- NMC/0081
- Item
- c1950-1955
Study of young man (standing) and two crouching figures in background (probably a Glasgow subject).
Eardley, Joan Kathleen Harding
Study of young man (standing) and two crouching figures in background (probably a Glasgow subject).
Eardley, Joan Kathleen Harding
Study of male model from behind (from GSA life class).
Eardley, Joan Kathleen Harding
Study of seated male model (from GSA life class).
Eardley, Joan Kathleen Harding
Church interior, Basilica di San Marco, Venice
Study of male worshippers. One of Eardley's paintings undertaken as part of her art school travelling scholarship.
Eardley, Joan Kathleen Harding
Church interior, Basilica di San Marco, Venice
Study of church interior.
Eardley, Joan Kathleen Harding
Study of San Rufino, Assisi. One of Eardley's paintings undertaken as part of her art school travelling scholarship.
Eardley, Joan Kathleen Harding
Italian farm study. One of Eardley's paintings undertaken as part of her art school travelling scholarship.
Eardley, Joan Kathleen Harding
Drawing of Venetian bridge. One of Eardley's paintings undertaken as part of her art school travelling scholarship.
Eardley, Joan Kathleen Harding
Drawing of elderly, seated woman (probably from Lincolnshire).
Eardley, Joan Kathleen Harding
An old, four-wheeled farm wagon.
Eardley, Joan Kathleen Harding
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
Bound in volume, The Magazine, November, 1894.
Mackintosh, Charles Rennie
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
From The Magazine, Spring 1896. Inscribed: The Tree of Influence, The Tree of Importance, The Sun of Cowardice, Charles Rennie Mackintosh, Jan 1895.
Mackintosh, Charles Rennie
From The Magazine, Spring 1896. The shadow does not correspond with the object in front; it touches it and echoes it but is different.
Mackintosh, Charles Rennie
Roof of Napton Church, Norfolk
Sketch of three angels playing musical instruments.
Mackintosh, Charles Rennie
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
Half-length study of man wearing jacket (probably a Glasgow subject).
Eardley, Joan Kathleen Harding
Binnie, Maureen
Study of male figure; naked torso.
Brown, Margaret Oliver
Plant study with hemlock seedhead. Ravenna coat of arms, top right.
Fulton, James Black