Mackintosh sketchbook (Page 37)
- DC 004/10/p37
- Part
- c1890s
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
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Mackintosh sketchbook (Page 37)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 38)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 39)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 4)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 40)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 41)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 42)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 43)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 44)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 45)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 46)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 47)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 48)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 5)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 6)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 7)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 8)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 9)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Roof of Napton Church, Norfolk
Sketch of three angels playing musical instruments.
Mackintosh, Charles Rennie
Group of women in flowing dresses.
French, Annie
Mackintosh, Charles Rennie
Bound in volume, The Magazine, November 1894.
Mackintosh, Charles Rennie
Bound in the Spring 1896 edition of 'The Magazine'. It was designs such as this that earned the Mackintosh group the nickname of 'Spook School'.
Mackintosh, Margaret Macdonald
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
'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
Bound in the November 1894 edition of 'The Magazine'. It was designs such as this that earned the Mackintosh group the nickname of 'Spook School'.
Mackintosh, Margaret Macdonald
In art nouveau frame drawn in ink on brown backing paper: The Harvest Moon, Chas. R. Mackintosh, 1893, To John Keppie, October 1894.
Mackintosh, Charles Rennie
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
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