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William Hutton & Sons were manufacturing silversmiths founded in 1800 in Birmingham, transferring to Sheffield in 1832. William Hutton established the firm, and with the move to Sheffield, they also became platers having licensed the electroplating technique from Elkingtons. They went on to became renowned for the quality of their Arts & Crafts silverware items at the turn of the 19th/20th century. They were taken over by James Dixon & Sons in 1930.

William Egan was a highly regarded Irish silversmith based in Cork from the 1820's until 1986 and is particularly well known for the Irish republican silver made by the firm during the Irish Civil War (1922/23) when the Dublin Assay office was closed. The company reached a peak in production during the 1960's

Manufacturing silversmiths. In c.1885 Charles Harling Comyns and Richard Harling Comyns joined their father William Comyns (d.1916). Became a limited liability company in 1930. Bought by Bernard Copping in 1953, on the death of R. H. Comyns.

Said to have been established in 1720 this was a well-known Irish business of goldsmiths, jewellers and watchmakers, trading for many years under the name Matthew West. On his death in 1877 it was taken over by his son Langley Archer West who ran the firm until he died in in 1932. At the Great Exhibition of 1851 they showed copies of antique Irish ornaments

Curling club set up in Wengen, Switzerland, by British tourists.

Glasgow Department Store.

A London silversmith firm whose origins go back to 1791, when John Lias began in business as a buckle maker. In 1818, he took as his partner, his son, Henry Lias I, and they were joined from 1823 to 1837 by another son, Charles. Henry Lias I and his son, Henry Lias II, were partners from 1850. In 1879, Henry Lias II formed a firm with James Wakely. In 1884, the firm consisted of James Wakely and Frank Wheeler, becoming Wakely & Wheeler in 1909. In 1957, the business was acquired by Padgett & Braham Ltd.

William Ralston (1848-1911) was an artist and photographer. Born in Dumbarton, Ralston moved with his family to Glasgow at an early age. After spending three years in Australia as a young man, he returned to Glasgow to take charge of a branch of his father's photography business. He began to take an interest in art, inspired by his younger brother, and would spend many hours sketching. Recognition came when he had a drawing accepted by the editor of Punch, and he contributed humorous drawings, often on military subjects, to the magazine for many years. Ralston also enjoyed a long association with the magazine The Graphic, abandoning his career as a photographer to live in London as an artist for fourteen years. On the death of his father, he returned to Glasgow to take over the family photography business, Ralston & Sons. He continued to contribute to The Graphic, increasingly in the form of strip cartoons, until his death in 1911. Ralston was also credited with the illustrations in a number of published books, and he published some of his own work, the most successful being Tippoo, a tale of a tiger. The company was still in existence in the 1960s.

This firm of manufacturing jewellers was founded in 1848/9 by William Hair Haseler in Birmingham. It became a limited liability company in 1901 as W H Haseler Ltd with W H Haseler and his sons William Rabone and Frank as the first directors
Liberty's range of jewellery and silver sold under the trade name of 'Cymric' was launched in 1899. It was manufactured in association with W.H. Haseler of Birmingham, manufacturing jewellers and silversmiths; a subsidiary company known as Liberty & Co. (Cymric) Ltd was registered in May 1901, directed by William Hair Haseler and Frank Haseler, with J.H. Howe and John Llewellyn of Liberty's. They also made the 'Tudric' pewter range for Liberty's. This association ended in 1926 but the firm continued to manufacture for the general retail trade moving in 1934 to 11 Warstone Lane, Birmingham where they were known as Haseler & Restall Ltd.

Founded in 1685, Toye, Kenning and Spencer has become the best known and longest running
manufacturer of Masonic regalia, as well as regalia for other friendly societies.
Wherever people celebrate belonging to an organisation, Toye, Kenning & Spencer
provides the symbols of that society; from the military grandeur of the Trooping of the Colour
to those who quietly devote their time to charitable works.Toye, Kenning & Spencer have served the Royal Family in most of their great events
such as coronations, weddings, investitures and anniversaries
and have been holders of the Royal Warrant for many years.
We are also proud to have supplied regalia and insignia to many countries
throughout the world.The tradition of fine craftsmanship is proudly carried on today in our Birmingham
and Bedworth factories. The factory in Birmingham’s famous Jewellery Quarter houses
all the processes needed to produce medals, from initial design through to stamping
and polishing, enamelling and plating. The Bedworth factory weaves the ribbon,
gold braid and lace renowned around the world; produces gold and silver wire for
hand embroidery; military headgear; aprons, collars and sashes for Freemasonry
and other charitable institutions; as well as medal mounting, and computer controlled
embroidery for the manufacture of badges for a wide range of uniforms, home and abroad.The Toye family began life in England as Huguenot silk weavers who fled to London
from France in 1685. George Kenning were founded in 1860 and acquired Spencer & Co in 1947.
They were in turn acquired by Toye & Co. in 1956, adopting the current trading name of
Toye, Kenning and Spencer in 1962.

Established in Glasgow in 1990, Timorous Beasties is a design-led manufacturing company that specialises in fabrics and wallpapers. It was set up by Alistair McAuley and Paul Simmons, who both studied Printed Textiles at the GSA, and graduated in 1988.

Recognised for its surreal and provocative designs drawn from nature, the company’s best-known patterns include the Thistle range, which echoes the golden age of copperplate engraving, and the Glasgow Toile, which uses gritty, urban images in place of traditional pastoral scenes.

In addition to producing its own product range, Timorous Beasties has collaborated with other manufacturers such as Brintons carpets and Ercol furniture, and has applied its designs across a range of print, packaging, furnishings and interiors. Notable projects include a series of book cover designs for Penguin, illustrations for banknotes for the Royal Bank of Scotland and tail-wraps for the private business jet company, Netjets, for the Challenger 305 series

The Young Regenerators was a group of secondary school students who worked with the GSA's Widening Participation Department. They worked with tutor Mick Peter for Glasgow International Festival of Visual Art 2018. The group comprised Luke Andrew, Erin Barclay, Tanya Belkaid, Stephanie Binns, Caitlin Callaghan, Abbey Campbell, Heather Clydesdale, Duncan Colquhoun, Tegan Duffy, Shannan Flockhart, Scott Jaffrey, Amy Jones, Kirsten McNairn, Ebubechi Okay-Adibe, Evie Peat, Abbey Roy, Emily Walker, Fraser Whiting and Thomas Whiting.

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Originally established in Glasgow over 50 years ago, the Quaich Company is now run by Wentworth Pewter, one of the last remaining pewtersmiths in Britain, based in Sheffield.

The Needlework Development Scheme (NDS) was a collaborative project between art and design education and industry. Originally established in Scotland in 1934, its aim was to encourage embroidery and to raise the standard of design in Britain.
Financed by J and P Coats, the thread manufacturers, the Scheme was organised by the four Scottish art schools, Aberdeen, Dundee, Edinburgh and Glasgow. Its collection of foreign and British embroidery was available to domestic science and training colleges, women's institutions and schools, as well as art schools. By 1939, the Scheme had acquired some 900 embroideries but the outbreak of WWII closed the Scheme and the collection was retained by the four original art schools.
Glasgow School of Art was instrumental in re-starting the Scheme late in 1944. Its aims were the same as its predecessor, but expanded its remit to include other arts schools in the United Kingdom where embroidery was taught.In the years following the WWII, the Scheme became centralised and staffed with a qualified embroidery expert, a secretary and several practitioners. The Scheme commissioned the British designer Mary Kessell to prepare designs to be interpreted by embroidery artists in Britain, as the best needlework examples in the collection were foreign. The result was a touring exhibition of work by the Bromley College in London.
The scheme was disbanded in 1961 when funding was withdrawn, although it was recognised that the NDS had achieved its aims. The NDS had amassed 3000 textile items by this time, which were divided and distributed around universities, art schools, organisations and museums including the National Museum of Scotland, the Embroideries Guild and the V&A.

The Haldane Academy Trust was created by James Haldane (fl.1840), Glasgow engraver, in 1833. It was a private charity to develop the study of fine arts. James Haldane was also a founder member of the Glasgow Philosophical Society and engraved their Diploma of Membership.
The Haldane Academy Trust supported the Glasgow School of Art and required that the name be incorporated into the title of the School: Glasgow School of Art and Haldane Academy. However, the 'Haldane Academy' was dropped from the title in 1891 as the School of Art was being confused with the Trust. The principal benefit which the School of Art enjoyed from the Trust was that the Trustees negotiated with the Corporation for accomodation to be made available for the School of Art. The Trust matched the rent that was paid to the Corporation by the School of Art, supporting its tenancy in the Corporation Buildings. The Trustees also introduced various prizes and awards and appointed their own examiners of student work in connection with these. The Turstees arranged special lectures on art and architecture known as the [i]Haldane Lectures[/i]. Alexander 'Greek' Thomson was one of the Trustees and delivered a lecture series. Other Trustees included Charles Heath Wilson, Blackie the publisher, Annan the photographer and many Professors of the University of Glasgow for example J. Macquorn Rankine.

The student representative system is run in partnership with the GSA Learning and Teaching Team and the GSA Students’ Association (GSASA). The GSASA is an independent body that represents student interests, runs events and opportunities, and provides advice and advocacy. GSASA is committed to widening access to education and the arts, and is committed to offering opportunities for the personal and professional development of its student members during their time at GSA.

The GSASA is a registered Scottish charity and is overseen by a Board of Trustees. Each year, it receives a block grant from the GSA that goes into supporting student societies, exhibitions, projects, student-run events and the activities of the Student Representative Council (SRC).

The SRC is the independent representative body of students at the GSA - they can run campaigns and support student initiatives in GSASA and GSA. The SRC is elected through the class rep systems and at meetings of members such as the Annual General Meeting. The SRC is made up of a Campaigns Committee, Funding Committee and Societies Committee. These committees are chaired by the Student President and Vice President and supported by the wider team at the Students’ Association.

The Student President works with GSA and the Students’ Association for the benefit of students across the School. They influence learning and teaching strategy and student welfare matters, develop the class and lead rep programmes and campaign for issues that matter to students.

The Vice President responds to emerging needs and issues raised by the student body through the programming of social, learning and professional practice events and projects. They work with students to develop student-led extra-curricular initiatives, lead on Degree Show celebrations, and help support and develop student societies.

The Academic Engagement Coordinator supports student voice activities, such as the election and training of student representatives, and helps students to be partners in the quality of their learning experience. They are there for students to speak to about becoming a rep, running for a sabbatical officer position, or volunteering for the Students' Representative Council. They are also the main contact for students needing to make appeals, complaints, or who are facing disciplinary procedures.

The Community & Societies Engagement Coordinator focuses on supporting and developing student societies, groups and sports. Students should speak to them about setting up a society, society funding, boosting engagement with your society and exploring its structure, sports teams and activities, or events that work with the local community or develop student community.

The Digital & Communications Coordinator supports students and their representative groups to manage online spaces and communications at the GSASA. They can assist students in anything relating to the Association’s digital platforms including its newsletter, social media channels, website and Canvas pages.

The Chief Executive supports the governance of the GSASA, working collaboratively with its Board of Trustees and elected student Sabbatical Officers in operating Glasgow School of Art Student’s Association as an effective charitable organisation promoting the welfare and interests of all students of GSA. They provide management and support for the Association’s staff and facilitate use of the GSASA building in both commercial and student engagement activities.

The Kinecraft Society at the Glasgow School of Art (GSAKS) was formed in 1933. They were very inventive with their films due to low budgets. Some of their inventive stylistic choices included superimpositions, dissolves, and bisected frames. The Glasgow School of Art Film Group or Kinecraft Group would often meet in Willie MacLean’s room while experimenting in cinematography and discussing recent politics news. This was during the time of silent films where special music and sounds were often later recorded over top.

Both Norman McLaren and Helen Biggar were members of GSAKS. The two individuals had shared interests in left wing politics and worked together on various films. Once Norman had met Mr. Brodie at Collet’s Bookstore in Glasgow who was an agent for the distribution of left-wing films, he and Helen joined the Kino Film Group shortly after. Helen was elected the president of the Kino Group in May of 1937. Norman’s first film was in 1933 at age 19 where he made a film titled “Seven till Five,” which depicts any average day for a GSA student in 1933. It showcases various different arts such as screen printing, pottery, drawing, sewing, dying, modelling, calligraphy, metalwork, and carving. Norman’s second film and the first that Helen worked on came out in 1935 and was titled “Camera Makes Whoopee.” Helen made most of the decor and costumes herself. It took nine months to make.

The Glasgow School of Art Club was formed under Fra. Newbery in 1885/1886 to enable former students access to GSA and allow for informal meetings between staff, former and present students. The Club's activities included exhibitions, "at homes", theatrical productions and the Vacation Prize Scheme, which was developed to encourage sketching and painting in the open during the summer months. The Clubhouse was in Blythswood Square.

A later iteration was established by The Glasgow School of Art, Glasgow, Scotland, in 1969. The Club was affiliated to the Students Union and was therefore open to present students and also current staff. The society's constitution claims that it object was "the provision for for the members thereof of recreational, social and educational facilities." The Club provided a snack bar and licensed bar as well as meeting rooms.

The Glasgow School of Art has its origins in the Glasgow Government School of Design, which was established on 6 January 1845. The Glasgow Government School of Design was one of twenty similar institutions established in the United Kingdom's manufacturing centres between 1837 and 1851. Set up as a consequence of the evidence given to the House of Commons Select Committee on Arts and their connection with Manufactures of 1835-1836, the Government Schools hoped to improve the quality of the country's product design through a system of education that provided training in design for industry. Somerset House was the first of such schools to be established, opening in 1837, and others followed throughout the provinces.

In 1853 the Glasgow Government School of Design changed its name to the Glasgow School of Art. Following the receipt of some funding from the Haldane Academy Trust, (a trust set up by James Haldane, a Glasgow engraver, in 1833), The Glasgow School of Art was required to incorporate the name of the trust into its title. Consequently, it became the Glasgow School of Art and Haldane Academy, although by 1891 the "Haldane Academy" was dropped from the title. Glasgow School of Art was incorporated in 1892. In 1901 the Glasgow School of Art was designated a Central Institution for Higher Art Education in Glasgow and the West of Scotland.

Initially the School was located at 12 Ingram Street, Glasgow, but in 1869, it moved to the Corporation Buildings on Sauchiehall Street, Glasgow. In 1897 work started on a new building to house the School of Art on Renfrew Street, Glasgow. The building was designed by Charles Rennie Mackintosh, former pupil of The Glasgow School of Art. The first half of the building was completed in 1899 and the second in 1909.

The Government Schools ran courses in elementary drawing, shading from the flat, shading from casts, chiaroscuro painting, colouring, figure drawing from the flat, figure drawing from the round, painting the figure, geometrical drawing, perspective, modelling and design. All these courses were introduced from the start at the Glasgow School apart from that of design. The course in design was the "summit of the system" where students came up with original designs for actual manufactures or decorative purposes and it was not until 1849, when Charles Heath Wilson became headmaster, that classes in design began to be taught. Also in this year Bruce Bell was engaged to teach mechanical and architectural drawing.

After 1853 the above pattern of courses was extended to 26 stages which formed the national curriculum for art schools. This system was known as the South Kensington system. An Art Masters could be awarded by gaining certificates in the available subjects. There was no restriction on entry and students could take as long as they wished to accumulate their passes before being awarded their Art Masters.

In 1901 the Glasgow School of Art was given the power to award its own diplomas. In the same year Art 91D classes for day school teachers commenced which were later known as the Art 55 classes. From 1901 to 1979 the School of Art awarded its own diplomas and thereafter it awarded degrees of the Council for National Academic Awards. In the 1970s the School of Fine Art and the School of Design were established. With the demise of the Council for National Academic Awards, from 1993 Glasgow University awarded the School's degrees in fine art and design.
In 1885 the Glasgow School of Art taught architecture and building construction conforming to the South Kensington system. Following on from the designation of the School as a Central Institution and the empowerment of the School to award its own diplomas, the School and the Glasgow and West of Scotland Technical College worked together to produce a curriculum for a new course leading to a joint diploma.

In 1903 the joint Glasgow School of Architecture was established within the Glasgow School of Art in conjunction with the Glasgow and West of Scotland Technical College. For the new diploma design classes were to be taught at the School of Art and the construction classes at the Glasgow and West of Scotland Technical College. The first diplomas in architecture were awarded in 1910.

In 1924 the Glasgow School of Art became a university teaching institution when the University of Glasgow set up a BSc in Architecture which was to be taught at the School of Architecture. In 1964 the Royal College of Science and Technology (formerly the Royal Technical College, formerly the Glasgow and West of Scotland Technical College) merged with the Scottish College of Commerce to form the new University of Strathclyde. Following the merger the Glasgow School of Architecture came to an end, the last students transferring to Strathclyde degrees and graduating in 1968.

In 1970 the Mackintosh School of Architecture was established. It is housed within the Glasgow School of Art and forms that school's Department of Architecture. Its degrees are accredited by the University of Glasgow and its Head is the University's Professor of Architecture.

The Glasgow Government School of Design was originally managed, as were the other Government Schools, by the Board of Trade and a Committee of Management representing local subscribers. Then, in 1852, the Government Schools of Design were taken over by the Department of Practical Art. This Department was renamed the Department of Science and Art in 1853 and was located in South Kensington, London. The Committee of Management was replaced in 1892 by the Board of Governors. In 1898, control of the School was transferred again, this time to the Scotch Education Department (renamed the Scottish Education Department in 1918).

The School became academically independent in 1901 when it was free to develop its own curriculum and its own diplomas, subject to the approval of the Scottish Education Department. The chief executive of the School was the Headmaster, renamed Director in 1901, and a Secretary and Treasurer was responsible for all aspects of the administration of the School. As the School grew, other administrative posts were added.

In 1903 the joint Glasgow School of Architecture was established within the Glasgow School of Art in conjunction with the Glasgow and West of Scotland Technical College. For the new diploma design classes were to be taught at the School of Art and the construction classes at the Glasgow and West of Scotland Technical College. The first diplomas in architecture were awarded in 1910. In 1924 the Glasgow School of Art became a university teaching institution when the University of Glasgow set up a BSc in Architecture which was to be taught at the School of Architecture. In 1964 the Royal College of Science and Technology (formerly the Royal Technical College, formerly the Glasgow and West of Scotland Technical College) merged with the Scottish College of Commerce to form the new University of Strathclyde. Following the merger the Glasgow School of Architecture came to an end, the last students transferring to Strathclyde degrees and graduating in 1968. In 1970 the Mackintosh School of Architecture was established. It is housed within the Glasgow School of Art and forms that school's Department of Architecture. Its degrees are accredited by the University of Glasgow and its Head is the University's Professor of Architecture.

The Glasgow Art Club, which has occupied its existing Bath Street premises since 1893, was founded in 1867 by William Dennistoun, a young amateur artist who had been forced by ill health to leave the city. On Saturdays his friends went to see him at his cottage in rural Old Kilpatrick to draw and paint together. Dennistoun proposed that they should form an art club. He and 10 others, all amateur artists, held preliminary discussions in a tearoom above a Candleriggs baker's shop before launching the club in the Waverley Temperance Hotel in Buchanan Street. At their monthly meetings each member would bring a painting, usually a watercolour, and the others would comment. At times there could be fiery disputes. Membership grew in the 1870s, professional artists began to join, and exhibitions were held. Not surprisingly, the limitations of a temperance hotel began to be felt and in 1875 the club moved to a Sauchiehall Street hotel, also called Waverley, where something stronger than tea was to be had and annual dinners could be held in suitable style. A little later rooms were rented for six months at a time in the Royal Hotel, George Square. Life classes were held and occasional sketching classes. It was time for the club to find a place of its own, and in 1878 it moved to 62 Bothwell Circus and despite the depression following the City of Glasgow Bank failure, enough money was raised from the sales of paintings to help pay for the rent and furnishings and to hire a houskeeper. The continuing need for cash, however, helped to propel the club towards a critical move - the admission of lay members, which in any case was in tune with Glasgow's awakening interest in the arts. This proposal was strenously resisted at first but by the mid-1880s the painter James Guthrie was among influential members arguing successfully for change and male lay members began to be admitted, although women had to wait until 1983. To accommodate all the newcomers the club rented a new home at 151 Bath Street but this in turn was soon found to be cramped. It was time for Glasgow Art Club to buy its home. Two adjacent town houses were bought in Bath Street. John Keppie, already a member of the club, was put in charge of their conversion and he also created an adjoining gallery in the small back gardens. There is recent evidence that the young Charles Rennie Mackintosh had a hand in some of the gallery's ornamental details.The scene was thus set for countless dinners, dances, concerts, lectures and not least, exhibitions. The new rooms were opened on June 14, 1893. A short history of the first 100 years of the club, on which much of the above account is based, was written by the late J.M. Reid in 1967. [u]Famous Members[/u] Artist members of times past included James Guthrie and E. A. Walton, along with several other Glasgow Boys, although the pioneers of this group had initially been refused membership. Fra Newbery, the colourful head of Glasgow School of Art, was a member, as were many of his successors. Other notable members have included the photographer and art dealer James Craig Annan; the picturesque R.B. Cunninghame Graham, pioneer Scottish Nationalist and horseman of the South American pampas; Neil Munro; O.H. Mavor (James Bridie); and John MacCormick, leader of the Covenant movement for Scottish home rule. Among more recent artist members were David Donaldson, Alexander Goudie and Emilio Coia.

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The Corporation of the City of Glasgow (also known as The Corporation of Glasgow and Glasgow Corporation) was formed in 1895 from the 'Glasgow Town Council'. Following local government reorganisation in 1975, it became the City of Glasgow District Council. In 1996, with the dissolution of Strathclyde Regional Council, and transfer of responsibilities to (The City of) Glasgow District Council, the authority was renamed as Glasgow City Council, becoming a single-tier structure.

The Commission for Relief in Belgium (CRB) was founded in October 1914 as an international food relief programme. The main task of the Commission was to obtain foodstuffs from abroad and ship to Belgium, who had been occupied by German troops since August/September 1914. Although a significant number of the Belgian population had left the country, a number remained behind.
With offices in London, Rotterdam and New York, the CRB orchestrated the operations that aimed to sustain the occupied parts of Belgium and Northern France. It ensured that food supplies, and sometimes money, were delivered into local warehouses throughout Belgium.
The CRB was also supported by the Comittee National de Secours et d'Alimentation, as well as the Belgian Relief Fund. The latter organisation was set up to provide relief for Belgian refugees; providing clothing, food, work and housing for families.

Founded by David Band, Brian Bolger, Helen Manning and Fraser Taylor, The Cloth was an interdisciplinary design studio founded to facilitate movement between fine art and design projects. The Cloth designed textile collections for fashion designers in London, Paris and New York. Clients included: Betty Jackson, Paul Smith, Yves Saint Laurent, Bill Blass, Calvin Klein and Nicole Miller. The Cloth produced their own ready to wear collection, sold in: Saks Fifth Avenue, Barneys New York, Fred Segal, Isetan, Seibu, Browns, Harrods and Liberty of London. Graphic design and corporate identity clients included: Quartet Books, Vintage Books, Random House Publishing, Saatchi and Saatchi Design, Rapier Marketing, Wolf Owlins, Columbia Records, Step Electronics, Rusk International, Interview Magazine and Condé Nast.