Showing 473 results

Vase of white roses, with classical statue behind.

Study of bunch of daffodils.

Farmyard composition with horses and figures.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of Hugh Adam Crawford, in white tunic, bearded.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of wolf and arrowed target.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Shrouded figure foreground, coloured striped background.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. GSA students and staff featured in this work include (from left to right), amongst others: Harry McLean, GSA student and conservator (seated at table bottom left, resting elbow on table); Hugh Adam Crawford, GSA staff, Drawing and Painting department (standing, front-facing, slightly left of centre); Joan Eadley, GSA student and artist (centre, standing, facing left); John Miller, GSA staff, Drawing & Painting department (slightly right of centre, facing right, carrying portfolio under right arm); Margot Sandeman, GSA student and artist (slightly right of centre, facing right, arms folded, in conversation with Cordelia Oliver); Cordelia Oliver, GSA student, art critic and journalist (slightly right of centre, facing left, in conversation with Margot Sandeman); Margaret McGavin, GSA student and artist (right of centre, adjacent to Cordelia Oliver, front-facing but looking right, in conversation with another female student); David Donaldson, GSA staff, Drawing and Painting department (right of centre, left-facing, positioned between Margaret McGavin and the female student she is talking to); Benno Schotz, GSA staff, Modelling and Sculpture department and sculptor (right hand side, facing left); Timothy Powell, GSA staff, Graphic Design department (right hand side, in the foreground, front-facing, wearing a suit).

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. This painting of the first-floor museum, looking East, is one of the very earliest artistic depictions of the building's celebrated interior.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

A sepia-toned photograph of a watercolour painting depicting Gourock Bay, as annotated "Gourock at the Clyde" on the reverse. Signed "W. Meldrum," but not dated.

A monochrome photograph of a watercolour landscape painting featuring a mansion in the country. Signed "W. Meldrum,"and dated "1920" assumed to be the date of creation of the painting.

A monochrome photograph of a watercolour landscape painting depicting two people near the river Tweed in Melrose, Scotland. One person is standing towards the river, while another is on a floating boat in the painting. Signed "W. Meldrum," but not dated. Includes the annotation "The Tweed near Melrose" on the reverse of backing paper.

A botanical watercolour painting of violet flowers. Includes annotations of student registration no. ("No. 71") and signed "G. Murphy".

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of artist Daisy Anderson.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Self-portrait of former Glasgow School of Art director.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of the Glasgow photographer James Craig Annan, 1884-1945. Inscribed on frame: "James Craig Annan 1884-1945 by Francis H. Newbery, Director GSA, 1885-1917".

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of former Glasgow School of Art librarian.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of the artist Ancell Stronach.

From The Magazine, Spring 1896. Inscribed: The Tree of Personal Effort, The Sun of Indifference, Charles Rennie Mackintosh, January 1895.' The exact meaning of the symbolism of this work, and its companion, 'The Tree of Influence' has eluded all commentators on Mackintosh's early water-colours. The obvious source of the symbolism is nature, and Mackintosh here reaches his most extreme distortion of organic forms.' (Roger Billcliffe).

From The Magazine, Spring 1896. Inscribed: The Tree of Influence, The Tree of Importance, The Sun of Cowardice, Charles Rennie Mackintosh, Jan 1895.

From The Magazine, Spring 1896. The shadow does not correspond with the object in front; it touches it and echoes it but is different.

'As in 'The Village' there are no figures in this view of the Dorset countryside. This absolute lack of human activity gives Mackintosh's pictures an air of eerie, even surreal, desertion. They are formal landscapes... the most dominant feature in this work is the tall telegraph pole, a formal and unnatural element in this gentle Dorset landscape.' (Roger Billcliffe).

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Figure seated at table.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Summer landscape, with trees and water to foreground.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Winter landscape with cottage under snow. Location: Pinwherry, Ayrshire.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Female portrait, possibly the artist's sister Violet.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

Still life of flowers in vase, with model ship in left foreground.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of a young girl.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Male portrait.

Town by a loch.

Pencil and watercolour picture of Canterbury Cathedral.  Pencil note records, 'completed on the spot, Jas.B.Fulton, (shows evidence of having been folded in half.)

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Sitter was donor's late husband's aunt.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Landscape with mountains.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of singer and microphone.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Self portrait. Two of Hugh Adam Crawford's self portraits were exhibited at the Royal Scottish Academy in 1951 and 1960. Another earlier self portrait is also owned by the Scottish National Portrait Gallery.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Portrait of artist's mother and father at the piano.

Cottage near Birmingham. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

Fishermen and labourers with wagons. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

Views of Windsor Castle and Conway Castle. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

Studies of various Hastings fishing boats. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

View on the coast of Hastings. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

Study of three bridges; near Birmingham, Llanberis, (North Wales) and Arden, Warwickshire. Published in London.

Study of three bridges; near Knowle (Warwickshire), Leicester and North Wales. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

Two landscape studies. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

Wind mill with cart and farm building. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

Riverside composition. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.

View on the Thames. From "A Treatise on Landscape Painting and Effect in Watercolours: from the first rudiments to the finished picture: with examples in Outline, Effect, and Colouring", first published in London by S & J Fuller in 1814, republished in 1840.