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A monochrome photograph of a watercolour painting depicting the front yard of a house. The paper has been faintly signed "W. Meldrum" on the bottom right, annotated "Skye" on the reverse, but not dated.

An illustrative drawing of a roe deer fleeing from two dogs in the forest. Undated.

An undated landscape sketch depicting a town view as seen from the upland. A man stands to the left of several typical houses, with the distant church in the background.

A small drawing featuring a stream under a bridge next to a house in a village. This work is not dated, but has some texts on the reverse, presumed to be Meldrum's diary.

This work is presumed from the same series as "Pressed seaweed art (DC 120/1/1)," but not dated. Two pieces of kelp and red dulse seaweed are attached to the paper.

A small design sketch of leaves on a grid. Undated.

A small landscape drawing featuring the outskirts of the countryside with a castle in the distance. This work is signed "W. M." and presumably dated "9.5," but with no exact year of creation.

A variety of artworks, including landscape drawings, designs and life sketches, unique paintings made of pressed seaweed, and one printed work. A few items have annotations, such as related locations to the works or some letters. None of them are dated, except for one piece of the seaweed work.

A number of sketches and photographs of works by William Meldrum. This collection includes figure and illustrative drawings, unique pieces made of seaweed, and a series of monochrome photographs featuring landscape paintings. Most of the items are undated however the dates of creation are presumed to fall between the 1880s and 1920s. A set of typewritten paper by an unknown author dated after 1966, features a brief biography of Meldrum and descriptions of two drawings along with their custodial histories.

William Meldrum tended to work on depicting city views of Glasgow in the early 20th century and landscapes of diverse areas in Scotland. He created multiple pieces of black-and-white photographs on which his paintings have been printed; some of the photographs have identical versions.

Includes:

• GSAA/EPH/9/2/3/1 Sample press cutting from Glasgow Herald advertising a 'Proposed Needlecraft Exhibition', 08 Nov 1915.
• GSAA/EPH/9/2/3/2 Newspaper sections (folded over), 08 Nov 1915.

Please note this material is currently inaccessible do to its fragility.

These images show Charles Rennie Mackintosh and fellow Glasgow School of Art Students, Herbert MacNair, Frances Macdonald, Margaret Macdonald, Agnes Raeburn, Janet Aitken, Katherine Cameron and Jessie Keppie. Jessie Keppie's brother, John Keppie also appears in the photographs. John Keppie was a partner in Honeyman and Keppie, the architectural firm at which Mackintosh and Herbert McNair worked.

Presentation box containing bound nails (NMC/1962B) and rust-dyed textiles (NMC/1962C & D) inspired by the 2014 Mackintosh Building fire.

Three rusty nails from the Mackintosh Building, bound with cotton rust-dyed tape. Inspired by the 2014 fire in the Mackintosh Building. Stored along with textiles (NMC/1962C & D) in presentation box (NMC/1962A).

Rust-dyed crepe de chine. Inspired by the 2014 fire in the Mackintosh Building. Stored along with nails (NMC/1962B) and textile (NMC/1962D) in presentation box (NMC/1962A).

Rust-dyed and heat-manipulated crepe satin. Inspired by the 2014 fire in the Mackintosh Building. Stored along with nails (NMC/1962B) and textile (NMC/1962C) in presentation box (NMC/1962A).

Knotted-wrack neckpiece, titled Feannagan 2, 2021. Materials include, Knotted-Wrack Seaweed (Ascophyllum nodosum), Hemp cord, brass, Steel.

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

'Obstruct': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

'Impede': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

'Control': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

'Limit': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

'Deter': 1 of a set of 5 ceramic pots, wheel thrown with hand-built adjustments.

Artist statement: "Hostile architecture is a phenomenon with rase rise significantly throughout urban design this century. A widely recognised example of this type of design is the 'uncomfortable bench'. Interventions of this kind are now familiar, and can even be a cause of comfort to privileged audiences, but it is important to consider their sociological effects. We have replaced human interaction, nuance and empathy with hard, physical and non-negotiable solutions. Identifying five core aspects of hostile urban design - limit, control, obstruct, impede and deter - I have developed a series of ceramic cups which each embody one of these qualities."

Source: https://drive.google.com/file/d/1Pe53s2N6laNXHxxQ-RrjA5cjvuFNeUPC/view

A design sketch for a cup and saucer set, including side elevation drawings of the cup and two sketches of the saucer. Includes annotations of student registration no. ("No. 71") and signed "G. Murphy."

Three small watercolour drawings of birds: a chicken, a dove, and an owl. No dates and signatures.

18 life sketches depicting male and female figures. The majority are not dated or marked while a few pieces signed "G. Murphy." Some are attached to backing paper. Potentially worked in a drawing class at Glasgow School of Art.

Three architectural sketches illustrating Tomb of Galla Placidia and a Gothic window design. Stamped "The Glasgow School of Architecture, Session 1935-36."

15 painted pattern designs featuring floral, organic, and geometric motifs, including one book cover design for 'Gulliver's Travels' by Jonathan Swift. Most of these designs are likely intended for use in wallpaper, textiles, or graphics, and attached to black backing paper. Some include annotations of student registration no. ("No. 71") and signed "Gerard Murphy."