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This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Abstract design.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of village with church.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Kneeling female figure; parrot on porch.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of singer and microphone.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Microphones and spotlights.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Shrouded figure in foreground, striped background.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Image of bird against abstract background.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Blue and green abstract design.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Two running dogs and arrowed target.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of wolf and arrowed target.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Shrouded figure foreground, coloured striped background.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Abstract figure.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Abstract study of seed head.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Sitter was donor's late husband's aunt.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Biblical study of Christ bearing his cross to calvary. This painting was Milne's diploma submission in 1924.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Landscape with mountains.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Landscape with mountains.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Landscape of bridge over canal.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Cityscape.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of Hugh Adam Crawford, in white tunic, bearded.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of GSA art students, including Dorothy Ballantyne, Marion Fletcher, Sheila Wilson, Tom Gardner (the artist), Jimmy Spiers, Audrey Scarle, Florence Jamieson, Fay Campbell as well as tutor David Donaldson, his wife Pat and son David, plus a life model who is thought to be a music student from Falkirk who studied at The Atheneum.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Those depicted include Danny Ferguson, Gordon Huntly, Lewis Allan, Eileen Allen, Joan Docherty, Molly Brown and Ishbel Macdonald.

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).

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.

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.

Life drawing of a male figure with hands behind his back facing to the left, left side view.

Life drawing of a male figure facing away from the artist with his right arm extended out, drawing created from memory.

In 1896 McNair held his first one-man show, an exhibition of pastels at the Gutekunst Gallery, London. Twenty-one works, including this, were displayed in distinctive dark-stained wood frames. McNair had clearly drawn inspiration from Whistler’s exhibition installations, even down to the typesetting of the catalogue. The entry for this work explained, ‘The Fairy is guarding the Leaf of Love from the Witch of Evil who has robbed the Tree of Life of all its other leaves.’

Painted on Mackintosh's tour of Italy in 1891 with Alexander 'Greek' Thomson travelling scholarship.

Painted during their stay in Suffolk, when Mackintosh and Margaret Macdonald had left Glasgow.

Mackintosh produced a number of very similar paintings of stylised bouquets of flowers at this time, c1918-20.

Sketch of three angels playing musical instruments.

'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'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.

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).

Design for embroidered pulpit-fall, 'Be Ye Doers of the word not hearers only.' The words of the design are taken from James, chapter 1, verse 22 in the New Testament. Inscribed upper right: Design for a pulpit fall/J.R. Newbery Centre: "Be Ye Doers of the world not hearers only".

Study of armed guards. Lower right: R. An Bell/1927/Girgenta Queen Hippolyta's Guard. The Salute Verso: Queen Hippolyta's Guard, The Salute/Robert Anning Bell R.A./28 Holland Park Road W.14 (in chalk) A. Bell.

Study of a young woman. Verso: Drawing (sanguine), Maurice Greiffenhagen, RA. RP. LLD.

Two country landscapes (folded).

Study of Catherine Donaldson; wife of artist David Donaldson.

Study of woman.

Portrait of woman with brown hair. Possibly the artist's wife, Anna Laurie. Lower right: John Laurie/21st Oct. 1940.

Crawling baby (folded).

Study of Catherine Donaldson asleep; wife of artist David Donaldson.

Face through a window.

Baby lying down (folded sheet).

Study of 'The Jewish Painter'.