Welcome [sic] Trust Visit, 2014 (and other places, Malaga, Faro)
- DC 111/2/27
- Item
- 2014
Part of Papers of James Cosgrove
Sketches, drawings, and notes, including cityscapes and landscapes.
Cosgrove, James
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Welcome [sic] Trust Visit, 2014 (and other places, Malaga, Faro)
Part of Papers of James Cosgrove
Sketches, drawings, and notes, including cityscapes and landscapes.
Cosgrove, James
Part of Papers of James Cosgrove
Print out of computer drawing from Apple Macintosh Painter Programme. Abstract image depicting a masked human head on a plinth, a table laden with carafe, fruit, and a fish, the Sun, a dove, and a naked standing figure.
Cosgrove, James
Henderson, Andrew Graham
Bound in volume, The Magazine, November, 1894.
Mackintosh, Charles Rennie
Henderson, Andrew Graham
The Glasgow School of Art: Mackintosh Building - West Doorway - Plan and section
Architectural drawing of the GSA Mackintosh Building. Scale 1:20.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - West Doorway - Elevations/sections
Architectural drawing of the GSA Mackintosh Building. Scale 1:20.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Studio Door and hanging strap
Architectural drawing of the GSA Mackintosh Building. Scale 1:10.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Section through library and studios
Architectural drawing of the GSA Mackintosh Building. Scale 1:100.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Section through entrance
Architectural drawing of the GSA Mackintosh Building. Scale 1:100.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Second Floor Plan
Architectural drawing of the GSA Mackintosh Building. Scale 1:100.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Library part sections/elevations
Architectural drawing of the GSA Mackintosh Building. Scale 1:20.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Library balcony level
Architectural drawing of the GSA Mackintosh Building. Scale 1:100.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Library balcony and pendant
Architectural drawing of the GSA Mackintosh Building. Scale 1:5.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Ground Floor Plan
Architectural drawing of the GSA Mackintosh Building. Scale 1:100.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Ground Floor Mezzanine
Architectural drawing of the GSA Mackintosh Building. Scale 1:100.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - First Floor Plan
Architectural drawing of the GSA Mackintosh Building.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - First Floor Mezzanine/Book Store
Architectural drawing of the GSA Mackintosh Building. Scale 1:100.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - First Floor Mezzanine (RL)
Architectural drawing of the GSA Mackintosh Building. Scale 1:100.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - East Stair - vertical section
Architectural drawing of the GSA Mackintosh Building. Scale 1:20.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - East Stair - plan and elevation
Architectural drawing of the GSA Mackintosh Building. Scale 1:20.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Context and City Plan
Architectural drawing of the GSA Mackintosh Building. Scale 1:1250/NTS.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Basement Plan
Architectural drawing of the GSA Mackintosh Building. Scale 1:100.
Clarke, Paul
The Glasgow School of Art: Mackintosh Building - Basement Mezzanine
Architectural drawing of the GSA Mackintosh Building. Scale 1:100.
Clarke, Paul
Henderson, Andrew Graham
Some Cranbrook Notes (Michigan)
Part of Papers of James Cosgrove
Journal entries and recounts of visit to Cranbrook College, Washington, and Detroit. Includes live commentary of the Cranbrook College Fashion Show.
Cosgrove, James
Part of Papers of James Cosgrove
Drawings and paintings, including landscapes and figurative representations.
Cosgrove, James
Part of Papers of James Cosgrove
Sketches of landscapes, figures and still lives. Some portraits and representations of astrological symbols. Includes design for and exhibition of the Estate House Buildings of Govan, possibly to be shown at the Centre for Art and Heritage at the HOuse for an Art Lover.
Cosgrove, James
Part of Papers of James Cosgrove
Drawings and paintings, including landscapes, still lives, and sketches.
Cosgrove, James
Sketch of (Italian) decorative panels
Italian subject matter. A study from Mackintosh's tour of Italy in 1891 as part of the Alexander 'Greek' Thomson travelling scholarship.
Mackintosh, Charles Rennie
Henderson, Andrew Graham
Silk-screen print, textile design
Part of Papers of James Cosgrove
Textile design, hand printed silk-screen on paper.
Cosgrove, James
Sheet 6, The Glasgow School of Art, Wrought Iron Features
The presentation sheet includes photos of some main features of the library such: pendant cluster of pierced metal lampshades, the construction of the coffered ceiling pillars and balusters. Photos' references are unknown.
Platt, Christopher
Sheet 5, The Glasgow School of Art, Wrought Iron Features
The presentation sheet includes photos of some wrought iron features with descriptions about the functional and aesthetics values of using such features as they were attached to the windows, above the main entrance, and balcony railings. Photos' references are unknown.
Platt, Christopher
Sheet 4, The Glasgow School of Art, Floor Plans
Presentation sheet including copies of floor plan drawings and a photo of the east staircase at first-floor level. No references included.
Platt, Christopher
Sheet 3, The Glasgow School of Art, West and East Elevations
West elevation: drawn from a contract drawing of 1907 re-design of the original 1896 and altered by architect amending doorway, architrave, and corbels.
East elevation: drawing shows the building as built originally planned except for slight modifications.
Platt, Christopher
Sheet 2, The Glasgow School of Art, South Elevation
The Glasgow School of Art south elevation drawn as it was in 1910, without any written information about the architect, the history of the building.
Platt, Christopher
Sheet 1, The Glasgow School of Art, North Elevation
The Glasgow School of Art north elevation as it drawn as it was in 1910, without any written information about the architect, the history of the building.
Platt, Christopher
Royal College of Art Sketchbook
Part of Papers of James Cosgrove
Includes drawings and landscape paintings and sketches, notes and designs of the playground, Grounds for Play, and the Art Park centre for Art and Heritage at House for an Art Lover, Bellahouston Park, Glasgow. Also includes a series of 14 photographic reproductions of acrylic paintings of landscapes.
Cosgrove, James
Roof of Napton Church, Norfolk
Sketch of three angels playing musical instruments.
Mackintosh, Charles Rennie
Material created for Project 3, First Year which relates to the history and design of The Glasgow School of Art building. Six Drawing and presentation sheets of architectural floor plans, elevations, and details.
Platt, Christopher
Plate 9 Music Room with Piano & Fireplace from Portfolio of Prints
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.
Mackintosh, Charles Rennie
Plate 9 Music Room with Piano & Fireplace from Portfolio of Prints
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.
Mackintosh, Charles Rennie
Plate 8 Reception Room from Portfolio of Prints
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.'
Mackintosh, Charles Rennie
Plate 7 Reception Room and Music Room from Portfolio of Prints
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.
Mackintosh, Charles Rennie
Plate 6 View from North-West from Portfolio of Prints
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.
Mackintosh, Charles Rennie
Plate 5 View from South-East from Portfolio of Prints
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.
Mackintosh, Charles Rennie
Plate 4 South Elevation from Portfolio of Prints
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.
Mackintosh, Charles Rennie