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The collection consists of 305 photographs taken between 1853 and 1896. Sitters included local dignitaries, friends and family including John Brown, Queen Victoria's Ghillie. The collection also includes landscapes and the streets of Glasgow, particularly around the Pollokshields area on the south side of the city. Other subjects include ships, ship yards and stately houses.

Notebook containing lecture notes and a letter to James Salmon from Frances Newbery. Also includes several sheets of notes on loose paper.

Please note that this material is not yet fully catalogued and therefore some items may not be accessible to researchers.

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.

Teaching aids include collections of prints, photographs, and calligraphy examples.

Includes flower prints, animal prints, architectural prints, and a print of a painting of a rhinoceros.

Includes two copies of architectural sketches for an early English doorway, entrance to Chapter House, Glasgow Cathedral. Sketch is dated 28 January 1903, supplement to The Builder's Journal and Architectural Record, measured and drawn by Charles Forsyth. Also includes collection of architectural lithograph prints, sketches, and watercolours of various locations including Paris, Rome, Cairo, and throughout the UK, some by E. Hildebrandt. Two have a stamp on corner of work, "Department of Science and Art, Specimen presented to schools". Also includes coloured prints of various rooms in the Great Kremlin Palace in Moscow, Russia. Views include halls, courtyard, indoor garden, holy vestibule, throne room. Labelled in Russian and French, some include English labels written in pencil. Also includes collection of printed architectural plans and designs including two ordinance surveys of Garnethill and City Centre/Sauchiehall St., three copies of a poster of "100 Years of British Architecture" by The Observer, a floor plan of the Great Kremlin Palace in Moscow, a poster of "James Caldwell & Co. Abbotsford Stained Glassworks" designs, and three small architectural sketches/plans/designs of Grey Friars Church in Edinburgh, Chartres Cathedral in France, and Candlish Memorial Church in Glasgow.

Includes photographs collected by Alexander McGibbon, Charles Edward Whitelaw, and Eugene Bourdon. Also includes collection of cloud studies, copies of George Henry works, and miscellaneous photographs.

Collection of photographs of architectural exteriors and interiors of churches and other historical buildings in Italy. Photographs are mounted on a supporting cardboard backing. Back of photographs have stamp "Alex R. McGibbon".

Collection of photographs of architectural exteriors and interiors of churches and other historical buildings in Ireland and France. Photographs are mounted on a supporting cardboard backing. Back of photographs have stamp "Chas. E. Whitelaw". Many photographs have handwritten titles on cardboard below the photograph.

Collection of photographs of architectural exteriors and interiors of churches and other historical buildings in Italy and France. Photographs are mounted on a supporting cardboard backing. Back of photographs have stamp "Eugene Bourdon, Architecte, Diplome par le Gouvernement". Some photographs have handwritten titles on the cardboard below the photograph.

Group of miscellaneous photographs that do not fit an existing theme and do not have any notes indicating a collector/tutor, except one photograph which has a handwritten note "J Keppie" (John Keppie). Includes architectural photographs and photographic prints of various artwork and ornamental details.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

Original: Designed by Pheidias, 447-432BC. It is generally agreed that the frieze depicts (in narrative form) the Greater Panathenaic procession from the Leokoreion by the Dipylon gate to the Acropolis, was mooted by Stuart and Revett in the second volume of their Antiquities of Athens, 1787.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 15th June 2018.

Original: Also known as the Porte Royale, the West Portal was carved by 1150. The sculptures and reliefs were modelled on those in the triple west portal at St. Denis and at Chartres Cathedral.

Plaster cast copies of sculptures from the church of Notre-Dame de Corbeil, Essonne, France. The original sculptures were previously displayed in the Musée des Monuments as King Clovis I of the Franks (465 - 511) and his wife Queen Clotilde (474 – 545). However, they are now housed in the Louvre where they are catalogued as possibly the Old Testament monarchs, King Solomon and the Queen of Sheba.

Plaster cast copies of sculptures from the church of Notre-Dame de Corbeil, Essonne, France. The original sculptures were previously displayed in the Musée des Monuments as King Clovis I of the Franks (465 - 511) and his wife Queen Clotilde (474 – 545). However, they are now housed in the Louvre where they are catalogued as possibly the Old Testament monarchs, King Solomon and the Queen of Sheba.

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

Original: Portal figures from Chartres Cathedral. The central tympanum illustrates the Apocalypse with a central Christ surrounded by twenty-four Elders.

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

Original: Portal figures from Chartres Cathedral. The central tympanum illustrates the Apocalypse with a central Christ surrounded by twenty-four Elders.

Original: Attributed to Gregorio di Allegretto, 1476. Marble. Church of Santa Giustina, Padua, Italy. On the front of the sarcophagus the body of the saint is carved in relief, lying on a bier and covered with a cloth. At the ends are reliefs of angels swinging censers. Annotated "182A Brucciani & Co, London".

Foundling roundel, originally glazed blue and white terracotta. Original: Andrea della Robbia, 1487, at the Ospedale degli Innocenti, Florence, Italy. Annotated with numbers on reverse.