Showing 226 results

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).

Bound in volume, The Magazine, November 1894.

Bound in volume, The Magazine, November 1894. 'Behind a stylised tree stands another of Mackintosh's mysterious female figures, but this is the first one to appear that is not meticulously drawn. Only the head is shown in any detail, and the shape of the body is hidden by a voluminous cloak from which not even its limbs appear. This figure was to be repeated many times, becoming more and more stereotyped until, with the banners designed for the Turin Exhibition in 1902, the head is the only recognisably human part of a figure with a twelve-foot long, pear shaped torso. In 1895-96, Mackintosh was to develop this drawing into a poster for the Scottish Musical Review (Howarth, p1, 9F). The same cloaked figure appears with similar formal emblems at the ends of the branches of the bush.' (Roger Billcliffe).

Bound in the November 1894 edition of 'The Magazine'. "It must have been something like this watercolour.... that evoked the 'critics from foreign parts' (as reported by Gleeson White in The Studio, pp88-9) to deduce 'the personality of the Misses MacDonald from their works' and see them as 'middle-ages sisters, flat footed, with projecting teeth and long past matrimony... gaunt, unlovely females'. Gleeson White who visited Glasgow to see the Mackintosh group was pleasantly surprised to meet two laughing comely girls scarce out of their teens." (MacLaren Young).

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'.

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.

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).

From The Magazine, Spring 1896. Inscribed: The Tree of Influence, The Tree of Importance, The Sun of Cowardice, Charles Rennie Mackintosh, Jan 1895.

Bound in volume, The Magazine, Spring 1896. One of three watercolours depicting the seasons drawn for The Magazine.

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'.

From The Magazine, Spring 1896. The shadow does not correspond with the object in front; it touches it and echoes it but is different.

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'.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. This painting of the first-floor museum, looking East, is one of the very earliest artistic depictions of the building's celebrated interior.

This collections contains:

• A notebook containing the constitution and rules of the society signed by its members
• Printed version of the constitution and rules, c1898
• Minute book, 1898-1900
• Letter from John Keppie to Fra. Newbery re: the Glasgow School of Art receiving a copy of the constitution and rules, 1901

Portrait group. Inscribed on frame: "Mr. Charles. R. Mackintosh FRIBA The Architect/Col. R.J.Bennett V.D./Mr. David Barclay FRIBA/Sir Francis Powell, LLD, PRSW/Mr. John Munro FRIBA/Mr. Patrick S. Dunn - Convener/Councillor J. Mollison, MINA/ Mr. Hugh Reid DL/ Sir Wm Bilsland, Bart. LLD, DL/Sir John J. Burnet, RSA, FRIBA, LLD/Mr. John Henderson MA/Sir James Fleming - Chairman of Governors/Mr. John M. Groundwater - secretary/ Mr. Francis H. Newbery CAV OFF, INT, SBC, ARCA - Director, pinxit". When Newbery exhibited this group at the Glasgow Institute of the Fine Arts in 1913 it did not include the figure of Mackintosh. In 1914 he painted his large portrait of Mackintosh (collection: Scottish National Portrait Gallery) and his Building Committee portrait group was offered to the Board and accepted. When it was unveiled in 1914 it was seen that he had added Mackintosh's figure, a smaller version of his individual portrait, to the left of the group, and redated the whole canvas 1914. Painting cleaned and relined in 1963 by Mr Harry McLean who discovered the late addition of the figure of Mackintosh.

A sketchbook of notes and artworks by Mary Ramsay produced during her first year at The Glasgow School of Art, around 1914-1915. This item consists of portraits and life drawings, children's illustrations, lettering, costume designs, studies of ceramic samples, floral patterns, a list of reference books about art and design, and a Little Willie rhyme. Most artworks are in pencil, while some are in ink or paint on paper. Some illustrations have been pasted in from other sources. A number of loose ephemera items are also included in the sketchbook, including postage stamps and a newspaper advert for paint tubes.

A sketchbook of notes and artworks by Mary Ramsay produced during her first year at The Glasgow School of Art, around 1914-1915. This item consists of portraits and life drawings, children's illustrations, lettering, costume designs, studies of ceramic samples, floral patterns, a list of reference books about art and design, and a Little Willie rhyme. Most artworks are in pencil, while some are in ink or paint on paper. Some illustrations have been pasted in from other sources. A number of loose ephemera items are also included in the sketchbook, including postage stamps and a newspaper advert for paint tubes.

A sketchbook of notes and artworks by Mary Ramsay produced during her first year at The Glasgow School of Art, around 1914-1915. This item consists of portraits and life drawings, children's illustrations, lettering, costume designs, studies of ceramic samples, floral patterns, a list of reference books about art and design, and a Little Willie rhyme. Most artworks are in pencil, while some are in ink or paint on paper. Some illustrations have been pasted in from other sources. A number of loose ephemera items are also included in the sketchbook, including postage stamps and a newspaper advert for paint tubes.

A sketchbook of notes and artworks by Mary Ramsay produced during her first year at The Glasgow School of Art, around 1914-1915. This item consists of portraits and life drawings, children's illustrations, lettering, costume designs, studies of ceramic samples, floral patterns, a list of reference books about art and design, and a Little Willie rhyme. Most artworks are in pencil, while some are in ink or paint on paper. Some illustrations have been pasted in from other sources. A number of loose ephemera items are also included in the sketchbook, including postage stamps and a newspaper advert for paint tubes.

A sketchbook of notes and artworks by Mary Ramsay produced during her first year at The Glasgow School of Art, around 1914-1915. This item consists of portraits and life drawings, children's illustrations, lettering, costume designs, studies of ceramic samples, floral patterns, a list of reference books about art and design, and a Little Willie rhyme. Most artworks are in pencil, while some are in ink or paint on paper. Some illustrations have been pasted in from other sources. A number of loose ephemera items are also included in the sketchbook, including postage stamps and a newspaper advert for paint tubes.

View of the Mackintosh building (south-west facade), seen from Sauchiehall Street. Cinema in foreground.

One of three student drawings of the Mackintosh Library at The Glasgow School of Art.

One of three student drawings of the Mackintosh Library at The Glasgow School of Art.

One of three student drawings of the Mackintosh Library at The Glasgow School of Art.

Presscuttings book of reviews of exhibitions including those at the GSA Club, RSA and Glasgow Institute of Fine Art, 1913-1959.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of architect-lecturer Hugh Ferguson against a backdrop of the Glasgow School of Art.

Collection includes:

• Diary written while travelling on Keppie Scholarship, 1913-1914
• Collection of 250 postcards of European cities, paintings, sculptures collected on tour, 1913-1914
• 12 ink sketches of Childe Ronald's Pilgrimage by TWYM (aka A.S. Boyd), n.d.
• Exhibition catalogues
• Illustrations

The collection also includes original illustrations drawn by A S Boyd (aka TWYM) and Stephen Reid, both noted Scottish illustrators.

Additional uncatalogued material includes

• x 6 photographs
• x1 GSA practical notes on materials for painting
• x1 diploma for May Jackson
• x1 diploma scroll for William Reid Hunter

Please note that this material is not yet fully catalogued and therefore some items may not be accessible to researchers.

• Minutes and correspondence of SAGA, 1966-1969
• Cash book, 1968-1969
• Receipts and cheques, 1969
• Catalogue of the 1st Annual Exhibition, c1966

This material may contain sensitive information about individuals that is protected by the Data Protection Act. Until this material has been checked for sensitive information, it will not be available for researchers. Once this Data Protection work is complete the collection will be open for access, however any sensitive information will be closed and inaccessible for 75 years from the date of creation.

This poster advertised The Glasgow School Of Art's annual degree show in 1984. The exhibition showcased work by graduating students in drawing and painting, photography, printmaking, murals, stained glass and sculpture. The degree show was held in the Mackintosh Building at The Glasgow School Of Art and ran from the 15th to the 21st of June. The photograph used on the poster shows exhibiting students sitting on the steps of the Mackintosh Building and was taken by Vaughan Judge who previously worked as a lecturer at the school. The poster was designed at The Glasgow School Of Art and printed by David J Clark Limited.