Blue and white linen with applique. Stitched inscription: "A McG". Possibly a student of Ann Macbeth. This item was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Textile conservation was completed in 2019.
Banner design drawn on linen with pencil before stitching. It is attached to a calico lining which is stitched to the top of the hanging. It was designed by Walter Crane and worked by his wife Mary Frances Crane. The motto on banner reads: "Qui corvus pascit pascere potest grues" (He who feeds the raven will be able to feed the crane). The design of the panel is possibly that of Thomas Crane, Walter Crane's father.
White linen and embroidery possibly made by Daisy McGlashan. The design and technique show the influence of Jessie Newbery's teaching. The table runner has the number "1911" printed on one edge in ink which could refer to the year it was made. This item was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Textile conservation was completed in 2019.
This padded and lined tea cosy was made by a Miss Robertson and features an intricate butterfly and leaf design with embroidery, applique and beadwork.
This length was created (as part of NMC/1579-1581) by Isobel Stirling for her Diploma Show in 1948 and produced under the supervision of Agnes McCreadie. In brown, burgundy and blue.
Green apron with blue and white embroidery details chicken and tree motifs, made by a third year Embroidery & Weaving student at The Glasgow School of Art.
This length was created (as part of NMC/1579-1581) by Isobel Stirling for her Diploma Show in 1948 and produced under the supervision of Agnes McCreadie.
Framed embroidery of geometric design with orange, pink, purple, blue, and green thread on a purple background. Back of frame has label from "The Present Gallery, 16 Broomgate, Lanark", stating artist "Margaret McFarlane" and title of work "Broken Diamonds".
This screen printed banner with a large photo of Mackintosh depicts his signature and the Glasgow School of Art emblem reading: "There is honour in honest error none in the icy perfection of the mere stylist".
Striped cotton jumpsuit in cream, light and dark green, light and dark lilac, and khaki. The design of the garment suggests that the material was dyed to suit. Strapless fitted bodice with darts opening to wide legged trousers which gather at the ankles in a decorative thread weave cuff. Lace tie fastening on the front of the bodice with braided cord made from coloured threads that match the material. The garment demonstrates a variety of pattern cutting and construction skills and was probably made for a Glasgow School of Art fashion show.
Short, collarless box jacket made from panels of loosely woven fabric with pink warp thread and yellow, orange, pale blue and lilac silk organza ribbon weft. Panel sections edged with tightly woven cream threads. A band of silk in graduated colours finnishes the inside hem. Very similar to a fabric sample in the Textile Student Work collection believed to be made by Pauline Mcconnachie.
Cape sleeved jacket with long, mermaid style fishtail made of an iridescent synthetic fabric lined with green synthetic silk and decorated with strands of couched wool in a fish scale design. Thought to have been made and used as a costume for a masque or play at The Glasgow School of Art in the early-mid 20th century.
Cream, synthetic velvet full-length dress coat. High neck, fitted bodice with long sleeves gathered on the shoulder and fastened with three double covered buttons at waist level. An open skirt falls in a narrow A line below with simple edge to edge closing on the front and a shaped central back panel to suggest a train. Badly marked by decay of metal sections of the covered buttons. Believed to have been designed and possibly made by either Violet or Daisy Anderson (see DC 022).
Two faced woollen fabric in cream and light brown shades with bands of geometric pattern created by different weave types and subtle gradations in colour between bands.
Single-faced neatly woven fabric in shades of light gold, sand, grey and teal. Occasional mercerised light gold warp yarns give the fabric a slight lustre and twisted two colour yarn also introduced to contribute to pattern.
Sample woven with cotton threads and long-haired mohair-like yarn in shades of yellow and green that form a design of bands. On the face side some of the long-haired yellow yarn has been pulled to create a pattern of serrated diagonals.
Plain weave sample woven with coarse woollen yarn in shades of grey, orange, and purple. Supplementary wefts of loosely spun thick woollen yarn in shades of purple, orange and cream is used to create a pattern of raised diagonal blocks.
Plain weave sample woven in shades of brown forming a design of puckered vertical bands and supplementary discontinuous wefts made of fabric ribbons in different colours. With loose supplementary warps and wefts in a variety of colours on the reverse.
Fabric development board with drawings, weaving grid, picture of a tapestry showing the inspiration, blue-green textile with orange, maroon and lilac spot design all mounted on card, entitled Hospitality Fabrics.