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Lampshade for Library, Glasgow School of Art: Central Cluster- Reconstructed Large Pendant

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Lonsdale & Dutch

Lampshade for Library, Glasgow School of Art: Central Cluster- Composite Large Pendant

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Lonsdale & Dutch

Writing desk for Gladsmuir (Version 4)

Writing desk for Gladsmuir (Version 4)

This item suffered significant damage in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Desk with hinged top, designed for Gladsmuir, Kilmacolm.

The majority of this piece of furniture was lost, however a brass repousse panel plus three handles, all damaged, were salvaged and have undergone conservation and consolidation work. The original item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Mackintosh, Charles Rennie

Writing desk for Gladsmuir (Version 7)

Writing desk for Gladsmuir (Version 7)

This item suffered significant damage in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Desk with hinged top, designed for Gladsmuir, Kilmacolm.

The majority of this piece of furniture was lost, however a brass repousse panel plus three handles, all damaged, were salvaged and have undergone conservation and consolidation work. The original item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Mackintosh, Charles Rennie

Writing desk for Gladsmuir (Version 3)

Writing desk for Gladsmuir (Version 3)

This item suffered significant damage in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Desk with hinged top, designed for Gladsmuir, Kilmacolm.

The majority of this piece of furniture was lost, however a brass repousse panel plus three handles, all damaged, were salvaged and have undergone conservation and consolidation work. The original item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Mackintosh, Charles Rennie

Writing desk for Gladsmuir (Version 6)

Writing desk for Gladsmuir (Version 6)

This item suffered significant damage in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Desk with hinged top, designed for Gladsmuir, Kilmacolm.

The majority of this piece of furniture was lost, however a brass repousse panel plus three handles, all damaged, were salvaged and have undergone conservation and consolidation work. The original item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Mackintosh, Charles Rennie

Writing desk for Gladsmuir (Version 1)

Writing desk for Gladsmuir (Version 1)

This item suffered significant damage in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Desk with hinged top, designed for Gladsmuir, Kilmacolm.

The majority of this piece of furniture was lost, however a brass repousse panel plus three handles, all damaged, were salvaged and have undergone conservation and consolidation work. The original item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Mackintosh, Charles Rennie

Writing desk for Gladsmuir (Version 2)

Writing desk for Gladsmuir (Version 2)

This item suffered significant damage in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Desk with hinged top, designed for Gladsmuir, Kilmacolm.

The majority of this piece of furniture was lost, however a brass repousse panel plus three handles, all damaged, were salvaged and have undergone conservation and consolidation work. The original item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Mackintosh, Charles Rennie

Writing desk for Gladsmuir (Version 5)

Writing desk for Gladsmuir (Version 5)

This item suffered significant damage in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Desk with hinged top, designed for Gladsmuir, Kilmacolm.

The majority of this piece of furniture was lost, however a brass repousse panel plus three handles, all damaged, were salvaged and have undergone conservation and consolidation work. The original item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Mackintosh, Charles Rennie

Lampshade for Library, Glasgow School of Art: Upper Mezzanine- Reconstructed Medium Canister

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Lonsdale & Dutch

Lampshade for Library, Glasgow School of Art: Central Cluster- Reconstructed Small Canister

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Lonsdale & Dutch

Lampshade for Library, Glasgow School of Art: Upper Mezzanine- Reconstructed Medium Canister

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Lonsdale & Dutch

Lampshade for Library, Glasgow School of Art: Lower Mezzanine- Reconstructed Medium Canister

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Lonsdale & Dutch

Lampshade for Library, Glasgow School of Art: Central Cluster- Reconstructed Medium Pendant

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Lonsdale & Dutch

Lampshade for Library, Glasgow School of Art: Central Cluster- Reconstructed Medium Pendant

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Lonsdale & Dutch

Lampshade for Library, Glasgow School of Art: Central Cluster- Reconstructed Large Pendant

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.

Lonsdale & Dutch

Lampshade for Library, Glasgow School of Art: Lower Mezzanine- Composite Medium Canister

Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. The library was destroyed by the fire, though many metal fragments from the lights were salvaged, allowing twenty eight to be reconstructed from the original metal pieces, eleven to be made from a mix of original and new pieces (composites) and fifteen new lamps created. All the restoration work and shades was undertaken by Rodney French of Lonsdale & Dutch of Edinburgh.r

Lonsdale & Dutch

Writing desk for Gladsmuir

This item suffered significant damage in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Desk with hinged top, designed for Gladsmuir, Kilmacolm.

The majority of this piece of furniture was lost, however a brass repousse panel plus three handles, all damaged, were salvaged and have undergone conservation and consolidation work. The original item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Mackintosh, Charles Rennie

Washstand for Guthrie and Wells

Washstand for Guthrie and Wells

Designed for Guthrie and Wells, Glasgow. This and others pieces of green stained furniture made by Guthrie and Wells, were collected by William Davidson for his house Gladsmuir and later in Windyhill. Guthrie and Wells, originally founded as a painting and decorating firm by J and W Guthrie, who entered into partnership with Andrew Wells in 1895, played an important role in the history of decor and design in Glasgow. They were the most important of the stained glass studios emerging in Glasgow in the 1890s, supplied furniture, glass, mosaics etc and had a reputation for first class craftsmanship and always employed excellent designers. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Mackintosh, Charles Rennie

Furniture and Interiors

Includes:

  • chairs
  • tables
  • benches
  • ettles
  • periodical and writing desks
  • smokers' cabinets
  • beds
  • mirrors
  • washstands
  • bookcases
  • cabinets
  • linen presses
  • dressers
  • fenders
  • hat, coat and umbrella stands
  • a baptismal font, letter racks
  • light-fittings
  • clocks.

Mackintosh, Charles Rennie

Dressing Table for Guthrie and Wells

Dressing Table for Guthrie and Wells

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Designed for Guthrie and Wells, Glasgow. This and others pieces of green stained furniture made by Guthrie and Wells, were collected by William Davidson for his house Gladsmuir and later in Windyhill. Guthrie and Wells, originally founded as a painting and decorating firm by J and W Guthrie, who entered into partnership with Andrew Wells in 1895, played an important role in the history of decor and design in Glasgow. They were the most important of the stained glass studios emerging in Glasgow in the 1890s, supplied furniture, glass, mosaics etc and had a reputation for first class craftsmanship and always employed excellent designers. This item was assessed for conservation in 2010 as part of the Mackintosh Conservation and Access Project (2006-2010).

Mackintosh, Charles Rennie

The Glasgow School of Art Diploma

Diploma in Design and Decorative Art (Interior Design) from The Glasgow School of Art, awarded to Charles Alexander Wallace Shaw. Calligraphic writing dates the diploma from the 13th of June 1961. The diploma is stored in a blue tube, embossed with The Glasgow School of Art logo, and '35. Charles Shaw.' attached to the top.

The Glasgow School of Art

Audiovisual material

GSA Archives and Collections hold 216 audiovisual files, covering a range of topics and a wide date range. The audiovisual material has been created both by GSA and by external organisations, such as the BBC (television and radio), STV and ITV, other educational institutions and the Scottish Arts Council. Media in the collection include 16mm films, 35mm films, audio cassettes, audio CDs, CD Rom, DV cassette, DVD, Floppy disk, Reel to reel audios, Super 8 film, U-matic films, VHS tapes and Video 8 tapes. The audiovisual files pertain to topics including the GSA Fashion and Degree Shows, and Activities Week; students discussing their work; lectures by architects; presentations by, and interviews and conversations with, GSA alumni; centenary of the Mackintosh Building; Charles Rennie Mackintosh and Margaret Macdonald Mackintosh; plays; and documentaries on GSA. Please note that this material is not yet fully catalogued and therefore some items may not be accessible to researchers. As at August 2017, only the fashion show audiovisual material has been catalogued. The remaining uncatalogued material is therefore not currently accessible for researchers.

Webster, Chris

The Magazine

There are 4 known surviving volumes: The Magazine 1893, The Magazine April 1894, The Magazine November 1894, The Magazine 1896.

The Magazine was a publication of original writings and designs by students from the Glasgow School of Art, Glasgow, Scotland, and their friends. Appearing in 4 volumes between November 1893 and Spring 1896, The Magazine contains text from contributors handwritten by Lucy Raeburn, editor, accompanied by original illustrations. These volumes are the only known copies of The Magazine. In addition to rare, early watercolours and designs by Charles Rennie Mackintosh, the volumes contain early designs by Frances MacDonald and Margaret MacDonald, at a stage in their development which has been labelled 'Spook School', and two sets of photographs by James Craig Annan, when he was beginning to establish a reputation at home and abroad. Among other contributors were Janet Aitken, Katherine Cameron, Agnes Raeburn and Jessie Keppie, all of whom enjoyed lengthy careers in art and design.

The Magazine is similar to an album amicorum such as those which originated in the middle of the 16th century among German university students, who collected autographs of their friends and notable persons, sometimes adding coats of arms and illustrations. The Magazine resembled the album amicorum in that contributions were by a close group of students and their friends and is all the more interesting because the illustrations were produced by young people who had a common social background, were trained at the same school, and subjected to the same artistic influences. The contributors were closely linked, some by family, some by romantic attachments and had close social connections. Other contributors include C Kelpie, John M Wilson, Jane Keppie, and Ethel M Goodrich. Source: Jude Burkhauser, Glasgow Girls: women in art and design (Edinburgh : Canongate, 1990).

Raeburn, Lucy

Poster for a lecture by Ian Breakwell entitled 'Continuous Diary'

Poster for a lecture by Ian Breakwell entitled 'Continuous Diary'

This poster advertised a lecture given by the artist Ian Breakwell that was held in the Mackintosh Lecture Theatre at The Glasgow School Of Art. Breakwell is well known for working in a variety of mediums including print, installation, film and photography, however he is best known for making work based around his diary entries. He is also associated with The Artist Placement Group, an organisation set up in 1966 to bring art practice into hospitals and prisons. This particular lecture focused on work made between 1965 and 1967. The reverse of the poster is annotated with "J.Cosgrove".

Cosgrove, James

Poster for a lecture by Brian Griffiths

Poster for a lecture by Brian Griffiths

This poster advertised a lecture by economist Brian Griffiths which was held in the Mackintosh Lecture Theatre at The Glasgow School Of Art in December 1972. At this time, Griffiths worked as lecturer at the London School of Economics and Political Science, however he would later become advisor to Baroness Thatcher during her time as Prime Minister. He then became the Vice Chairman of Goldman Sachs. This lecture focused on the topic of Christianity, capitalism and revolution and was organised by David Dobson who was head of the Sculpture department at The Glasgow School Of Art in 1972.

Cosgrove, James

Coat of Arms for the stairwell at Glasgow School of Art (Version 2)

Coat of Arms for the stairwell at Glasgow School of Art (Version 2)

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

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.

Coat of Arms for the stairwell at Glasgow School of Art (Version 3)

Coat of Arms for the stairwell at Glasgow School of Art (Version 3)

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

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.

Coat of Arms for the stairwell at Glasgow School of Art (Version 1)

Coat of Arms for the stairwell at Glasgow School of Art (Version 1)

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

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.

Coat of Arms for the stairwell at Glasgow School of Art (Version 7)

Coat of Arms for the stairwell at Glasgow School of Art (Version 7)

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

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.

Coat of Arms for the stairwell at Glasgow School of Art (Version 4)

Coat of Arms for the stairwell at Glasgow School of Art (Version 4)

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

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.

Coat of Arms for the stairwell at Glasgow School of Art (Version 5)

Coat of Arms for the stairwell at Glasgow School of Art (Version 5)

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

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.

Coat of Arms for the stairwell at Glasgow School of Art (Version 6)

Coat of Arms for the stairwell at Glasgow School of Art (Version 6)

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

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.

Coat of Arms for the stairwell at Glasgow School of Art (Version 8)

Coat of Arms for the stairwell at Glasgow School of Art (Version 8)

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018. The bell is all that remains.

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.

Fragments of lampshade(s) for Library, Glasgow School of Art (Version 1)

Fragments of lampshade(s) for Library, Glasgow School of Art (Version 1)

The library was destroyed by fire on 23 May 2014, though many metal and glass fragments from the lights were subsequently salvaged. Originally, and according to Mackintosh’s preparatory sketches, there were thought to be 53 individual lights in the library, each with punched holes in the inner reflectors which allowed light to pass through blue and purple glass. The central array was made up of 12 small canisters attached to the light frame on the ceiling, with eight medium pendants and five large pendants hanging below. There were an additional twelve medium canisters attached to the coffered ceiling both above and below the library balcony, making 24. Originally there were also four additional medium hanging pendants in each of the south and western window bays, though these four lights, and the medium canister in the librarians office, had all been removed before the fire in 2014, meaning there were 48 in the library. This small selection of salvaged lights fragments has been retained as evidence of the fire tragedy. These fragments are also surplus to the needs of Rodney French of Lonsdale and Dutch, Edinburgh who has been tasked with reconstructing the entire set of library lights, whilst reusing as much of the surviving fragments as possible.

Family Papers

Family Papers

Papers of the Newbery family including papers dating to after Newbery's retirement; papers of his wife, Jessie Newbery; and documents relating to Mary Newbery Sturrock, daughter of Francis and Jessie Newbery. Papers as follows:

  • DIR/5/38/6/1: Letter from F R Benson of the Royalty Theatre, Glasgow, to Miss Newbery enclosing tickets for a Box for the play 'Much Ado', 12 Mar 1906 (1 sheet).

  • DIR/5/38/6/2: Headed letter paper of Francis Newbery, Eastgate, Corfe Castle, Dorset, c1918 (10 sheets).

  • DIR/5/38/6/3: Order of Proceedings for the inauguration of the Sign of Saint Edward, King and Martyr, Patron Saint of the Village, at Corfe Castle. Newbery made many of the readings at the event, 02 Jul 1927 (1 item).

  • DIR/5/38/6/4: Cardboard silhouette of Francis and Jessie Newbery in a photograph mount, c1930s (1 item).

  • DIR/5/38/6/5: Letters and fragments of letters from Jessie Newbery to her daughter Elsie and perhaps Mary. One of the letters to Elsie is dated 24 Sep 1934. The other letters are fragmentary and include topics such as recipes, books and sewing projects, c1934. (4 sheets)

  • DIR/5/38/6/6: Letter from George M Baltus to Mr and Mrs Newbery catching up with them following the Second World War, telling them of his experiences during that time, and telling them family news, 07 Jan 1946 (1 sheet).

  • DIR/5/38/6/7: File of photographs, pressclippings, sketches, designs, documents and letters relating to Mary Newbery Sturrock, daughter of Francis and Jessie Newbery, c1930s-80s (1 folder). File includes:

  • DIR/5/38/6/7/1: postcard of ‘Port Vendres’, watercolour by Charles Rennie Mackintosh c1926-27, dated 1979;

  • DIR/5/38/6/7/2: mounted photograph of Mary Newbery Sturrock at South Gray Street Edinburgh, undated;

  • DIR/5/38/6/7/3: letter from Mary Newbery Sturrock thanking her correspondent (name not given) for the Mackintosh card and about her memories of the doors of The Glasgow School of Art being white, 16 Oct 1984;

  • DIR/5/38/6/7/4: mounted photograph of Mary Newbery Sturrock and another woman, front of mount reads ‘Wedding’, undated;

  • DIR/5/38/6/7/5: pressclipping from the Helensburgh Advertiser about the opening of a special Mackintosh exhibition held at the Hill House, 03 May 1977;

  • DIR/5/38/6/7/6: card addressed to Mary, from ‘Pamela’ thanking her for a recent note. Front of card depicts ‘Painted gesso panel set with glass beads and shell’ by Margaret Macdonald Mackintosh, 1904, card is undated.

  • DIR/5/38/6/7/7: postcard from ‘Pat’ and Harry Barnes to Mary Newbery Sturrock, from Port-Vendres in France, 1981.

  • DIR/5/38/6/7/8: postcard from Tom Howarth to Mary Newbery Sturrock, from Port-Vendres in France, undated; photograph of Jessie and Francis Newbery; photograph of Mary Newbery Sturrock and another woman; photograph of two women, one likely Mary Newbery Sturrock, signed ‘Whiteleigh, Christmas 66’, 1966;

  • DIR/5/38/6/7/9: photographs of Mary Newbery Sturrock (x4), undated;

  • DIR/5/38/6/7/10: photographs of Mary Newbery Sturrock (x3), undated; close-up photograph of a necklace, undated;

  • DIR/5/38/6/7/11: photographs of Mary Newbery Sturrock (x2), undated;

  • DIR/5/38/6/7/12: photographs of Mary Newbery Sturrock (x2), undated;

  • DIR/5/38/6/7/13: photographs of Mary Newbery Sturrock and family (x4), undated;

  • DIR/5/38/6/7/14: photograph of Eastgate, Corfe Castle, undated; photographs of Jessie and Francis Newbery at Eastgate (x3), undated;

  • DIR/5/38/6/7/15: photograph of Jessie and Francis Newbery and family, undated; photograph of village street, likely Corfe Castle;

  • DIR/5/38/6/7/16: letter from Rodrigo Rodriguez of Cassina S.p.A to Mary Sturrock regarding the terms of an agreement between them for the reproduction of items (cutlery and the 'Six Columns Clock') designed for Sturrock by C.R. Mackintosh, 30 Oct 1979;

  • DIR/5/38/6/7/17: change of address card for Mr and Mrs A. R. Sturrock, from 2 Mansfield Place Edinburgh to 13 South Gray Street, c1945 (7 copies);

  • DIR/5/38/6/7/18: two hand-printed floral designs with addition of watercolour, unsigned and undated (possibly 1937 based on related designs); two versions of a hand-printed design with addition of watercolour depicting a woman with floral headdress, signed ‘M.N.S.’, undated (possibly 1937 based on related designs);

  • DIR/5/38/6/7/19: hand-printed floral Christmas card design with addition of watercolour and ink, back of card is signed ‘C.R., 1/-', dated 1937;

  • DIR/5/38/6/7/20: bundle of sketchbook and loose pages featuring sketches of, notes about and designs for ceramics, unsigned and undated (one example, drawn on the back of a card to Mary reads ‘wishing her good business and good health in 1956’);

  • DIR/5/38/6/7/21: invitation for exhibition of Sigrid Mavor (Ceramic flora and fauna) and M.N. Sturrock (Flower Drawings) from 30 Oct – 10 Nov at ‘The Open Eye Gallery’ Edinburgh [1982];

  • DIR/5/38/6/7/22: letter from Alison Adburgham to MNS Sturrock in response to a letter sent by Sturrock related to her family history and relationship to Liberty fabrics, 01 Jul 1983;

  • DIR/5/38/6/7/23: interview between Mary Newbery Sturrock and Tony Jones (director of GSA 1980-1986) about the history of The Glasgow School of Art, Fra Newbery and Charles Rennie Mackintosh, c1980.

Newbery, Francis Henry

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