festival of design and Manifesto International Festival of Design. Profiles on Earl Haig, Bridget Riley, Don and Eleanor Taffner. Also includes obituaries for Helen Chadwick and David Donaldson.

Also included are catalogue essays for Highland Printmakers Inverness, Transmission Gallery Glasgow, and other paperwork includes notes on pictures used and correspondence to Jackie McGlone at Arts Extra, Keith Bruce and Bob Jeffery at The Herald, with Caledonian Newspapers, Sandy Moffat and Sam Ainsley at The Glasgow School of Art plus invitations to press openings in Venice.

  • 6 Jan Book Review, Richard Demarco A life in Pictures
  • 8 Jan Looking back on 1995
  • 9 Jan Dalziel & Scullion, CCA Glasgow
  • 13 Jan (studio series) Tim Hobrough
  • 13 Jan Book Review, Beryl Cook
  • 13 Jan Janey Buchan and gallery shopping
  • 13 Jan John McNeece ship design
  • 13 Jan (Herald Weekender Art Guide) Inuit Art, Peacock Printmakers Aberdeen, Artists in Isolation, Gracefield Dumfries, Calanais, Talbot Rice Gallery Edinburgh
  • 15 Jan Gallery of Modern Art Glasgow, Joan Scott
  • 20 Jan Robert Burns Portraits, Compass Gallery Glasgow, Gracefield Dumfries, MacLauran Gallery Ayr
  • 13 Jan (for Galleries Magazine) Edward Summerton, Raw Gallery
  • 20 Jan (Herald Weekender Art Guide) Silk Satin Muslin Rags, Aberdeen Art Gallery, Turner, National Gallery Edinburgh, Freedom, Kelvingrove Glasgow
  • 21 Jan Art Fairs, Glasgow Art Fair, Art96
  • 27 Jan (studio series) Peter Chang
  • 27 Jan Book Review, Fakes by Alice Beckett
  • 30 Jan South Bay Company Glasgow
  • 3 Feb (studio series) Elspeth Lamb
  • 3 Feb (Herald Weekender Art Guide) Alan Robb, Seagate Gallery Dundee, Gillespie Kidd & Coia, The Glasgow School of Art
  • 3 Feb Glasgow International Festival of Design
  • 4 Feb (studio series) Polly Hope
  • 5 Feb Ian Cook, Glasgow Royal Concert Hall murals
  • 7 Feb (for Arts Extra) Willie Rodger
  • 10 Feb (Herald Weekender Art Guide) James Cumming Memorial, McMannus Gallery Dundee, Julia Jeffery, Practice Gallery Glasgow, the Glasgow Show, Art Exposure Glasgow
  • 12 Feb Sugar Hiccup, Tramway Glasgow
  • 17 Feb (Herald Weekender Art Guide) Frances Walker, Peacock Printmakers Aberdeen, Winter Fruits, Green Gallery Aberfoyle, Have a Heart, Traverse Theatre Edinburgh
  • 17 Feb Book Review, John Smibert by Richard H. Saunders
  • 19 Feb Glasgow Print Studios, Scottish Print Open
  • 24 Feb (studio series) Alan Kitching
  • 20 Feb (for Galleries Magazine) Glasgow Dream City
  • Feb (for catalogue) Highland Printmakers, Inverness
  • 26 Feb British Art Show, Botanics Edinburgh
  • 29 Feb (for Arts Extra) Lottery Funding
  • Mar (for Arts Extra) Peter Howson profile
  • 2 Mar (Herald Weekender Art Guide) British Art Show, Botanics Edinburgh, Joy & Benn, The Glasgow School of Art, New Graduates, Art Exposure Gallery Glasgow
  • 4 Mar Gallery Week Scotland, Glasgow Boys & Girls, Ewan Mundy Fine Art Glasgow
  • 9 Mar (Herald Weekender Art Guide) William Kilpatrick, Maclaurian Art Gallery Ayr, RSA Student Show Edinburgh, Colin Brown, The Meffin Forfar
  • 11 Mar Visual Arts UK Fesitval, Newcastle
  • 11 Mar Book review, Cezanne in Provence by Evmarie Schmitt
  • Mar (for catalogue) Ruth Beardsworth, Grays School of Art Research Unit
  • 16 Mar (Herald Weekender Art Guide) John Bellany, Peacock Printmakers Aberdeen, Lil Neilson, Seagate Gallery Dundee, Kumar Garg, Open Eye Gallery Edinburgh
  • 18 Mar Borrowed Light, Public Art Project, Stephen Skrynka, Peter McCaughey
  • 21 Mar Helen Chadwick Obituary
  • 23 Mar (Herald Weekender Art Guide) Lucy Byatt, Aberdeen Art Gallery, Pope & Guthrie, Cyberia Cafe Edinburgh, Ross Sinclair, CCA Glasgow
  • 29 Mar Book review, Gallery of Modern Art Glasgow by Julian Spalding.
  • 30 Mar (Herald Weekender Art Guide) Davy Brown, Ottersburn Gallery Dumfries, Andrew Squire, Gallery 41 Edinburgh, Gallery of Modern Art Glasgow Opening
  • 1 Apr The Greeks, Venice Palazzo Grassi, Flash Art Museum Trevi Spoleto
  • 6 Apr Gardens
  • 8 Apr Sculpture at Goodwood
  • 15 Apr Glasgow Art Fair
  • 16 Apr Galloway's Beaten Path George Square Banners Glasgow
  • 26 Apr Gallery of Modern Art Glasgow, Lord Provost's Prize
  • 20 Apr Appleby & MacFarlane, Aberdeen Royal Infirmary, Petretti & Awlson, Open Eye Gallery Edinburgh
  • 22 Apr Book review, Studios of Frances and Margaret Macdonald by Janice Helland
  • 24 Apr (for Arts Extra) Peter Howson
  • 27 Apr Row over Mackintosh show at McLellan Galleries
  • 27 Apr Morgan Hall, James Dun House Aberdeen, Kinross Scholars, Italian Institute Edinburgh
  • May (for catalogue) on Transmission Gallery Glasgow
  • 2 May George Wyllie, Safety Pin sculpture Trongate Glasgow
  • 4 May (Herald Weekender Art Guide) George Wyllie, Trongate Glasgow, Ronald Forbes, Nancy Smillie Gallery Glasgow
  • 5 May Row over Charles Rennie Mackintosh exhibition
  • 6 May "Out to Unravel Reality with Visual Trickery", Ronald Forbes appointed head of painting at Dundee School of Art and artist's solo exhibition at Nancy Smillie Gallery
  • 11 May (Herald Weekender Art Guide) It Comes Out in the Wash, Green Gallery Aberfoyle, Conclusive States, Fruitmarket Edinburgh
  • 14 May Post Office Gallery, National Gallery of Scottish Art Edinburgh
  • 12 May RIAS, East Campbell Street Studios Glasgow, Kathryn Findlay, Jacki Parry, Gallowgate Studios
  • 18 May (feature) Charles Rennie Mackintosh, McLellan Galleries Glasgow
  • 18 May (Herald Weekender Art Guide) Robert Thompson, Bellshill Academy, Borrowed Image, City Arts Centre Edinburgh
  • 20 May Mary Smith McCulloch, Edinburgh Printmakers, Lennox Paterson, Ewan Mundy Fine Art Glasgow
  • 25 May (Herald Weekender Art Guide) Ruth Bearsworth, Peacock Printmakers Aberdeen
  • 27 May Book review, Glasgow in Transition
  • May (for catalogue) May Cale, Sunil Gawde Gallery London
  • 30 May The Queen portraits Herald commissions
  • 1 Jun (Herald Weekender Art Guide) Awash with Colour, National Gallery Edinburgh, Earl Haig, Scottish Gallery Edinburgh, 20th Century Scottish, Duncan Miller Glasgow, Roger Palmer, Collins Gallery Glasgow
  • 3 Jun Alberto Giacometti, Gallery of Modern Art Edinburgh
  • 8 Jun (Herald Weekender Art Guide) Memento Mori, Greenside Cemetery Alloa, Rodella Purvis, City Arts Centre Edinburgh, Ethel Walker, Gatehouse Gallery Glasgow
  • 9 Jun Portes Ouvertes Art Contemporain, Switzerland Geneva, David Mach, Banque Suisses
  • 10 Jun (Herald Weekender Art Guide) Back From Paris, French Institute Edinburgh, Bridget Riley, Glasgow Print Studios
  • 17 Jun Bridget Riley profile, Glasgow Print Studios
  • 18 Jun Earl Haig profile
  • 22 Jun (Herald Weekender Art Guide) Duncan of Jordanstone Degree Show Dundee, Edinburgh College of Art Degree Show
  • 22 Jun Doctors and Art Portraits from the Royal College of Physicians
  • 22 Jun Book review, The Art of Craigie Aitcheson
  • 24 Jun The Glasgow School of Art Degree Show
  • 29 Jun Book review, Cadell by Tom Hewlett
  • 29 Jun (Herald Weekender Art Guide) Treasures in Trust, Pittencrieff House Museum Dunfermline, David Donaldson, Talbot Rice Edinburgh, Niek Kemps, Tramway Glasgow
  • 6 Jul (Herald Weekender Art Guide) Edna Whyte, Maclaurin Gallery Ayr, Four Decades, East Kilbride Arts Centre, McIntosh and Law, Open Eye Gallery Edinburgh, Bad Girls, Collective Gallery Edinburgh
  • 13 Jul (Herald Weekender Art Guide) Scottish Bestiary, Aberdeen Art Gallery, Lenaghan and More-Gordon, Kingfisher Gallery Edinburgh, Earth and Everything CCA Glasgow
  • 22 Jul Degas, National Gallery London
  • 22 Jul (Herald Weekender Art Guide) Edinburgh Festival, Velazquaz, National Gallery Edinburgh, Arthur Melville, Bourne Fine Art Edinburgh, Helen Chadwick, Portfolio Gallery Edinburgh
  • 27 Jul (Herald Weekender Art Guide) Pam Carter, Wilson Gallery Drymen, Martin Parr, Portfolio Gallery Edinburgh, Annette Heyer, Street Level Glasgow
  • 28 Jul Book review, Jan Steen by Chapman, Kloek and Wheelock
  • 29 Jul Jane Myers, Terra Nova Glasgow, Platform, Glasgow Print Studios, Java Comics Glasgow
  • 1 Aug Whos Who for Art, Edinburgh Festival
  • 3 Aug (Herald Weekender Art Guide) Peacock 21, Aberdeen Art Gallery, David Livingstone, Royal Scottish Academy Edinburgh, Summer Show, Art Exposure Glasgow
  • 4 Aug Book review, In the Light of Italy Corot and Early Air Painting, by Conisbee, Faunce, Strick
  • 5 Aug (Herald Weekender Art Guide) Studio Group, Livingston Centre Blantyre, Silver Linings, Designs Gallery Castle Douglas, Catch the Moments, Gracefeild Arts Centre Dumfries, The Hidden Heart, The Burrell Glasgow
  • 5 Aug Sheepfolds, Andy Goldsworthy
  • 10 Aug (for Festival Extra) Five Must See Art Shows
  • 12 Aug Edinburgh Festival Art, Reckoning with the Past, Fruitmarket Edinburgh
  • 15 Aug Edinburgh Festival Diary
  • 17 Aug (Herald Weekender Art Guide) Time and Tide, Fisheries Museum Anstruther, George Baselitz, Glasgow Print Studios
  • 19 Aug Callum Innes, Inverleith House Edinburgh
  • 19 Aug Eduardo Paolozzi, Talbot Rice Edinbrugh
  • 22 Aug Willie Rodger, Open Eye Gallery Edinburgh
  • 20 Aug Book review, Velazquez in Seville by David Davies and Enriqueta Harris
  • 21 Aug Alexander Goudie, Freemason's Hall Edinburgh
  • 22 Aug House for art Lover Glasgow
  • 22 Aug Off the Drawing Board, Royal Fine Art Commission Edinburgh
  • 23 Aug Pradip Malde, Edinburgh College of Art
  • 23 Aug Arthur Melville, Bourne Fine Art Edinburgh
  • 24 Aug (Herald Weekender Art Guide) Sue Beach, Green Gallery Aberfoyle, Adrian Wiszniewski, Original Print Shop Glasgow, From the Dark Room, Peter Potter Gallery Haddington
  • 25 Aug Jimmy Boyle, St Mary's School Edinburgh
  • 26 Aug Networking, Edinburgh College of Art
  • 26 Aug Alberto Morrocco, Scottish Gallery Edinburgh, Adrian Wiszniewski, Talbot Rice Edinburgh
  • 25 Aug William Geissler, Edinburgh College of Art
  • 22 Aug Peacock 21, Aberdeen Art Gallery
  • 26 Aug Book review, Japan's Golden Age Momoyama, by Money L Hickman
  • 27 Aug (for The Guardian) David Donaldson Obituary
  • 28 Aug Speaking Likeness, Scottish National Portrait Gallery Edinburgh
  • Aug Helen Chadwick, Portfolio Gallery Edinburgh
  • 2 Sep Festival Recriminations, Edinburgh
  • 4 Sep Tim Clifford, new Gallery of Scottish Art and Design plans
  • 5 Sep Sheepfolds Andy Goldsworthy
  • 7 Sep (Herald Weekender Art Guide) Foote watt and Woodside, Green Gallery Aberfoyle, Barbara Balmer, Kingfisher Gallery Edinburgh, Kartell, InHouse Glasgow
  • 9 Sep Glasgow International Festival of Design
  • 12 Sep Film Culture, Tramway, Mark Lewis, Pierre Bismuth, Bruce Mclean
  • 12 Sep Autumn Art Shows, Anne Redpath, Gallery of Modern Art Glasgow, David Roberts, Scottish National Portrait Gallery Edinburgh, Dance of Death, Glasgow Print Studios
  • 14 Sep (Herald Weekender Art Guide) Stuart Beaty, Open Eye Gallery Edinburgh, George Gilbert, Gatehouse Gallery Glasgow, Victoria Morton, Transmission Gallery Glasgow
  • 15 Sep (for catalogue) Jun Carey, Billcliffe Gallery Glasgow
  • 16 Sep Glasgow International Festival of Design Part 2
  • 21 Sep (Herald Weekender Art Guide) Archipelago, Maclaurian Gallery, Scottish Print Open, Edinburgh Printmakers
  • 21 Sep Empress & the Architect, by Dimitri Shvidkovsky
  • 23 Sep Northern Region UK Year, Anthony Gormley, Angel of the North
  • 28 Sep (Herald Weekender Art Guide) Matisse, Maclaurin Gallery Ayr, Peter Russell, East Kilbride Centre, Louise Ritchie, Compass Gallery Glasgow
  • 29 Sep Peter Blake profile, National Gallery London
  • 5 Oct Inner Necessity, Talbot Rice Gallery Edinburgh, Mark Ianson, Compass Gallery Glasgow
  • 7 Oct Kerry Stewart, Moyna Flannigan, CCA Glasgow
  • 12 Oct Book review, 20th Century Art Book, by Phaidon
  • 12 Oct (Herald Weekender Art Guide) Jock MacInnes, Maclaurin Gallery Ayr, Ivy Wu Gallery, Royal Museum Edinburgh, Julie Roberts, Glasgow Print Studios
  • 14 Oct Robert Mapplethorpe, Hayward Gallery London
  • 19 Oct (Herald Weekender Art Guide) Equinox, Courtyard Gallery Crail, Passing Out, Royal Museums Edinburgh
  • 21 Oct House for Art Lover Charles Rennie Mackintosh
  • 24 Oct Manifesto International Festival of Design, Edinburgh Norway
  • 26 Oct Book review, The Colour of Sculpture 1840-1910 by Andreas Bluhm
  • 26 Oct (Herald Weekender Art Guide) Jane Hyslop, Open Eye Gallery Edinburgh, Josef Herman, Gerber Fine Art Glasgow
  • 28 Oct Ivy Wu Gallery, Royal Scottish Museum Edinburgh
  • 28 Oct (Herald Weekender Art Guide) Anne Redpath, Gallery of Modern Art Edinburgh, John Cunningham, Art Club Glasgow
  • 4 Nov Anne Redpath, Scottish National Gallery Edinburgh
  • 5 Nov State of the Nation, funding and city of architecture and design Glasgow
  • 8 Nov John Cunningham, Glasgow Art Club
  • 8 Nov Ken Currie, RAAB Gallery London
  • 9 Nov (Herald Weekender Art Guide) Archie Forrest, Scottish Gallery Edinburgh, Royal Glasgow Institute, McLellan Galleries Glasgow, Chris Allen, Hunterian Gallery Glasgow
  • 11 Nov Josef Herman profile
  • 12 Nov Charles Rennie Mackintosh, Metropolitan Museum New York
  • 18 Nov Archibald Know, Hunterian Gallery Glasgow
  • 19 Nov MacMillan Fund Art Show, Strathclyde Arts Centre
  • 22 Nov Copenhagen 1996 City of Culture
  • 22 Nov Books of the Year
  • 23 Nov (Herald Weekender Art Guide) Ian Fleming, Aberdeen Art Gallery, Rodney Dickson, Seagate Gallery Dundee, Kenneth Dingwall, Talbot Rice Gallery Edinburgh
  • 23 Nov Book review, Art of the Celts by Lloyd and Jennifer Laing
  • 30 Nov (Herald Weekender Art Guide) BP Portrait Award, Aberdeen Art Gallery, Hong Kong, City Arts Centre Edinburgh, Charismas Show, Glasgow Print Studios
  • 30 Nov Book review, The Sculpture of David Nash, by Julian Andrews
  • 7 Dec (Herald Weekender Art Guide) Absolut Blue and White, Botanic Garden Edinburgh, Warrior Tombs, The Burrell Glasgow
  • 9 Dec Jenny Saville, Paul McPhail profile
  • 11 Dec Douglas Gordon wins Turner Prize
  • 14 Dec (Herald Weekender Art Guide) MFA Degree Show, Duncan of Jordanstone College of Art Dundee, Northern Lights, Fruitmarket Gallery Edinburgh
  • 14 Dec David Mach, Glasgow subway commissions
  • 16 Dec Don and Eleanor Taffner profile
  • 16 Dec Tom Eccles profile
  • 17 Dec Letter from America, The Glasgow Miracle, Transmission Glasgow, Tramway Glasgow, Douglas Gordon, Christine Borland, Jacqueline Donachie, Martin Boyce
  • 19 Dec Christmas Theme Exhibitions
  • 21 Dec (Herald Weekender Art Guide) Aladdin’s Cave, Open Eye Gallery Edinburgh, Christmas Show, Compass Gallery Glasgow
  • 27 Dec Best of 1996 Clare Henry Oscars, Douglas Gordon, Elspeth King, Barbara Rae, Chris Frayling, David Shrigley
  • 28 Dec (Herald Weekender Art Guide) W J Connon, Aberdeen Art Gallery, Freedom, McManus Gallery Dundee
  • 28 Dec Book review, Picasso and the Spanish Tradition, by Jonathan Brown
  • Dec 1997 Art People to Watch, Douglas Gordon, William Barnes Graham, Bruce McLean, Paul McPhail, Paul Nesbit, Jacqueline Donachie

[i]Articles written in this year which are not present in the archive:

  • 6 Jan (studio series) Andrew Brown
  • 20 Nov (feature) Charles Rennie Mackintosh, The Metropolitan Museum of Art, New York
  • 2 Dec Copenhagan, City of Culture 1996[/i]

Henry, Clare

Lunch, Original Refectory, GSA 42/43

Lunch, Original Refectory, GSA 42/43

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. GSA students and staff featured in this work include (from left to right), amongst others: Harry McLean, GSA student and conservator (seated at table bottom left, resting elbow on table); Hugh Adam Crawford, GSA staff, Drawing and Painting department (standing, front-facing, slightly left of centre); Joan Eadley, GSA student and artist (centre, standing, facing left); John Miller, GSA staff, Drawing & Painting department (slightly right of centre, facing right, carrying portfolio under right arm); Margot Sandeman, GSA student and artist (slightly right of centre, facing right, arms folded, in conversation with Cordelia Oliver); Cordelia Oliver, GSA student, art critic and journalist (slightly right of centre, facing left, in conversation with Margot Sandeman); Margaret McGavin, GSA student and artist (right of centre, adjacent to Cordelia Oliver, front-facing but looking right, in conversation with another female student); David Donaldson, GSA staff, Drawing and Painting department (right of centre, left-facing, positioned between Margaret McGavin and the female student she is talking to); Benno Schotz, GSA staff, Modelling and Sculpture department and sculptor (right hand side, facing left); Timothy Powell, GSA staff, Graphic Design department (right hand side, in the foreground, front-facing, wearing a suit).

Gardner, Tom

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