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Painting of abstract forms in blue, red, yellow and green, with black boundary lines, on a blue background. Signed 'Avella' in bottom right-hand corner.

Painting of a cluster of circles and lines, possibly figures, above a rectangular form with four lines emerging from one side. The central shapes are rendered in shades of orange and red, apart from the rectangle which is unpainted, with light brown towards the edges of the piece.

Painting of abstract forms in shades of pink, lilac, teal. Signed 'Avella' in bottom right-hand corner.

Painting of loose geometric forms rendered in white, yellow, pink and blue. Most of the forms have a roughly rectangular or wedge shape with thin border lines and broad strokes of colour. There is a white circle toward one end of the composition and a blue circle toward the other.

Abstract painting with a triangle at each end, points facing, and a circle overlapping most of one triangle and the point of the other. The painting is divided into strips by horizontal lines and the strips are sectioned into brightly-coloured blocks and triangles. Around the margins of the page there are pencil sketches of rectangular shapes and patterns.

Abstract painting featuring a composition of geometric forms, primarily triangles. The forms are outlined in white, with some triangle segments painted in green and pink and several semicircular or crescent shapes painted in yellow-green. The background is white and green with lines and hatching carved into the paint.

Abstract painting of coloured segments in red, blue, green, black and purple. A red circle on a blue and black segment sits just off-centre.

Abstract painting with composition of red rectangles in an inverted teardrop formation. The background is red and brown with a blue strip across the bottom. Signed 'Avella' in bottom right corner.

Abstract painting with thick black framing line. Features tightly packed geometric forms in green, blue, pink, white and peach, composition is dominated by squares and rectangles. Painting is affixed to larger backing sheet on which an annotation in bottom right corner reads 'Sanded, Antique, Cemented'.

Abstract bounded by a rectangular border. At the centre of the composition is a yellow semicircle with green segments below it and blue segments above, reminiscent of a sun rising or setting behind a hill. On the left is a yellow segment in a roughly wedge shape containing a white circle and three vertical lines with a curved line intersecting them horizontally. In the bottom right is a pink segment in a roughly wedge shape containing a white circle. The pink segment has a noticeably thicker line on its left side and the top line continues the curve of the segment beside it.

Abstract painting featuring yellow triangles at the centre of the composition. The bottom-centre triangle contains a red-brown circle. Two red semicircles overlap the triangles. Black columns extend from the top and bottom of the central cluster of shapes. The background is green with a red line at either side. Signed 'Avella' in bottom right corner.

Advice note from John Baird Ltd., dated 30th June 1980, addressed to "A. Avella (staff), Stained Glass Dept., Haldene Building". Under "Description of Order", sandblasted glass and white acid are listed, but the white acid has been crossed out in pencil.

Documents and objects related to Alfredo Avella's teaching career at GSA and work as an artist. Includes sketches and finished artworks, correspondence, photographs, two- and three-dimensional designs, printed ephemera, etc.

Annotated design for a mural featuring a red figure surrounded by a blue battle scene. "Function Room" and "Avella Foy" written beneath main design. On reverse, sketch of three-dimensional view of a room and notes related to materials. Design was likely intended for the Bruce Hotel, East Kilbride, as photographs exist in this collection of an "abstract battle scene" artwork in the Bruce Hotel's function room.

Architectural line drawings of a design for the Poole Aquarium at 1:100 scale. Across the top of the page is a lengthwise cross-section showing the interior of the building when fully furnished, featuring a snooker table, bar, seating area and interior balcony. Below the cross-section are two floorplans, one labelled 'Gallery' showing an overhead view on the level of the balcony and one labelled 'Main Floor 4th' showing an overhead view of the floor beneath it. To the right of the floorplans is a transversal cross-section of the building showing the internal support structures. In the bottom right hand corner of the page is an information section identifying the creator as Brian Savage, Chartered Architect and giving a contact address and phone number. The project is identified as Poole Aquarium, with evidence there may have been a postcode listed after the name, and the date is given as SEPT 80.

An architectural plan on paper printed with the name and address of Thomas Cordiner Cunningham and Partners, architects and town planning consultants. The plan appears to be related to a single room. In the top left corner of the plan is an annotation of Avella's name and address. Both this address and the architects' use the numbers of Glasgow postal districts which predate the introduction of the national postcode system, indicating that this document likely dates from before the mid-1970s when modern postcodes became ubiquitous. In the 'revisions' section of the page is a note which reads '167 Bath St., Dean of Guild Court Office, Mining Warrant Form'. On the reverse, there is a small rectangular sketch annotated with measurements and a separate annotation which reads 'Glasgowcorp 221-9600., Mr W Kilwraith EXT-2443., Monday Mning [sic] 10.30, Room 77'.

Various documents relating to Avella's work and artistic practice.

Auction information for Alfredo Avella's 'Homage to Braque' and 'Homage to Picasso'.

Correspondence, sketches and blueprints related to commissions for St Mungo's Academy F.P. Centenary Club, Greenock New Town Centre, a Mrs Muirhead, Kilsyth Church, Arnene Taverns Limited, Queen Victoria School in Dunblane, Strathclyde Country Park Centre, Renton Howard Wood Associates, the Church of Christ the King, Bishopbriggs Sports Centre, Craiglockhart Parish Church, Greenock Shopping Centre and a Mr and Mrs Mathieson. Folder also contains correspondence related to the potential sale of Avella's work in Nova Scotia (14 Jul 1975) and a financial document for the year to 5 April 1976. Original folder labelled "Alfredo Avella, DKF Avella Commissions".

Correspondence and documents related to commissions for St Stephen's Church and Presbytery, Sighthill, and Paisley Abbey. Original folder labelled "D & A Avella Commissions".

Correspondence related to commissions for Edinburgh College of Domestic Science, the Church of Christ the King in King's Park, the Scottish Police Federation, Drumchapel Old Parish Church, St Mungo's Academy F.P. Centenary Club, Motherwell and Wishaw Civic Centre, Buchanan Parish Church, Denny Civic Theatre and Denny Westpark Church.
Original folder was labelled "Avella Commissions".

Black ink drawing of an abstract design made up of parallel and perpendicular lines.

Black ink drawing of an abstract design made up of angular geometric forms and curved and straight lines. Drawing is affixed to larger square of paper which is annotated with information related to materials. Signed 'Avella'.

Sketchbook containing notes, sketches and coloured drawings and paintings. Several pages of notes appear to be related to teaching material. Outside cover has 'laaveal' written in pencil, possibly an anagram of A Avella.

Black sketchbook containing notes, sketches and coloured drawings. Several pages are labelled with locations including Bishopbriggs, Queen Victoria School Dunblane, Greenock Dunblane, Strathclyde Park and Bearsden Cross, likely in relation to commissions. The sketchbook also contains several pages of notes related to teaching material. Contains loose pages including correspondance with Lieutenant Colonel C. J. F. Russell, dated 7th June 1979, regarding a stained glass commission.

Painting of a brightly-coloured rectangle and a white analogue clock on a dark blue background. The rectangle contains abstract forms in shades of pink, turquoise and brown, segmented by black lines and shading. The clock, which reads nine o'clock, is to the right of the rectangle, above and beside two intersecting white lines. On the reverse of the paper there is evidence of a sketch, possibly a development sketch, with a general rectangular form.

Painting of two brightly-coloured rectangular forms of different sizes and a white analogue clock on a dark blue background. The rectangular forms, one above the other, are connected by three white lines with the larger form on the bottom. Each contains abstract blocks of colour in blue, pink, yellow and purple as well as some shading and geometric details in black. The clock, which reads nine o'clock, is above the lower rectangular form. On the right hand edge side of the page is a bright green vertical line. On the reverse of the page is a pencil sketch, apparently a development sketch, of two rectangles of different sizes with loosely-rendered lines and shapes inside them, connected by two sets of two lines, with a circle between them.

Abstract painting in blue tones with a a thick border of pink fading into grey. The central composition is made up of small blue segments of varying shapes, with some blue and black ink hatching. There are small sections of light red-brown overlaid onto the blue.

A drawing of an abstract form with multiple points on a black background, bounded by a round frame. The abstract form is made up of intersecting black ink lines overlaid onto fluid blue and green brushstrokes. The frame is blue ink.

A painting of an abstract form with multiple points on a dark blue background, bounded by a circular frame. The frame is segmented and rendered in blue, with green dots within the segments. The angular abstract at the centre is green with blue highlights and some black ink shading.

Abstract painting with bold brushstrokes and areas of controlled paint splatter, rendered in shades of blue and red.

Abstract featuring geometric forms with blue ink outlines and hatching. Circular and triangular forms, rendered in yellow, red and brown, are contained within a rectangle with a brown outline of thick brushstrokes. There is a thicker line of yellow around the rectangle on three sides.

Abstract painting on paper affixed to larger backing paper. Features tightly packed geometric forms with thick black framing lines rendered in blue, pink and turquoise with some sections of white unpainted paper. Annotations on backing paper read 'Antique Glass' and 'Acid, plating, enamelling'.

Abstract painting featuring thick strokes of blue, red and gold overlaid with narrow sweeping parallel lines (blue overlaid on red, red overlaid on gold and blue).

Booklet titled "Welcome to New Members", issued by Drumchapel Old Parish Church, containing the history of the parish and church information.

Two photocopied and stapled booklets related to mural artwork in the United States. The documents, containing both text and images, are titled 'Street Paintings of Los Angeles' and 'Wall Paintings: East Coast USA'. Publisher is given as Environmental Communications, located in California. 'Street Paintings of Los Angeles' has a printed note on the cover reading "72.04:75 (794) Slide Set 1". 'Wall Paintings: East Coast USA' has "72.04:75(7) Slide Set 1" handwritten on the cover. 'Street Paintings of Los Angeles' is copyrighted 1974 and 'Wall Paintings: East Coast USA' contains an 'Architectural Forum' article dated 1973.

An abstract design, predominantly red and black with some green and yellow, featuring a circular border of alternating black and red.

Two painted sketches of the colour layout for a window featuring two figures. The window design's outlines and leading have been sketched in with pencil over the paint on the right-hand side.