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Landscapes (representations) With digital objects
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Photographs

A collection of photographs and negatives taken by George Oliver dating from 1948-1990 (apart from two dated c1897). George arranged his photographs into folders by approximate subject matter and gave each folder a title. This has been reflected in the catalogue with the folder titles in the catalogue being the exact titles George used. The folders have been arranged by subject matter where possible. There are exceptions to the above. Folders DC 066/2/20 and DC 066/2/86 have not been given a title by George and have been catalogued as 'Untitled'. There are exceptions to this with DC 066/2/78 containing photographs taken by Cordelia Oliver as they date from after George's death. As a result of the Mackintosh Building fire in 2014, folders DC 066/2/87, DC 066/2/88 and DC 066/2/89 contain photographs that have been rehoused since their deposit and are likely to have been taken out of other folders. It is not clear from which folders these photographs came originally, so they have been catalogued separately with their titles reflecting the subject matter of the photographs they contain.

Oliver, George

Sketchbook

A sketchbook of artworks by Mary Ramsay. This item includes a number of pastel and pencil drawings of landscape scenes and floral studies; however, most of the pages are left blank.

Ramsay, Mary

Sketchbook

A sketchbook of artworks by Mary Ramsay. This item includes a number of pastel and pencil drawings of landscape scenes and floral studies; however, most of the pages are left blank.

Ramsay, Mary

Sketchbook

A sketchbook of artworks by Mary Ramsay. This item includes a number of pastel and pencil drawings of landscape scenes and floral studies; however, most of the pages are left blank.

Ramsay, Mary

Sketchbook

A sketchbook of artworks by Mary Ramsay. This item includes a number of pastel and pencil drawings of landscape scenes and floral studies; however, most of the pages are left blank.

Ramsay, Mary

Poster for 'LMS - The Firth of Clyde', for London Midland & Scottish Railway Company

Poster for 'LMS - The Firth of Clyde', for London Midland & Scottish Railway Company. Printed for the Foulis Archive Press, Glasgow School of Art by David J. Clark Ltd, Glasgow. Features artwork by Norman Wilkinson, 1925. The date of the poster is unknown but is believed to be the 1920s.

Source: https://www.darnleyfineart.com/artists/wilkinson

*Not available / given

Poster for exhibition 'Christopher Pratt silkscreen prints 1960 to 1982', Glasgow

Poster for exhibition 'Christopher Pratt silkscreen prints 1960 to 1982', Glasgow Print Studio Gallery, Glasgow, 15 Nov 1983-08 Dec 1983. The exhibition toured a number of venues, namely Rome, Glasgow, Billingham, Berkshire, Dublin and Vienna between 1983 and 1985. The year is not given on the poster but is understood to be 1983 from the sources below.

Sources: https://www.exhibits.therooms.ca/ic_sites/pratt/life/timeline.htm; https://gsaarchives.net/collections/index.php/dc-030-1-3

Not available / given

The Village, Worth Matravers

In July Mackintosh and Margaret Macdonald spent a holiday in Dorset re-visiting many of the place he had visited in 1895. 'In 'The Village' and 'The Downs' Mackintosh makes his first conscious moves towards his mature style of the Port Vendres period. He is obviously concerned with the pattern of the landscape, picking out features like the stepped hillside, the stone walls, paths and roofs of village houses. These ordinary motifs are given an eerie emphasis by being painted in an equally detailed manner whether they are in the foreground of the the distance... it was probably at this time... that he decided to concentrate more and more on painting. By 1923 he had decided to forsake architecture and design and devote the rest of his life to producing watercolours.' (Roger Billcliffe).

Mackintosh, Charles Rennie

The Downs, Worth Matravers

'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

Edge of A Wood, Milngavie

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

Catterline, Aberdeenshire

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of Catterline shoreline, looking northwards over the bay and showing the pier, boat shed, and salmon bothie, with 'the Watchie' building above.

Eardley, Joan Kathleen Harding

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