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This poster advertised an exhibition of work by The Glasgow School Of Art graduate Neil Macdonald. Macdonald had recently returned from travelling around Belgium and Italy having been awarded the John David Cargill Travelling Scholarship. The exhibition ran from Wednesday the 21st to Friday the 30th of April 1982 and was held in the Mackintosh building on The Glasgow School Of Art campus.

This poster advertised an exhibition of drawings by Bridget Riley which was held in the Newbery staff lounge in the Newbery Tower at The Glasgow School of Art as part of the school's annual activities week. Riley is well known for her optical illusion paintings and is considered a leading figure in Op Art. During activities week, large bill boards on Renfrew Street displayed posters made by staff and students that advertised the week's events. Many of these posters can now be found in The Glasgow School Of Art's Poster Collection. An image of this particular poster can be found in the 1973/74 prospectus catalogue on page 21.

This poster advertised an exhibition of work by the Scottish cartoonist Bud Neill. Neill studied at The Glasgow School of Art and is known for his cartoon strips which featured in a number of Glasgow newspapers. His work often played on Glasgow humour, with notable characters such as Lobey Dosser and the Sheriff of Carlton Creek. The exhibition was held in the Newbery Lounge in the Newbery Tower at The Glasgow School Of Art. The exhibition title refers to Isaac Wolfson who was a Scottish business man and philanthropist known for his successful mail order service.

This poster is believed to advertise a screening of James Scott's 1971 documentary The Great Ice Cream Robbery which was held in the Haldane Building on Friday the 5th of November. The documentary featured Claes Oldenberg and Rene Margritte and was part of International Art Films.

This poster advertised a staff party to mark the retirement of Robert Begg from his post as Chairman of Governors at The Glasgow School Of Art. The event took place on the 7th of May 1979. The poster features a caricature of Robert Begg by Dan Ferguson who produced many caricatures of staff at The Glasgow School Of Art in the 1970s. Ferguson appears to have signed the front of the poster.

This poster advertised an exhibition of work by John O'Connor which was held in The Glasgow School Of Art's Mackintosh Museum. O'Connor lectured in the graphic design department at The Glasgow School Of Art briefly between 1978 and 1979. The exhibition included work in a variety of mediums including drawing, painting, wood engraving, graphics and illustration. The poster also details that The National Book League exhibition of Book Design and Production was running concurrently with the O'Connor exhibition in the Mackintosh Library.

This poster advertised an exhibition of drawings by first year students at The Glasgow School Of Art.

This poster advertised a lecture by illustrator and architect Louis Hellman. Hellman is known for his satirical illustrative drawings that comment on current architectural trends. The lecture was held in the Mackintosh Lecture Theatre at The Glasgow School Of Art and was advertised as "an illustrated talk on architecture and cartoons".

This poster is part of a course project organised by the Visual Communications department. The brief for the project required students to design a poster for a particular film they had been assigned. In this example, student Janine Shaw has designed a poster for the Barney Platts-Mills film 'Bronco Bull Frog'. To create the poster Shaw has used collagraph printmaking techniques.

This poster is part of a course project organised by the Visual Communications department. The brief for the project required students to design a poster for a particular film they had been assigned. In this example, student Oliver Pitt has designed a poster for the James Marsh film 'Wisconsin Death Trip'. The poster has been created using screen printing techniques.

Poster for exhibition '4 after 5', Serendipity Gallery, Lundin Links, Fife. Poster features portraits of four artists drawn by each other, namely Kay McLean, Catriona McDonald, Clare Scullion and Alan Rogers. The date of the exhibition is given as 22 Mar-08 Apr, no year is given but it is believed to be late 20th century.

Poster for 'Exhibition of drawings and paintings by Rosemary Beaton', Corners Gallery, Glasgow, 08 Mar 1986-29 Mar 1986.

Poster for exhibition 'Joan Eardley R.S.A. 1921-1963 Paintings Watercolours Pastels Drawings', at Cyril Gerber Fine Art, West Regent Street, Glasgow, 16 Mar 1985-13 Apr 1985.

Poster for exhibition 'Drawings: Evelyn Buchanan Kirkham', John D. Kelly Gallery, Glasgow, 04 Apr 1987-18 Apr 1987.

Poster for 'Exhibition of new work by Claire Scullion', Traverse Gallery, Edinburgh. The dates of the exhibition are 04 Mar-31 Mar, no year is given but it is believed to be 1984.

Sources: https://gsaarchives.net/collections/index.php/dc-030-1-4; https://www.traverse.co.uk/about-us/our-history

Poster for Adrian Wiszniewski Exhibition, Glasgow Print Studio, Glasgow, 03 May 1988-28 May 1988. The exhibition was held as part of Mayfest.

This poster advertised two exhibitions happening coherently at The Glasgow School Of Art in early 1977. The main feature was an exhibition of work by John O'Connor which was held in the Mackintosh Museum and featured pieces in a variety of mediums including drawing, painting, wood-engraving, graphics and illustration. O'Connor spent a brief period lecturing at The Glasgow School Of Art in the graphic design department from 1978 to 1979. The second exhibition was entitled 'The National Book League Exhibition Of Book Design and Production' and was held in the Mackintosh Library. A duplicate of this poster can be found under reference number GSAA/EPH/10/193.

Poster for 'Jack Knox Paintings and Drawings, 1960-1983' at the Third Eye Centre, Sauchiehall Street, Glasgow, 26 Nov 1983-18 Dec 1983

Poster for exhibition 'Robert Gordy drawings : lithographs' at the Compass Gallery, Glasgow, 22 Jan1972-17 Feb 1972

This poster advertised an exhibition of work by graduating students from the graphic design with illustration and photography department which was exhibited as part of The Glasgow School Of Art degree show in 1994. The exhibition was held in the Foulis building at The Glasgow School Of Art from the 25th of June to the 1st of July. The image used on the poster was an illustration by Helen Stephens and the typography was created by Marie There Cassidy and Nadine Lewis, all of whom graduated in 1994.

This poster advertised an exhibition of drawings by Danny Ferguson who was a lecturer at The Glasgow School Of Art. The exhibition was held in the Newbery Lounge in the Newbery Tower at The Glasgow School Of Art.

View of the Glasgow School of Art, showing Hengler's circus, prior to the construction of the second half of the building.

Architectural detail of Mackintosh Building.

Illustration from the British Architect, March 13, 1903.

Sketch of three angels playing musical instruments.

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.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.The central feature of the house is the large hall - two storeys high - communicating directly with the dining room, reception and music room, which can be adapted to provide a stage. On the South side a terrace room runs outside the reception and music room. On the North side are the entrance, the hall and dining room, which are separated by a moveable partition. On the upper floor, the principal bedroom suite is partitioned off in the South-East corner; numerous guest rooms are provided and a playroom is in the attic above the childrens' bedrooms. The kitchen and servants' rooms are in the basement.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.Muthesius in his introduction to the 'Meister der Innen Kunst' portfolio, stresses the impact and novelty of Mackintosh's design. 'The exterior architecture of the building... exhibits an absolutely original character, unlike anything else known... The mass of the building consists of a large plain black, without any breaking up of the walls, the effect being sought for in unbroken uniform surfaces... the windows have the appearance of accidental openings deeply recessed in the walls... Ornament, save in two or three places, is conspicuously absent, all allurements being sternly repressed in order that the desired effect of plainness reticence and therewithal of mystery and height, might be revealed as strongly as possible.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.One of the three interior perspectives which Mackintosh omitted from his original submission and consequently was disqualified from the competition, but later supplied to the publishers. They differ in some detail from the elevations already submitted, the arrangements of the lighting is simpler, the stencilled panels at the window are more elaborate and positioned within the recess, next to the windows, rather than on the walls between each recess. The perpendicular stress of the two rows of tapering square standard down each wall is reinforced by the extremely high backs of the chairs and the original light fittings, 'four small square lanterns, each hanging by four cords, so that the whole effect is of a forest of perpendiculars' (Muthesius). As in the dining room it is evident that (probably because of lack of time) Mackintosh drew on furniture designs he had already used in Glasgow: the high backed chairs are very similar to those designed for the Ingram Street Tea Rooms. The most prominent feature of the room is the piano.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. One of the three interior perspectives which Mackintosh omitted from his original submission and consequently was disqualified from the competition, but later supplied to the publishers. They differ in some detail from the elevations already submitted, the arrangements of the lighting is simpler, the stencilled panels at the window are more elaborate and positioned within the recess, next to the windows, rather than on the walls between each recess. The perpendicular stress of the two rows of tapering square standard down each wall is reinforced by the extremely high backs of the chairs and the original light fittings, 'four small square lanterns, each hangings by four cords, so that the whole effect is of a forest of perpendiculars' (Muthesius). As in the dining room it is evident that (probably because of lack of time) Mackintosh drew on furniture designs he had already used in Glasgow: the high backed chairs are very similar to those designed for the Ingram Street Tea Rooms. The most prominent feature of the room is the piano. Muthesius comments on the frequent juxtaposition in the work of the Glasgow School of 'masculine' hard perpendicular structural lines and 'feminine' flowing decorative curves, exemplified in this design. 'Straight lines, especially perpendicular ones, are exalted into a principle, and are carried so far as to be almost spiritualised... Any outbreak of softness is scourged off the field by an exotic multiplication of perpendiculars...This masculine art... also has a feminine side... seen in the panels... which, appearing in a stiff architectural framing, mark an interesting reaction in the direction of sublimated effeminacy...The human figure appears to be regarded as material merely for indulging a taste for soft flowing lines. At need it is impossibly lengthened out or otherwise altered... it is cramped into all sorts of strange positions in order to help out a required note in the decoration.'

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. When the dividing partition between the reception and music rooms was removed, these two elevations would have faced each other. The piano with its fantastic superstructure, is on of Mackintosh's most elaborate inventions, based on the organ at Craigie Hall (Roger Billcliffe). 'This instrument is before everything else a piece of decorative art, and is designed to match the rest of the room... four tall corner posts, crowned with groups of figures and reaching to the ceiling, form a sort of baldachin round it. The front is composed of an oval framework containing a tall thin female figure flanked by roses, with a pair of doves meeting overhead. This fanciful composition is supported artistically by two large decorative panels on the walls on either side of the piano, representing two highly spiritualised Astarte-like figures.' (Muthesius). The large projecting fireplace on the opposite wall is a more elaborate version of that in the Mains Street drawing room. Its decoration consists principally of a pair of tall upright candelabra; the inlaid panels above are by Margaret Macdonald.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. One of the three perspectives submitted by Mackintosh after the competition had been judged. The fitted furniture, benches and table are all loosely based on those designed for William Davidson's house Windyhill. Interesting features are the lighting standards with their tree like arrangement of lamps and the gesso panel over the fireplace, possibly depicting an episode from the Sleeping Beauty Story, credited to Margaret Macdonald. (Roger Billcliffe).

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection. The only design for the bedroom, this elevation shows the furniture arranged along one wall, a pair of fixed wardrobes, a fireplace and a washstand in a recess. The uncompromising plainness of the furniture is relieved by stencilled panels. The deadline of 25 March 1901 for the competition suggests that this design is earlier than that for the main bedroom at Windyhill, where the same features were used, with minor differences in the stencilling.

An Art-Lover's house competition. Portfolio published 1902. In 1901 the Zeitschrift fur Innen-Dekoration of Darmstadt organised an international competition for the design of an Art Lover's House. The 1st prize was shared among 16 entrants, Baillie Scott recieved 2nd prize and 3rd prizes were also awarded. Mackintosh's entry was disqualified as his interior drawings were not finished in time for the competition deadline, but when they arrived he was awarded a special purchase prize of 600 marks by the publishers. The original drawings cannot now be traced, but in 1902 Alexander Koch published them as a portfolio in 'Meister Der Innenkunst' with an introduction by Herman Muthesius. A portfolio was presented by Mackintosh to the GSA and a 2nd set of prints, framed, is in the GSA collection.This drawing shows the construction of the gallery which connects the East and West portions of the house, resting on wooden cased pillars. In the upper portion of the pillars the dark woodwork is relieved by silver decorative panels, a painted frieze running between them. Similarly the double doors are relieved by panels of coloured glass, and coloured panels are inset above the fireplace. Through the doors one entered the reception/music rooms, their white walls and elegant decoration forming a brilliant contrast to the dark hall. Two features are reminiscent of earlier projects: the balcony with the pendant panels echoes the gallery at Queen's Cross Church, and the silver panels in the supporting posts recall those used beside the large gesso panels at Ingram St in 1900.