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Self portrait

Self portrait, tonal pencil drawing of head and shoulders. Also features sketches at the side, working out proportions of nose. Dugald and his classmates were required to produce a self portrait once a week as part of their drawing class lead by W Drummond Bone.

Cameron, Dugald

Self portrait

Self portrait, tonal pencil drawing of head and shoulders. Small sketch of lips to the left side of the drawing. Dugald and his classmates were required to produce a self portrait once a week as part of their drawing class lead by W Drummond Bone.

Cameron, Dugald

Self portrait

Self portrait, tonal drawing of head and shoulders. Dugald and his classmates were required to produce a self portrait once a week as part of their drawing class lead by W Drummond Bone.

Cameron, Dugald

Life drawing

Tonal life drawing of a male in pencil. With a proportions sketch at the right side of the drawing and some notes.

Cameron, Dugald

'Grammar of Ornament' study

A study and copy of images from the book 'Grammar of Ornament', by Owen Jones, published by Bernard Quaritch. Two colour drawings and some hand written text discussing Egyptian ornament and decoration.

Cameron, Dugald

Life drawing

Tonal drawing of a woman sitting holding her left knee. View from left side. A sketch and some notes also feature on the back of the page.

Cameron, Dugald

Life drawing

Tonal drawing of a woman sitting twisting her body to the left . Left side view. 4 boxes forming a frame have been drawn around the image.

Cameron, Dugald

Life drawing

Tonal drawing of a man sitting on a plinth/box on a stage, left/back view. Technical sketches and measurements/notes are on the back of the page.

Cameron, Dugald

Life drawing

Tonal drawing; torso of a man sitting, twisting to left side. Face on view. A faint sketch of the outline of a face is to the left of the drawing. 3 boxes forming a frame have been drawn around the image.

Cameron, Dugald

Leaf of Gold

Leaf of Gold

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.’

MacNair, James Herbert

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

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

Design for a pulpit-fall

Design for a pulpit-fall

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".

Newbery, Jessie Wylie

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