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The Magazine: Volume 1 (Page 22)
The Magazine: Volume 1 (Page 25)
The Magazine: Volume 1 (Page 26)
The Magazine: Volume 1 (Page 28)
The Magazine: Volume 1 (Page 33)
The Magazine: Volume 1 (Page 40)
The Magazine: Volume 2 (Page 7)
The Magazine: Volume 2 (Page 10)
The Magazine: Volume 2 (Page 11)
The Magazine: Volume 2 (Page 14)
The Magazine: Volume 2 (Page 17)
The Magazine: Volume 2 (Page 18)
The Magazine: Volume 2 (Page 22)
The Magazine: Volume 2 (Page 25)
The Magazine: Volume 2 (Page 30)
The Magazine: Volume 2 (Page 34)
The Magazine: Volume 2 (Page 40)
The Magazine: Volume 2 (Page 42)
The Magazine: Volume 2 (Page 56)
The Magazine: Volume 2 (Page 62)
The Magazine: Volume 2 (Page 63)
The Magazine: Volume 3 (Page 4)
The Magazine: Volume 3 (Page 7)
The Magazine: Volume 3 (Page 8)
The Magazine: Volume 3 (Page 13)
The Magazine: Volume 3 (Page 20)
The Magazine: Volume 3 (Page 28)
The Magazine: Volume 3 (Page 35)
The Magazine: Volume 3 (Page 38)
The Magazine: Volume 3 (Page 40)
The Magazine: Volume 3 (Page 45)
The Magazine: Volume 3 (Page 50)
The Magazine: Volume 3 (Page 51)
The Magazine: Volume 3 (Page 58)
The Magazine: Volume 3 (Page 61)
The Magazine: Volume 3 (Page 64)
The Magazine: Volume 3 (Page 66)
The Magazine: Volume 3 (Page 70)
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
Bound in volume, The Magazine, Spring 1896. One of three watercolours depicting the seasons drawn for The Magazine.
Mackintosh, Charles Rennie