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A small design sketch of leaves on a grid. Undated.

A variety of artworks, including landscape drawings, designs and life sketches, unique paintings made of pressed seaweed, and one printed work. A few items have annotations, such as related locations to the works or some letters. None of them are dated, except for one piece of the seaweed work.

A number of sketches and photographs of works by William Meldrum. This collection includes figure and illustrative drawings, unique pieces made of seaweed, and a series of monochrome photographs featuring landscape paintings. Most of the items are undated however the dates of creation are presumed to fall between the 1880s and 1920s. A set of typewritten paper by an unknown author dated after 1966, features a brief biography of Meldrum and descriptions of two drawings along with their custodial histories.

William Meldrum tended to work on depicting city views of Glasgow in the early 20th century and landscapes of diverse areas in Scotland. He created multiple pieces of black-and-white photographs on which his paintings have been printed; some of the photographs have identical versions.

A design sketch for a cup and saucer set, including side elevation drawings of the cup and two sketches of the saucer. Includes annotations of student registration no. ("No. 71") and signed "G. Murphy."

15 painted pattern designs featuring floral, organic, and geometric motifs, including one book cover design for 'Gulliver's Travels' by Jonathan Swift. Most of these designs are likely intended for use in wallpaper, textiles, or graphics, and attached to black backing paper. Some include annotations of student registration no. ("No. 71") and signed "Gerard Murphy."

14 sheets of teaching examples and one title page, assumed to have been compiled as Murphy's portfolio during his career as an art teacher in schools located in Scotland, such as Motherwell RC High School and Coatbridge Secondary School. These teaching materials include pattern designs, graphic designs (possibly for students' school activities), and woodblock printmaking examples. Most items have been marked with the intended level of students as appropriate examples for education.

A variety of drawings and graphic designs created by Gerard V. Murphy, a former student at The Glasgow School of Art in the 1930s. The diverse subjects of his drawings include animals, plants, architecture, human anatomy and figures. A subfonds titled 'Teaching examples' features his teaching materials as an art teacher at schools, intended for printmaking techniques and pattern design education.

Most items have been marked with his name or student registration numbers, assuming they were created during his time as a student at GSA. The dominant materials in his works are pencil and watercolour, worked on cartridge paper.

Some of this material was damaged in the fire in GSA's Mackintosh Building on 23rd May 2014. Paper conservation was completed in 2019.

Five pieces of teaching examples for printmaking, attached to backing paper. A few prints were created using both intaglio and relief printing techniques, while the others are relief prints. Also used as teaching materials in schools in Scotland, as marked the level of students "Fifth year."

Nine pieces of teaching examples for printmaking, attached to backing paper. These woodcut-printed examples include two pattern designs and seven printed drawings. Also used as teaching materials in schools in Scotland, as marked the level of students "Fourth year."

Six pieces of teaching examples for printmaking, attached to backing paper. A few prints have been engraved with letters indicating that these prints are intended for school activity poster designs. Also used as teaching materials in schools in Scotland, as marked the level of students "Fifth year."

Four pieces of teaching examples for printmaking, attached to backing paper. These woodcut prints were created using potentially intaglio and relief printing techniques. Also used as teaching materials in schools in Scotland, as marked with the level of students "Sixth year."

Four pieces of teaching examples for pattern designs, attached to backing paper. These pattern designs, featuring an interplay of waves and geometric shapes, were used as teaching materials in schools in Scotland, as marked the level of students "First year."

Four pieces of teaching examples for pattern designs, attached to backing paper. These pattern designs were used as teaching materials in schools in Scotland, as marked the level of students "Second year."

Seven pattern designs examples are attached to backing paper. This work was used as teaching material in schools in Scotland during Murphy's career as an art teacher.

Four pieces of teaching examples for pattern designs, attached to backing paper. These pattern designs were created for possibly textiles and used as teaching materials in schools in Scotland, as marked the level of students "First year."

Three printed graphic designs featuring school magazine covers, annotated "Motherwell R.C. H.G. School Magazine." and attached to textured backing paper. This work was used as teaching material in schools in Scotland, as marked the level of students "Fifth year."

Four printed graphic designs featuring school magazine covers, annotated "Coatbridge Secondary School Magazine" and "Airdrie Academy Magazine." The designs are attached to backing paper and two of them are dated 1937 and 1938. This work was used as teaching material in schools in Scotland, as marked the level of students "Fifth year."

Seven pieces of teaching examples for basic pattern designs, attached to backing paper. This work was used as teaching material in schools in Scotland, as marked the level of students "Primary 5-7."

Nine pieces of teaching examples for printmaking, attached to backing paper. These prints appear to be intended as teaching materials in schools in Scotland, as marked the level of students "Third year."

Seven pieces of teaching examples for pattern designs, attached to backing paper. This work was used as teaching material in schools in Scotland during Murphy's career as an art teacher.

Eight aligned decorative strips illustrating organic, geometric, or strapwork-style pattern designs.

A botanical pattern design painted in shades of yellow, green, and blue. Student registration no. ("No. 71") and signed "G. Murphy." on the back of paper.

A pattern design with vertically aligned symmetrical figures. Includes annotations of student registration no. ("No. 71") and signed "Gerard Murphy."

A pattern design featuring a repeating arrangement of flowers in opposite directions in alternate rows.

A painted pattern design with two repeating decorative motifs intersected by diamond shapes.

A square-shaped design featuring identical floral motifs in a grid pattern.

A painted pattern design featuring floral motifs with vertical lines, potentially intended for wallpaper. Includes annotations of student registration no. ("No. 71") and signed "Gerard Murphy."

A painted graphical pattern design illustrating a sequence of figures with wavy lines. Includes annotations of student registration no. ("No. 71") and signed "Gerard Murphy."

A flower pattern design repeatedly arranged in vertical and horizontal directions

A painted pattern design with interlocked geometric figures. Includes annotations of student registration no. ("No. 71") and signed "Gerard Murphy."

A coloured book jacket design for "Gulliver's Travels" by Jonathan Swift, featuring a human motif in a geometric pattern. Includes annotations of student registration no. ("No. 71") and signed "G. Murphy."

Three ornamental designs featuring symmetric strapworks in rectangular frames. Includes annotations of student registration no. ("No. 71") and signed "Gerard Murphy."

Film by Callum and Fraser Rice which accompanies the exhibition by Jimmy Cosgrove ‘Looking for Signs: Ideas and Imagined Circumstances', Studio Pavilion (House for an Art Lover) 28 July - 16 September 2018, co-curated by Alison Harley, Fraser Taylor and Louise Briggs.

The exhibition explored the studio collection of Jimmy Cosgrove, and presented work spanning the early 1970s to new work created for the Studio Pavilion in 2018. Sketchbooks, travelogues, working ideas were included to show the span of work across design and the visual arts, pursued by Jimmy Cosgrove throughout his career at GSA.

Filmed in the context of the exhibition Cosgrove expands upon his ideas, working processes and contribution to design education at GSA, alongside his artistic contribution to the Scottish and Glasgow art scene of the early 1970s and into the mid 1990s, when he retired from GSA to continue working as an exhibiting artist.

A publication with invited contributions by practitioners and academics, accompanied the exhibition.

Includes:

• graphic designs
• watercolours
• architectural drawings
• sketches.

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).

Designed for the 'Rose Boudoir', International Exhibition of Modern Decorative Art, Turin, 1902. This item was assessed for conversation in 2010 as part of the Mackintosh Conservation and Access project (2006-2010), and then again in 2018 following the fire in the Mackintosh Building in June 2018.

A Rose Boudoir included two gesso panels - composite works of plaster with pigment, set with glass beads - made exclusively by Macdonald. On the manifest for the exhibition, Mackintosh indicated that ‘duplicates only’ were available for sale. Two other versions, both in Glasgow, had the same design but with different palette and surface detail: The White Rose and the Red Rose hung above the mantle in the Mackintoshes’ own home, and can now be seen in the Mackintosh House at the Hunterian Art Gallery; and The Heart of the Rose belonged to Wylie Hill, a relative of Jessie Newbery, and was later given to the Glasgow School of Art. Previously it was assumed that these versions were created from a cartoon or template, each hand made, but it was difficult to tell which set came first, or even if they were made simultaneously. But recent analysis by Graciela Ainsworth Conservation Studio in Edinburgh has shown that the GSA version is not a gesso panel as we have come to understand Macdonald’s technique, but rather a traditional plaster cast that has been painted. This may seem like a minor technical point, but when considered alongside Mackintosh’s note that duplicates could be ordered, it reminds us that he carefully curated this space to show both that he and Macdonald could be commissioned to do entire rooms but were also very happy to have individual pieces replicated and sold on their own merit (information supplied by Dr Robyne Erica Calvert, Cultural Historian, Mar 2022).