Item MC/A/3 - A Pond

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Key Information

Reference code

MC/A/3

Title

A Pond

Date(s)

  • 1894 (Creation)

Level of description

Item

Extent

1

Content and Structure

Scope and content

Bound in the November 1894 edition of 'The Magazine'. "It must have been something like this watercolour.... that evoked the 'critics from foreign parts' (as reported by Gleeson White in The Studio, pp88-9) to deduce 'the personality of the Misses MacDonald from their works' and see them as 'middle-ages sisters, flat footed, with projecting teeth and long past matrimony... gaunt, unlovely females'. Gleeson White who visited Glasgow to see the Mackintosh group was pleasantly surprised to meet two laughing comely girls scarce out of their teens." (MacLaren Young).

Appraisal, destruction and scheduling

Accruals

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General Information

Name of creator

(1874-1921)

Biographical history

Frances Macdonald’s achievements are less well known than those of her sister, Margaret Macdonald. In part this is due to the loss of much of her work, destroyed by her husband, Herbert McNair, after her death, and in part to the fact that she left Glasgow in 1899. Nonetheless she produced some of the most powerful imagery of the Glasgow Style, and her late symbolist watercolours are moving meditations on the choices facing women. Frances was born in England and moved to Glasgow with her family by 1890. She enrolled as a student at Glasgow School of Art where she met Charles Rennie Mackintosh and Herbert McNair. In the mid 1890s Frances left the School and set up an independent studio in the city centre with her sister, Margaret Macdonald. Together they collaborated on metalwork, graphics, textile designs and book illustrations, exhibiting in London, Liverpool and Venice. Following her marriage in 1899 to Herbert McNair she joined him in Liverpool where McNair was by then teaching at the School of Architecture and Applied Art. The couple designed the interiors of their home at 54 Oxford Street and exhibited a Writing Room at the International Exhibition of Modern Art, Turin. Macdonald also started teaching, and developed skills in jewellery, enamelwork and embroidery. The closure of the School in the early 1900s led to a gradual decline in their careers, compounded by the loss of the McNair family wealth through business failures. The couple returned to Glasgow around 1909. It was in the following years that Macdonald painted a moving series of symbolist watercolours addressing themes related to marriage and motherhood. She died in Glasgow in 1921. For further information consult ed. Jude Burkhauser, ‘Glasgow Girls’, Canongate Press, 1990 and Janice Helland, ‘The Studios of Frances Macdonald and Margaret Macdonald’, Manchester University Press, 1995. An exhibition of the McNairs’ work was held at the Hunterian Art Gallery, University of Glasgow, in the summer of 2006, subsequently touring to the Walker Art Gallery, Liverpool from January to April 2007.

Archival history

Custodial history

Lucy Raeburn. Presented by Katherine Cameron (Mrs Arthur Kay); 1949.

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Physical Description

Pencil and watercolour on grey paper

Dimensions: 320 x 240 mm

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Howarth, p.26, pl.7B Bijutsu Techo, fig.5 Casabella 376, 1973, fig.17 Scottish Art Review XIV no.4, 1975, pp.13-16, fig.3

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Administrative Information

Description identifier

GB 1694 MC/A/3

Institution identifier

GB 1694

Rules and/or conventions used

ISAD(G): General International Standard Archival Description - Second edition

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