Williamwood House, Netherlee, Glasgow
- NMC/0681B
- Item
- 1930s
Exterior of house from the garden.
T & R Annan & Sons Ltd
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Williamwood House, Netherlee, Glasgow
Exterior of house from the garden.
T & R Annan & Sons Ltd
Williamwood House, Netherlee, Glasgow
Exterior of house from driveway.
T & R Annan & Sons Ltd
Ascot Cinema, Glasgow - perspective
Design for cinema located on Great Western Road, Glasgow.
Elder, Robert Walter
Wee Bits of Glasgow (Version 2)
Wee Bits of Glasgow (Version 1)
Image of Glasgow public house.
Feldman, Joel B
Wee Bits of Glasgow (Version 2)
Wee Bits of Glasgow (Version 1)
Image of Glasgow back lane, featuring wall with graffiti.
Feldman, Joel B
Wee Bits of Glasgow (Version 2)
Wee Bits of Glasgow (Version 1)
Glasgow street scene, featuring cars in front of tenement building.
Feldman, Joel B
Study of late 19th century Glasgow building by John James Burnett.
McGibbon, Alexander
Derelict Building, Clydeside, Glasgow
Study of derelict building on the banks of the river Clyde.
Brown, Jago
Glasgow Drawing Competition medal (Version 2)
Glasgow Drawing Competition medal (Version 1)
Glasgow Drawing Competition medal
Classical figure (obverse): Lion Rampant/Glasgow Coat of Arms (reverse). Awarded to D Ballantine. Inscribed obverse: "Glasgow Drawing Competition"; reverse: "Qui Meruit Ferrat Palmam".
*Not available / given
Royal Exchange Square, Glasgow
Elevation and plan of archway. Stamped "The Glasgow School of Architecture, 1928-1929".
Paterson, David Stuart
Perspective of building.
Bryden, Robert Alexander
New Botanical Laboratories, University of Glasgow
Glasgow University extension. Plan of ground floor. Perspective view looking to University Avenue.
Scott, John Oldrid
New Botanical Laboratories, University of Glasgow
Glasgow University extension. Perspective view from University Avenue.
Scott, John Oldrid
View of the cloisters.
Burnet, Sir John James
Perspective of church. The church was destroyed by a bomb in 1942.
Thomson, Alexander
GSA Extension Building (168 Renfrew Street)
New GSA extension building, viewed from top of Scott Street. Used by GSA as illustration in 1930s prospectuses.
Coia, Jack Antonio
168 Renfrew Street (site of GSA extension building)
View of north side of Renfrew Street, depicting tenement block prior to new GSA extension building.
Coia, Jack Antonio
Hall, 83 North Frederick Street, Glasgow
Fragment of backing board showing drawing of male head.
Fulton, James Black
Hall, 83 North Frederick Street, Glasgow
Details of decorative stonework (1/4 of full size).
Fulton, James Black
Hall, 83 North Frederick Street, Glasgow
Elevation to North Frederick Street.
Fulton, James Black
Maxwell, Tom
Group of various figures, with Glasgow skyline beyond. Signed "O.R.S.".
*Not available / given
Original mount with captions.
*Not available / given
Montage of costume designs for the Masque of the City Arms.
Smyth, Dorothy Carleton
Study of an open market, Glasgow.
Eardley, Joan Kathleen Harding
Study of an open market, Glasgow.
Eardley, Joan Kathleen Harding
This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Landscape study of woods in Milngavie, near Glasgow. Verso: 'Edge of a wood, Milngavie', John Laurie, 4 Somerset Place Mews Glasgow G3.
Laurie, John
This sketchbook consists of 81 pages of sketches made by Charles Rennie Mackintosh during his trip to Italy in 1891 funded by his Greek Thomson travelling scholarship prize money. The subjects he sketched are mainly architectural, with the one he felt to be most impressive being labelled 'A Caution'. Each sketch is labelled with the name of the city or town in which it was sketched. In 1890 Mackintosh won the Alexander 'Greek' Thomson Travelling Scholarship with a design for a public hall, which enabled him to take an extensive tour abroad from February to July 1891. He left Glasgow for London on 21 March 1891, sailing from Tilbury on the Thames on 27 March and arriving in Naples on 5 April. He then visited Palermo in Sicily, Rome, Orvieto, Siena, Florence, Pisa, Pistoia, Bologna, Ravenna, Ferrara, Venice, Padua, and Vicenza, arriving in Verona on 10 June 1891. The Sketchbook contains drawings from the later part of Mackintosh's tour, from 10th June, with sketches, mostly of architectural and sculptural details, beginning with Verona. It covers Verona (11-14 June); Mantua (14 June); Cremona (14-15 June); Brescia (16 June); Bergamo (17 June); Lecco (18 June); Cadenabbia and Lake Como (19-25 June); Como (26-27 June); Milan (28 June-6 July); Pavia (7 July-?); Certosa di Pavia (probably several days around 12 July); Paris and Chateau d'Ecouen (late July?); Antwerp (late July? - briefly visited on his return journey). It also contains several pages of designs for the Glasgow Art Club (1892-3) and the Glasgow Herald Building (1893-5). The drawings themselves are almost all pencil sketches, some of which are now quite faint.
Mackintosh, Charles Rennie
Design for the Grand Hall, Glasgow International Exhibition, 1901
The competition, held in 1898, was won by the Glasgow architect James Miller with a considerably more ornate design for a 'bit of Spanish baroque confectionery' (McLaren Young). Like Miller's, Mackintosh's design derives from James Sellars' for the 1888 Glasgow exhibition, but simplified. 'The dome, perhaps a prerequisite for Glasgow exhibitions, remained, but it was presented with severe geometricality, with an Art Nouveau lantern surmounted by a Chinese coolie hat.'
Mackintosh, Charles Rennie
Coat of Arms for the stairwell at Glasgow School of Art
This item was severely damaged in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. Some fragments have been salvaged. The bell survives as it was not in the building at the time of the fire.
The symbols which form the Glasgow coat of arms all refer to miracles performed by St. Mungo, the patron saint of the city who is normally represented with these emblems on the coat of arms. They first appeared on the seals of bishops of Glasgow, the fish on the seal of William Wishart in 1270, the bird on the seal of Robert Wishart in 1271. They were used together for the first time on the seal of the Chapter of Glasgow in 1488. The salmon with the ring in its mouth refers to the story of the local Queen who gave her ring to a knight she was in love with, the jealous King stole the ring from the knight while he was asleep and then demanded it back from the Queen, having thrown it into the Clyde. In desperation she prayed to St. Mungo who told his followers to cast their fishing nets in the river and bring him the first fish that they caught, a salmon with the Queen's ring in its mouth. The tree represents the green hazel twig which Mungo restored to life after his companions had killed it. The bell represents the service bell used in Mungo's church and still in Glasgow until c1700. Mackintosh's tree is highly abstract in its Art Nouveau 'whiplash' spirals untypical of his work. The bird is a modern replacement of the stolen original.
Mackintosh, Charles Rennie
Menu for Miss Cranston's exhibition cafe, The White Cockade
The design lists the principal suppliers used by Miss Cranston in her exhibition cafe. The right hand side of the design features a stylised female figure holding a red rose.
Mackintosh, Margaret Macdonald
Perspective drawing of Glasgow School of Art from the north-west
View of the Glasgow School of Art, showing Hengler's circus, prior to the construction of the second half of the building.
McGibbon, Alexander
Model of Concert Hall, Glasgow International Exhibition (Version 6)
Not available / given
Model of Concert Hall, Glasgow International Exhibition (Version 5)
Not available / given
Model of Concert Hall, Glasgow International Exhibition (Version 4)
Not available / given
Model of Concert Hall, Glasgow International Exhibition (Version 3)
Not available / given
Model of Concert Hall, Glasgow International Exhibition (Version 2)
Not available / given
Model of Concert Hall, Glasgow International Exhibition (Version 1)
Not available / given
Model of Concert Hall, Glasgow International Exhibition
A 3/32 inch:1 foot (3:384) scale coloured balsa wood model made by students of the Manchester University School of Architecture (under the auspices of Professor Thomas Howarth?). This item is damaged and is awaiting conservation.
*Not available / given
The Giusti Plaster Cast Collection
Collection of items related to the Glasgow based firm J. Giusti & Co. which specialized in the production of plaster figures, mould making, statuary repair, and other plaster work. The collection is primarily composed of plaster busts and portraits, six moulds, and two medals. The casts and moulds are formed after a range of sculptural styles including ancient Greek and Roman, French Gothic, Italian Renaissance, and 19th century anatomical studies.
The Giusti Plaster Cast Collection highlights mould making and casting processes that were used to produce objects for retail and to repair existing plaster casts. Records from The Glasgow School of Art document purchases and repairs from J. Giusti & Co. from as early as 1890, and casts related to those in the collection were widely used as teaching and learning tools at the GSA through at least mid-20th century.
As most of the items in the collection were used in commercial casting processes, very few items have a plain white, white washed, or decoratively painted surface that are often observed in plaster cast collections. Many of the plaster casts and all of the plaster moulds are widely covered with uneven layers of shellac that appear yellow, red, or brown. Shellac was applied as a sealant and resist agent to prevent existing plaster elements from sticking to fresh plaster elements during the casting process.
In addition to the plaster casts and plaster moulds, several items provide further insights into the material processes employed by J. Giusti & Co. Two medals (likely bronze) showcase the company's involvement with mould making for metal casting, and a gelatine mould is a surviving example of a traditional process used to produce detailed casts in small quantities.
Proudfoot, Alexander