- NMC/1442/v5
- Part
- 1937
Biggar, Helen Manson
Biggar, Helen Manson
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
Blind Window, Certosa di Pavia
Painted on Mackintosh's tour of Italy in 1891 with Alexander 'Greek' Thomson travelling scholarship.
Mackintosh, Charles Rennie
Painted during their stay in Suffolk, when Mackintosh and Margaret Macdonald had left Glasgow.
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh produced a number of very similar paintings of stylised bouquets of flowers at this time, c1918-20.
Mackintosh, Charles Rennie
Roof of Napton Church, Norfolk
Sketch of three angels playing musical instruments.
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
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
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 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
Queen Hippolyta's Guard - The Salute
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.
Bell, Robert Anning
Study of a young woman. Verso: Drawing (sanguine), Maurice Greiffenhagen, RA. RP. LLD.
Greiffenhagen, Maurice
Two country landscapes (folded).
Laurie, John
Portrait of Catherine Donaldson
Study of Catherine Donaldson; wife of artist David Donaldson.
Laurie, John
Study of woman.
Laurie, John
Portrait of woman with brown hair. Possibly the artist's wife, Anna Laurie. Lower right: John Laurie/21st Oct. 1940.
Laurie, John
Crawling baby (folded).
Laurie, John
Portrait of Catherine Donaldson
Study of Catherine Donaldson asleep; wife of artist David Donaldson.
Laurie, John
Portrait of GSA artist, John Laurie. Top Right: To Anne from Danny Ferguson/May 73.
Ferguson, Danny
Face through a window.
Laurie, John
Baby lying down (folded sheet).
Laurie, John
Woman at a kitchen sink (folded).
Laurie, John
Sleeping baby in a pram.
Laurie, John
Landscape study.
Pringle, John Quinton
Chimney stacks.
Pringle, John Quinton
Male figures.
Pringle, John Quinton
Unfinished study of trees.
Pringle, John Quinton
Scroll work detail.
Pringle, John Quinton
Male face profiles.
Pringle, John Quinton
Nude female figure.
Pringle, John Quinton
Scroll work detail.
Pringle, John Quinton
Unfinished abstract landscape. Lower left: The early stages of a water colour drawing (subsequently damaged) made by Mr. J. Q. Pringle when at Whalsay.
Pringle, John Quinton
Figure study. Inscribed: On school label on mount, Class 5831/1890/Pringle Age 24 etc.
Pringle, John Quinton
Male face profiles.
Pringle, John Quinton
Male face profiles.
Pringle, John Quinton
Female figures.
Pringle, John Quinton
Study of Feet.
Pringle, John Quinton
Figures and profiles.
Pringle, John Quinton
Figures embracing.
Pringle, John Quinton
Couple flying kites.
Pringle, John Quinton
Woman with baby.
Pringle, John Quinton
Female face profiles.
Pringle, John Quinton
Study of trees.
Pringle, John Quinton
Country skyline.
Pringle, John Quinton
Woman with hat.
Pringle, John Quinton
Gas lamp details.
Pringle, John Quinton
Open flats.
Pringle, John Quinton
Cottage.
Pringle, John Quinton