- MC/A/2/v1
- Part
- 1901
Mackintosh, Margaret Macdonald
Mackintosh, Margaret Macdonald
In art nouveau frame drawn in ink on brown backing paper: The Harvest Moon, Chas. R. Mackintosh, 1893, To John Keppie, October 1894.
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Group of women in flowing dresses.
French, Annie
Mackintosh, Charles Rennie
Painted during their stay in Suffolk, when Mackintosh and Margaret Macdonald had left Glasgow.
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh produced a number of very similar paintings of stylised bouquets of flowers at this time, c1918-20.
Mackintosh, Charles Rennie
In 1896 McNair held his first one-man show, an exhibition of pastels at the Gutekunst Gallery, London. Twenty-one works, including this, were displayed in distinctive dark-stained wood frames. McNair had clearly drawn inspiration from Whistler’s exhibition installations, even down to the typesetting of the catalogue. The entry for this work explained, ‘The Fairy is guarding the Leaf of Love from the Witch of Evil who has robbed the Tree of Life of all its other leaves.’
MacNair, James Herbert
Bound in volume, The Magazine, November, 1894.
Mackintosh, Charles Rennie
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).
Mackintosh, Charles Rennie
From The Magazine, Spring 1896. Inscribed: The Tree of Influence, The Tree of Importance, The Sun of Cowardice, Charles Rennie Mackintosh, Jan 1895.
Mackintosh, Charles Rennie
From The Magazine, Spring 1896. The shadow does not correspond with the object in front; it touches it and echoes it but is different.
Mackintosh, Charles Rennie
'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).
Mackintosh, Charles Rennie
Drawing of The Glasgow School of Art Library
One of three student drawings of the Mackintosh Library at The Glasgow School of Art.
Duncan, David
Mackintosh sketchbook (Page 1)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 4)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 5)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 6)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 14)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 17)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 18)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 25)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 27)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 29)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 40)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Drawing of The Glasgow School of Art Library
One of three student drawings of the Mackintosh Library at The Glasgow School of Art.
Duncan, David
From The Magazine, April 1894. The long text by Mackintosh which accompanies this watercolour in The Magazine (reproduced in full in Billcliffe's catalogue) suggests that he had already encountered public hostility to his work, possibly even from fellow students, on the grounds of incomprehensibility.
Mackintosh, Charles Rennie
Bound in volume, The Magazine, Spring 1896. One of three watercolours depicting the seasons drawn for The Magazine.
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 7)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 11)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 12)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 13)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 22)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 24)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 28)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 30)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 32)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 42)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 44)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 45)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 47)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 48)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Bound in the November 1894 edition of 'The Magazine'. It was designs such as this that earned the Mackintosh group the nickname of 'Spook School'.
Mackintosh, Margaret Macdonald
Bound in the Spring 1896 edition of 'The Magazine'. It was designs such as this that earned the Mackintosh group the nickname of 'Spook School'.
Mackintosh, Margaret Macdonald
Mackintosh sketchbook (Page 2)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 3)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie
Mackintosh sketchbook (Page 10)
Part of Papers of Jessie Keppie, artist and student of The Glasgow School of Art, Scotland
Mackintosh, Charles Rennie