Shepherd and sheep. 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.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Landscape with figure amongst trees, Ayrshire.

"A E Haswell Miller 1919" (in pen) bottom left. Annotated by artist.

Patterned design. Inscribed: 'No.3 Aisle' (pc, t.r).

Stained glass cartoon, possibly for Hartley Victoria College, Manchester.

Stained glass cartoon, possibly for Hartley Victoria College, Manchester.

Design for St John (with bible). Preliminary drawings for one light windows for St Mark's, Southport, set into pairs in the facing North and South walls of the Church.

Design for Martin Luther (with hammer). Preliminary drawings for one light windows for St Mark's, Southport, set into pairs in the facing North and South walls of the Church.

John Wesley, holding bible (lower half).

The design depicts the Blessed Virgin Mary on the left side and a young boy (Hartley?) on the right. Design is for the lower section of a window in St Mark's, Southport; dedicated to the memory of Sir William Pickles Hartley of the Primitive Methodist Movement. Inscribed: 'What doth the Lord require of thee but to do justly and to love mercy and to walk humbly with thy God?'.

Design for St Paul (with staff). Preliminary drawings for one light windows for St Mark's, Southport, set into pairs in the facing North and South walls of the Church. See NMC/282A for replacement face used for St Paul.

Stained glass cartoon for a two light memorial window. Inscribed: 'Come Holy Ghost'. For the church of St Clement and St James, Horsley, near Derby. This window was one of two, two light windows designed for Guthrie and Wells, the Glasgow firm of decorators who began stained glass production in 1884 and won a reputation for first class craftsmanship and always employing excellent designers (beginning in 1887 with Sir James Guthrie). Bell first designed glass for the firm in 1895 when he won the competition for new windows for the Royal Church at Crathie, and he continued to design for them for twenty-three years. In the 1920s he also designed for the City Glass Company, and examples of his work are still in the Glasgow area.

Stained glass cartoon for a two light memorial window. Inscribed: Our Souls Inspire'. For the church of St Clement and St James, Horsley, near Derby. This window was one of two, two light windows designed for Guthrie and Wells, the Glasgow firm of decorators who began stained glass production in 1884 and won a reputation for first class craftsmanship and always employing excellent designers (beginning in 1887 with Sir James Guthrie). Bell first designed glass for the firm in 1895 when he won the competition for new windows for the Royal Church at Crathie, and he continued to design for them for twenty-three years. In the 1920s he also designed for the City Glass Company, and examples of his work are still in the Glasgow area.

Design for an angel. Identified as the right side angel at the tracery above the altarpiece six light window depicting the nativity.

Design of four angels.

Design for two angels.

Design for four angels. Inscribed, 'Forgive them for... know not what they...' Fragment of larger design, now lost.

Design of four angels playing musical instruments and a crown.

Design of four angels playing musical instruments, a crown and stars.

Design for two angels and a dove.

Design for two angels.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Study of seated nude (female) model.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. One-eyed female figure in long green coat, set against landscape.

A painting of the fourth station of the cross, Jesus Meets his Mother, with a red and orange background. There is a blue section across the top with three green trees. Jesus and the cross, centre, are rendered in cool grey tones. Mary, right, is rendered in blue. The painting features thick grey boundary lines.

A painting of one of the stations of the cross with a red background. There is a blue section across the top with two green trees. Jesus and the cross, centre, are rendered with black lines and no fill colour. Above and to the right of Jesus is a figure painted in the same tones as the background. The painting features thick black boundary lines.

A painting of one of the stations of the cross with an orange and brown background. There is a blue section across the top with three green trees. Jesus and the cross, centre, and two faces in profile, bottom, are rendered in black lines with no fill colour. The painting features thick black boundary lines. Potentially an alternate version of item DC 102/1/70.

A painting of one of the stations of the cross with a red, orange and brown background. There is a blue section across the top with four green trees. Jesus and the cross, centre, are rendered in cool grey tones. At the bottom of the page there are two faces in profile rendered in orange, red and brown. The painting features thick black boundary lines.

A painting of one of the stations of the cross with a red and orange background. There is a blue and green section across the top containing two red figures. Jesus and the cross, centre, are rendered in cool grey tones. In the bottom right there are three faces rendered in warm tones. The painting features thick black boundary lines.

A painting of one of the stations of the cross. The background is made up of thickly-outlined curved shapes in red and blue. Jesus and the cross, centre, are rendered in black lines with no fill colour. There are three figures in the top right corner rendered in warm tones. In the bottom right corner are three faces in profile, facing toward Jesus, rendered in black lines with some red on the faces and shoulders of the lower two.

Painting of one of the stations of the cross. The painting has a red and orange background and a blue section of sky across the top with four trees. Jesus is kneeling with the cross and a woman stands in the bottom right of the scene. Both figures and the cross are rendered in cool grey tones. The painting features thick black boundary lines.

A painting of one of the stations of the cross with a red and orange background. There is a blue section across the top with two green trees. Jesus, centre, is rendered in black lines with some grey shading. The cross is rendered in black lines with no fill colour. A figure to the right of Jesus reaching toward his face, possibly Veronica, is rendered in black and red. There is a section of background to the left of Jesus which has been painted over in a wash of lighter, apparently blue, paint.

A painting of the fifth station of the cross, Simon of Cyrene Helps Jesus Carry the Cross. The background is red and orange, with a section of blue at the top with three green trees. Jesus and the cross, centre, are rendered in lineart with no fill colour. Simon of Cyrene, left, is rendered in green. The painting features thick black boundary lines.

A painting of the eight station of the cross, Jesus Meets the Women of Jerusalem. The background is red with a blue section across the top containing three tree shapes in olive green and blue tones. Jesus and the cross, left, are rendered in black lines with no fill colour. Three women, right, are rendered in purples. The painting features thick black boundary lines.

Still life with two bottles and broken bowl. 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.

This item was lost in the fire in The Mackintosh Building at The Glasgow School of Art on 23rd May 2014. Still life with doll and silver tea pot.