The Magazine: Volume 3 (Page 33)
- MC/A/15/3/p33
- Part
- Nov 1894
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The Magazine: Volume 3 (Page 34)
- MC/A/15/3/p34
- Part
- Nov 1894
The Magazine: Volume 3 (Page 35)
- MC/A/15/3/p35
- Part
- Nov 1894
The Magazine: Volume 3 (Page 36)
- MC/A/15/3/p36
- Part
- Nov 1894
The Magazine: Volume 3 (Page 37)
- MC/A/15/3/p37
- Part
- Nov 1894
The Magazine: Volume 3 (Page 38)
- MC/A/15/3/p38
- Part
- Nov 1894
The Magazine: Volume 3 (Page 39)
- MC/A/15/3/p39
- Part
- Nov 1894
The Magazine: Volume 3 (Page 4)
- MC/A/15/3/p4
- Part
- Nov 1894
The Magazine: Volume 3 (Page 40)
- MC/A/15/3/p40
- Part
- Nov 1894
The Magazine: Volume 3 (Page 41)
- MC/A/15/3/p41
- Part
- Nov 1894
The Magazine: Volume 3 (Page 42)
- MC/A/15/3/p42
- Part
- Nov 1894
The Magazine: Volume 3 (Page 43)
- MC/A/15/3/p43
- Part
- Nov 1894
The Magazine: Volume 3 (Page 44)
- MC/A/15/3/p44
- Part
- Nov 1894
The Magazine: Volume 3 (Page 45)
- MC/A/15/3/p45
- Part
- Nov 1894
The Magazine: Volume 3 (Page 46)
- MC/A/15/3/p46
- Part
- Nov 1894
The Magazine: Volume 3 (Page 47)
- MC/A/15/3/p47
- Part
- Nov 1894
The Magazine: Volume 3 (Page 48)
- MC/A/15/3/p48
- Part
- Nov 1894
The Magazine: Volume 3 (Page 49)
- MC/A/15/3/p49
- Part
- Nov 1894
The Magazine: Volume 3 (Page 5)
- MC/A/15/3/p5
- Part
- Nov 1894
The Magazine: Volume 3 (Page 50)
- MC/A/15/3/p50
- Part
- Nov 1894
The Magazine: Volume 3 (Page 51)
- MC/A/15/3/p51
- Part
- Nov 1894
The Magazine: Volume 3 (Page 52)
- MC/A/15/3/p52
- Part
- Nov 1894
The Magazine: Volume 3 (Page 53)
- MC/A/15/3/p53
- Part
- Nov 1894
The Magazine: Volume 3 (Page 54)
- MC/A/15/3/p54
- Part
- Nov 1894
The Magazine: Volume 3 (Page 55)
- MC/A/15/3/p55
- Part
- Nov 1894
The Magazine: Volume 3 (Page 56)
- MC/A/15/3/p56
- Part
- Nov 1894
The Magazine: Volume 3 (Page 57)
- MC/A/15/3/p57
- Part
- Nov 1894
The Magazine: Volume 3 (Page 58)
- MC/A/15/3/p58
- Part
- Nov 1894
The Magazine: Volume 3 (Page 59)
- MC/A/15/3/p59
- Part
- Nov 1894
The Magazine: Volume 3 (Page 6)
- MC/A/15/3/p6
- Part
- Nov 1894
The Magazine: Volume 3 (Page 60)
- MC/A/15/3/p60
- Part
- Nov 1894
The Magazine: Volume 3 (Page 61)
- MC/A/15/3/p61
- Part
- Nov 1894
The Magazine: Volume 3 (Page 62)
- MC/A/15/3/p62
- Part
- Nov 1894
The Magazine: Volume 3 (Page 63)
- MC/A/15/3/p63
- Part
- Nov 1894
The Magazine: Volume 3 (Page 64)
- MC/A/15/3/p64
- Part
- Nov 1894
The Magazine: Volume 3 (Page 65)
- MC/A/15/3/p65
- Part
- Nov 1894
The Magazine: Volume 3 (Page 66)
- MC/A/15/3/p66
- Part
- Nov 1894
The Magazine: Volume 3 (Page 67)
- MC/A/15/3/p67
- Part
- Nov 1894
The Magazine: Volume 3 (Page 68)
- MC/A/15/3/p68
- Part
- Nov 1894
The Magazine: Volume 3 (Page 69)
- MC/A/15/3/p69
- Part
- Nov 1894
The Magazine: Volume 3 (Page 7)
- MC/A/15/3/p7
- Part
- Nov 1894
The Magazine: Volume 3 (Page 70)
- MC/A/15/3/p70
- Part
- Nov 1894
The Magazine: Volume 3 (Page 8)
- MC/A/15/3/p8
- Part
- Nov 1894
The Magazine: Volume 3 (Page 9)
- MC/A/15/3/p9
- Part
- Nov 1894
The Nativity ('And lo the star...')
- MC/A/6
- Item
- 1896
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'.
MacNair, Frances Macdonald
- MC/G/11
- Item
- 1895-1896
From The Magazine, Spring 1896. The shadow does not correspond with the object in front; it touches it and echoes it but is different.
Mackintosh, Charles Rennie
- MC/G/9
- Item
- 1895
From The Magazine, Spring 1896. Inscribed: The Tree of Influence, The Tree of Importance, The Sun of Cowardice, Charles Rennie Mackintosh, Jan 1895.
Mackintosh, Charles Rennie
- MC/G/8
- Item
- 1895
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).
Mackintosh, Charles Rennie
- MC/G/18
- Item
- 1920
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
- MC/G/7
- Item
- 27 Aug 1894
Bound in volume, The Magazine, November, 1894.
Mackintosh, Charles Rennie
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