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Linda Hill was a student at The Glasgow School of Art in the 1960s.

David Octavius Hill (1802–1870), painter and photographer, was born on 20 May 1802 in Perth, Scotland, the eighth child (hence Octavius) of Thomas Hill, bookseller, and Emelia or Emily Murray. He was educated at Perth Academy.
While still a teenager Hill applied the new technique of lithography to producing Thirty Sketches of Scenery in Perthshire, Drawn from Nature and on Stone, which was issued in six parts between 1821 and 1823 by his father Thomas Hill, a publisher and printseller in Perth. He went to study in Edinburgh at the Trustees' Academy School of Design under Andrew Wilson, a landscape painter and well-known art connoisseur. Although Hill inserted into his works depictions illustrating the manners of the Scottish peasantry, it was the subtle strength of his landscape paintings on which he rapidly built his reputation. These landscapes were admirably suited to engraving, the early nineteenth century's most influential development in the distribution of images, and many of his paintings are best-known through the engravings made from them; he had more works engraved than any other Scottish artist. Hill's great early achievement was his series of views in 1840 that were made into steel-engravings entitled The Land of Burns. This project was the most ambitious and expensive Scottish publication up to that time and firmly established his reputation. His painting style was delicate rather than vigorous, but exploitation of light and shade gave many of his works unexpected force. He was particularly fond of the light at sunset. An extensive assessment of his career appeared in the Art Journal for 1869, which asserted that: he is not to be classed with the school of the naturalists, applying the term to those artists who are satisfied to represent Nature as they see her, but with that of the poetists, treating his subjects in a manner that gives additional charms to whatever they may in themselves possess.
Hill was a man of tremendous good cheer and bonhomie, which served him well throughout his life. The Edinburgh Evening Courant (18 May 1870) recalled that ‘in personal appearance he was remarkable for his striking, classical, and manly features’. Andrew Wilson had introduced him to the artistic community, in which Hill became a jovial and central figure. He joined the Association for the Promotion of Fine Arts in 1826, but was one of several artists who withdrew in a controversy. In 1829 he was a founder member of the Society of Artists, and became its secretary in the following year; from 1836 this was a paid position. In 1838 the society became the Royal Scottish Academy of Fine Arts, of which he remained secretary for the rest of his life. He undoubtedly played a part in the academy's decision to commemorate the royal charter by opening its exhibition on 10 February 1840, the day the young Queen Victoria married.
On 9 August 1837 Hill married Ann McDonald (bap. 1804, d. 1841), the musically inclined daughter of a wine merchant in Perth. Their brief life together was one active in the society of the artistic community of Edinburgh. A daughter, Charlotte, was born in 1839, but a second daughter, born in 1840, lived only a few hours. Much weakened, Ann died on 5 October 1841 and Hill and his daughter went to live with his widowed sister, Mary Watson.

Photographic pioneer: partnership with Robert Adamson.
The year 1839 had seen the public announcement of the invention of photography, an art that soon brought together D. O. Hill and Robert Adamson (1821–1848), changing both their lives irrevocably. Adamson was born on 26 April 1821, the son of Alexander Adamson, a tenant farmer at Burnside (5 miles east of St Andrews), and his wife, Rachael Melville. He was educated at Madras School, St Andrews, where he twice took the prize for mathematics. Adamson displayed an unusual talent for mechanics, working for an engineering shop in his youth, but his fragile health prohibited this calling. His older brother, Dr John Adamson (1809–1870), practised medicine in St Andrews and associated with Sir David Brewster (1761–1868), the principal of the United Colleges of St Leonard and St Salvator, along with other members of the St Andrews Literary and Philosophical Society. Brewster also enjoyed an unusually close scientific friendship with William Henry Fox Talbot (1800–1877) of Lacock Abbey. When Talbot announced his invention of photography on paper in January 1839, Brewster took an immediate enthusiastic interest and became the conduit into Scotland for information on the new art. Dr Adamson was one of the leading figures in this fledgeling photographic circle and encouraged his younger brother in taking up the calotype. By summer 1842 Brewster had reported to Talbot that the young man was becoming well drilled in the art, and on 10 May 1843 Robert Adamson established Scotland's first calotype studio, in the small eighteenth-century Rock House, on the steps of Calton Hill in Edinburgh.
Within days after Adamson opened his studio, on 19 May 1843, there took place in Edinburgh the Disruption of the Church of Scotland, perhaps the most significant event in nineteenth-century Scottish history. Acting on deeply held principles about control of their own parishes, a substantial proportion of the ministers of the Church of Scotland took the courageous act of signing the deed of demission, separating themselves from their livings and laying the foundations for the Free Church of Scotland. Dr Thomas Chalmers (1780–1847) presided as the first moderator of the Free Church assembly. Hill's brother-in-law, the Revd Robert MacDonald (1813–1893), one of the most fiery of the Free Church's early members, became largely responsible for their school building programme. Hill, moved by this momentous occasion, announced his intention of painting a monumental portrait of the nearly 500 ministers and lay people involved in the signing, to be engraved and published by his brother. Perhaps Hill had been inspired by the recent showing of George Hayter's The Great Reform Bill, 1832, a composite of 400 portraits of members of parliament painted from life. Hill's project presented immediate problems. By temperament and training a landscape painter, he had painted only one significant portrait before this. Knowing that the participants would soon scatter to all corners of Scotland, Sir David Brewster suggested Robert Adamson's new art as a means of recording their features.
Within a very short period Hill's artistic direction and Adamson's manipulatory skills merged into a partnership unlike any in the early history of photography. Even with the help of specially devised cameras, lenses, and other devices made by the ingenious Thomas Davidson of Edinburgh, the exposure times of the calotype negative forced them to move furniture and trappings out into the garden in order to take advantage of the sunlight. Mirrors and reflectors helped to direct and concentrate the light. Hill's warm and commanding personality put the sitters at ease even while locking their bodies and expressions into a form that the camera could record. Robert Adamson had mastered the intricacies of the new art, refining it in a way that led to artistically pleasing prints. When their first efforts were exhibited at the Royal Scottish Academy of Arts in 1844, they were titled as ‘executed by R. Adamson under the artistic direction of D. O. Hill’. Their calotype portraits, at first seen as convenient studies for a grand painting, emerged with a power and truthfulness of their own.
Their reputation grew as rapidly as the diversity of their subject matter. Hill's extensive social contacts came into play, and their subsequent portraits recorded the society of Edinburgh and many of its famous visitors. They took their cameras to the Free Church assembly in Glasgow and to the British Association for the Advancement of Science meeting in York. The architecture of Linlithgow, Durham, York, and Edinburgh expanded their subject matter, and their panoramas of Edinburgh provide a detailed record of the city at that time. Several of these landscape views provided direct inspiration for Hill's paintings. One of their most ambitious and penetrating projects was to document the fishermen and women, principally of the village of Newhaven. Within this picturesque and self-contained society Hill and Adamson extended the vision of photography to documenting a way of life—including not only its people, but also the boats, nets, and other objects that defined their existence. For Hill this was a return in a more sophisticated fashion to his early interest in recording the manners of the Scottish peasantry. Just as in his paintings, it was poetry and not nature that inspired Hill, and the calotype negatives were often retouched to remove distracting elements or to emphasize important features. In the end, however, they spoke with truth to the spirit of the subject.
Within the first four years of their partnership, Hill and Adamson took more than 3000 photographs, many of which remain of undeniable quality to this day. But Robert Adamson's health, the cause of his taking up photography in the first place, continued to fail. Adamson's work dropped off throughout 1847 and on 14 January 1848 his short life came to a tragic end at St Andrews. Hill was devastated, losing not only a close friend, but also the source of his success in the art of photography. He continued to live in Rock House and to distribute their photographs, but could never again achieve the artistic harmony of the works that he had produced with Adamson. He joined the Photographic Society of Scotland in 1858, even though more than a decade had passed since he had been involved in taking a photograph. A brief collaboration with the Glasgow photographer A. M'Glashon in the years 1860–62 was unproductive. The original inspiration for taking up photography, his painting of the signing of the deed of demission, was not completed until 1865, and this grand painting, now in the offices of the Free Church, is little more than a collage of the calotype photographs on which it was founded.
Hill's activities as the secretary of the Royal Scottish Academy continued throughout his life and served to maintain his prominence in the artistic community. In 1830 Hill was one of the major forces in the formation of the Art Union of Edinburgh, the first institution of the kind in the nation, and one that was soon copied. In 1850 he was appointed one of the commissioners of the board of manufactures in Scotland, a body then responsible for the Government School of Art and the new National Gallery of Scotland.
Hill's only child, Charlotte (Chatty), the wife of W. Scott Dalgleish, died early in 1862. Shortly afterwards, on 18 November 1862, Hill married the sculptor Amelia Robertson Paton [see Hill, Amelia Robertson (1820–1904)], who was the sister of the Pre-Raphaelite artist Sir Noël Paton and the landscape painter Waller Hugh Paton.
In addition to his public services, Hill continued to paint and to exhibit. Some of his paintings, particularly Old and New Edinburgh, from the Castle and The Braes of Ballochmyle, were clearly inspired by the photographs he had been involved in taking. In all, Hill exhibited about 300 of his works in his lifetime. About 270 of these were shown in the annual exhibitions of the Royal Scottish Academy. Nearly all were paintings, but he exhibited seven calotypes in 1844 and ten more the following year. His reputation was grounded largely in Edinburgh—he showed only four times at the Royal Academy in London—but this was not as limiting as it might seem. The ‘Athens of the north’ was a powerful intellectual centre in the dual wake of the Scottish Enlightenment and the exhortations of Sir Walter Scott. It was a place where a man such as Hill could influence greatly the course of artistic development. And that he did.
Hill's marriage to Amelia was not only happy but productive. It was under her influence that Hill finally completed his Disruption painting. Although she was clearly a Scottish artist, Amelia exhibited eighteen of her sculptures at the Royal Academy in London, helping to extend her husband's reputation as well. Tragically, Hill developed rheumatic fever in 1868. They moved from the cramped but central quarters of Rock House to a more tranquil spot in Edinburgh. There—Newington Lodge, Mayfield Terrace—Hill died on 17 May 1870. Amelia Hill executed a bronze bust for his grave in the Dean cemetery.
It is curious that Hill's obituaries nearly universally failed to mention his pioneering photographic work with Robert Adamson. But it is this body of work, much more than his paintings and engravings, that has lived on, inspiring successive generations of photographers and historians. The landscapes and architectural work that they accomplished are valuable records of a Scotland now changed. More significantly, however, they brought to the photograph the expressive power to record the personality of the sitters. In 1843, when Adamson started his studio, those in the know maintained a careful distinction between the daguerreotype and the photograph. Daguerreotypes, those magic little mirrors that were unique images on sheets of polished silver, had immediately taken over the province of the portrait. Photographs, which at the time meant images on paper, had lagged in this application. Perhaps part of this can be ascribed to the temperament of their inventor, William Henry Fox Talbot, for social contact was difficult for him and this shows almost inescapably in his photographs of people. Hill had no such problem and Robert Adamson ensured that the human contact he had made was expressed clearly and forcefully on a sheet of paper. The power and visual nature of Hill's and Adamson's images were likened to those of Rembrandt, and appropriately so, with their moody range of masses of light and shade. Nothing in the early history of the photograph can be compared to their body of work.
Although Hill's and Adamson's photographs fell briefly from sight within Hill's lifetime, it was not long before they regained an enduring and well-deserved reputation as beautifully symbolizing the expressive power of a radical new art. The photographer Francis Caird Inglis (1876–1940), who took over Rock House about 1900, found many negatives and prints remaining there. The Glasgow photogravure master Thomas Annan (1828–1887) had made permanent carbon prints of Hill's Disruption painting. His son, J. Craig Annan (1864–1946), had been familiar with Hill's and Adamson's photographs since he was a child, and worked with Inglis to make new prints from the negatives (a practice natural at the time but roundly discouraged today) and permanent prints in carbon. It was through Annan that Alfred Stieglitz (1864–1946) became interested in this pioneering work, introducing it not only to the American public, but also to serious photographers worldwide. A nephew of Hill's, the bookseller Andrew Elliott, had taken over the shop and stock of Hill's brother Alexander. In addition to writing one of the early books on Hill's photographs, he commissioned Jessie Bartram to make sensitive carbon prints from the originals between 1913 and 1925. It was natural that Elliott's book should emphasize the contributions of his uncle and by the time Heinrich Schwarz had published his serious assessment in 1931 Robert Adamson was almost totally forgotten. Later historians have begun to appreciate the essentially symbiotic nature of this unique partnership, however, and it is not unusual to find their work today labelled (perhaps as it always should have been) as being by Adamson and Hill. Certainly there can be no meaningful separation of their individual contributions to their photographic masterpieces.
Robert Adamson's command of the process of making prints in silver was as unusual as it was complete, and the original prints have proven to be among the most durable of all early photographs. More than 3000 are in the collection of the Scottish National Portrait Gallery in Edinburgh and many hundreds of other originals grace the collections of museums worldwide. Nearly 1000 of their original paper calotype negatives survive, the largest group at the Glasgow School of Art and most of the others at the Scottish National Portrait Gallery (with smaller deposits at the Harry Ransom Humanities Research Center, University of Texas, and at the Metropolitan Museum of Art, New York). By their very nature, Hill's lithographs and engravings are scattered but survive in numerous locations. His paintings fared less well, though the Perth Museum and Art Gallery, the National Gallery of Scotland, and the Hunterian Gallery in Glasgow each hold several, and numerous others are in collections worldwide. Many were purchased by patrons, and these are still coming to market. In addition to his photographic legacy shared with Robert Adamson, Hill's greatest influence was on the development of the arts in his native Scotland. The obituary in the Art Journal (new ser., 9, 1870) observed that even though Mr. Hill's works may not rank with the highest productions of British artists, even with the best of those of Scotland, he did much to maintain the honour of the school to which he belongs … in the Art-circles of Edinburgh … his loss will undoubtedly be much deplored, and his absence from them deeply regretted. (p. 203) The Edinburgh Evening Courant (18 May 1870) stressed the character that had made it all possible, saying that Hill was ‘very loveable and much beloved’.

David Alexander Hill was born in Ayrshire on the 16th of December 1881 to Mary Hill (née Cowan) and James Fyfe Hill, a fishmonger. He studied drawing and painting at The Glasgow School of Art from 1907 to 1910. He appears to have emigrated to Canada thereafter. In 1915 he enlisted with the Canadian Oversees Expeditionary Forces in Valcartier, Quebec. He served in the Canadian Engineers regiment in the First World War, and is listed on The Glasgow School of Art's World War One Roll of Honour.

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Sources: Canadian Great War Project: http://www.canadiangreatwarproject.com.

Steven Higgins is a Technician in The Glasgow School of Art's Exhibitions Department.

John Heughan was born in Dalbeattie on the 25th October 1892 to Emma Heughan and James Heughan, a master blacksmith. He took evening classes in drawing and painting at The Glasgow School of Art in 1913/14, before joining the Rangoon Volunteers after the outbreak of the First World War. He is listed in the School's World War One Roll of Honour.

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Eleanor Elks Hermannsen graduated in Fine Art from The Glasgow School of Art in 2016. In 2016 she was awarded the Chairman's Medal for Fine Art.

Heron, Patrick (1920–1999), painter and art critic, was born at 12 Hollin Lane, Headingley, Leeds, on 30 January 1920, the eldest child in the family of three sons and a daughter of Thomas Milner Heron (1890–1983), textile and garment manufacturer, and his wife, Eulalie Mabel (1891–1986), daughter of Michael Davies, an uncompromisingly pacifist Unitarian minister from Bradford. The history of Heron's family on both sides was of a combative nonconformism and a high-minded culture of the mind and spirit. His father was a Christian socialist, and had been a pacifist conscientious objector in the First World War. A deeply cultured man, he loved art and poetry, and his business life was devoted to the integration of the ethical and the aesthetic into the commercial production of the useful. If Heron inherited his political idealism and his fearless activism from his father, he owed to his mother his intensity of visual response, his preternaturally passionate eye for the natural world. His parents remained deeply important to him throughout his life, the original

Source of his confidence in his own creative powers, and the continuing inspiration of his ethical and political engagement in the affairs of the world. Intensely political in temperament, Heron was a lifelong socialist and pacifist, and a founding member, in 1959, of the Campaign for Nuclear Disarmament. Early life In 1925 the Heron family moved from Leeds to Newlyn in Cornwall, where Tom Heron was to run Crysede Silks, a modest textile business. He arranged its move to expanded premises on the island at St Ives, and rapidly built up the firm with extraordinary flair. Patrick's early years in West Penwith were idyllic: he never forgot the impressions of light, colour, and landscape that streamed in upon him in what he called the 'sacred land' of his childhood. The winter of 1927–8 was spent at Eagles Nest, the house on the promontory above the Zennor cliffs, to which he was to return to live in 1956. The house was borrowed by his parents from Hugh Arnold-Forster, the Labour luminary, in the hope that the altitude and atmosphere would be good for Patrick's asthma. Arnold-Forster's planting of the extraordinary garden was already well advanced, but the many southern-hemisphere flowering trees and shrubs that were to be the glory of the mature garden were as yet no taller than small bushes, and its huge granite outcrops and boulders were still starkly visible. Following a breakup with his business partner, Tom Heron left St Ives in late 1929 to set up his own firm, Cresta Silks, at Welwyn Garden City. From 1932 to 1937 Patrick attended St George's School, Harpenden, a co-educational boarding-school. There he was encouraged by a remarkable art master, Ludvig van der Straeten, who on one memorable afternoon drove his thirteen-year-old pupil to the National Gallery and stood him, enthralled, in front of Cézanne's Mont St Victoire, then on loan from the Courtauld collection. At St George's Heron was allowed to paint through the afternoons while his contemporaries played compulsory games. From 1934 onwards his father commissioned from him designs for silk scarves and dress textiles (and for several years after the war he was Cresta's principal designer). He left school without formal qualifications to go directly to the Slade School of Fine Art in London. In spite of the precocious accomplishment that had secured his place there, his time at the Slade was unhappy and unproductive, and he left after only two years. At the outbreak of the Second World War Heron registered as a conscientious objector and from 1940 spent three years as a labourer for the Cambridgeshire War Agricultural Executive Committee. Frequently appalling conditions exacerbated the asthma for which he had refused to claim exemption. Late in 1943, ill and exhausted, he was ordered by doctors to cease agricultural work, and in early 1944, at the invitation of Bernard Leach, a family friend from the years in St Ives, he took up an approved work placement at the St Ives Pottery, where he worked happily as a journeyman potter for the next fourteen months. The example of Leach's creative integrity, and his subtlety as an artist with the 'power to materialize a concept' (Painter as Critic: Patrick Heron, Selected Writings, ed. M. Gooding, 1998, 69) were formative of Heron's own artistic philosophy. The artist In April 1945 Heron married Delia Reiss (1920–1979), whom he had met at his first school in Welwyn Garden City in 1929. They had two daughters, Katharine (b. 1947), and Susanna (b. 1951). Delia's father, Richard Reiss (1883–1959), an active and practical proponent of the garden city ideal, had been a founding director of the successive companies that created Welwyn Garden City in 1919 and 1920. In Delia, Patrick found a companion whose feeling for art and nature perfectly matched his own. Beautiful, intelligent, and artistic, she was utterly committed to his work as a painter and writer, but retained a fierce independence of spirit. In his own words, she was his 'best and most essential critic' (Gooding, 46). Until 1956 they lived at 53 Addison Avenue, Holland Park, west London, but between 1947 and 1954 they spent some months every year in St Ives, at 3 St Andrews Street, a cottage on the harbour wall, whose interior with its view of the bay, with the figures of Delia and their two daughters, was to feature in many of Heron's paintings over that period. These were usually completed in the London studio. As a figurative artist Heron rarely drew or painted from the motif, feeling that memory was a crucial element in the invention of images that should not merely register appearances, but record their impact upon the receiving imagination. The exceptions to this rule were a handful of portraits of T. S. Eliot (1949), Herbert Read (1950), Jo Grimond (1986), and Antonia Byatt (1997), which began with drawings or oil sketches from the life; these, too, were always finished in studio solitude. 'Seeing', he wrote in 1956, 'is not a passive but an active operation … all art is a convention, an invention. Painting may literally claim to alter the look of the world for us. We only see nature through a system of images, a configuration which painting supplies' (Gooding, 8). In 1955, by a surprising turn of events, Heron was able to buy Eagles Nest, to which he moved with his young family in April 1956, to be enchanted by the springtime azaleas and camellias, and find his work immediately take on a new spirit and new forms. From that moment he moved decisively, once and for all, from a Braque-influenced figuration to a fully liberated abstraction, capable of infinite development. For the rest of his life the house and its garden were to be the centre of his imaginative existence; it was, he wrote much later, 'very nearly the greatest passion of my life' (Knight, 19). Animated by Delia's personality, Eagles Nest became a magical centre of hospitality for the brilliant and sometimes turbulent company of artists and writers that made St Ives and its environs a place of extraordinary artistic vitality during the 1950s, 1960s, and 1970s. Among frequent visitors were Ben Nicholson, Barbara Hepworth, Roger Hilton, Bryan Wynter, Terry Frost, and Peter Lanyon. When Delia died, suddenly, in 1979, Heron was devastated, and for many months he was unable to work. Heron knew from a very early age that he wanted to be an artist, a vocation encouraged with great seriousness by his parents. He spoke without affectation or irony of his infant efforts, signed and dated from the age of five, and carefully preserved in large buff envelopes, as 'early drawings'. His artistic journey was constantly eventful and unpredictable, marked by sudden intuitive breakthroughs to new expressive possibilities, new ways of response to the light and colour of the world. As for others of his generation, the immediate post-war London exhibitions of modern French masters were revelatory, and Heron's painting in the later 1940s was much influenced by the wartime still-life and interior paintings of Picasso. It was from late Braque, however, that he learned the abstracting separation of descriptive line and decorative colour that gave the best figurative paintings of his early maturity (such as Harbour Window with Two Figures, St Ives: July 1950 and Christmas Eve: 1951) their exhilarating graphic rhythms and chromatic brilliance, and their complex cubistic spatial ambiguities. In the early 1950s, as both painter and writer, Heron was much preoccupied by the potentialities of abstraction, but it was not until 1956 that the logic of his development led him to a completely non-figurative painting. 'The pictures I have painted since last January', he wrote in January 1957, have much in common with my figurative paintings: but they lack the linear grid of figurative drawing. This has freed me to deal more directly and inventively … with every single aspect of the painting that is purely pictorial, i.e. the architecture of the canvas, the spatial interrelation of each and every touch (or stroke, or bar) of colour, the colour-character, the paint-character of a painting—all these I now explore with a sense of freedom quite denied me while I had to keep half an eye on a 'subject'. (Painter as Critic: Patrick Heron, Selected Writings, ed. M. Gooding, 1998, 121) From that time on Heron was adamantly abstract, though in later life he was prepared to admit that the experience of the phenomenal world had always somehow entered and affected even the purest of his abstract paintings. Sometimes Heron systematically explored a pictorial idea over several years, producing numerous variations on a theme, as with the atmospheric colour abstractions of the early 1960s, with their floating soft-edged 'square-round' shapes, and the optically dazzling 'wobbly hard-edge' paintings of the following decade, with their distinctive jigsaw-like interlock of opaque high-colour zones. 'Painting', he wrote in 1962, 'has still a continent left to explore, in the direction of colour (and in no other direction)' (Painter as Critic Patrick Heron: Selected Writings, ed. M. Gooding, 1998, 154). At other times, under the pressure of a particular experience, he produced a spate of new work at great speed, as with the tachiste 'garden' paintings of 1956, the 'horizon' and 'stripe' paintings of 1957–8, and the astonishing series of small gouaches and large oils made when he was artist in residence at the Art Gallery of New South Wales in Sydney in 1989–90. The late series of so-called big paintings were made in bursts of intensive activity in the first eight months of 1994. Shown that year at Camden Arts Centre, their ecstatic energy and insouciant mastery thrilled and astonished a generation of artists fifty years younger than Heron. His career was crowned by a timely and highly acclaimed retrospective, in 1998, at the Tate Gallery. Underlying every phase of Heron's painting were constant preoccupations: with colour as space; with line as an indicator of dynamic relations as well as a means to describe form; with the primacy of decorative order in the composition of images that begin and end at the four edges of the paper or the canvas. Behind these critical-creative ideas lay the deeper thought: that pictorial dynamics are signs and epiphanies of a greater natural ordering, that painting is a revelation of a beautiful cosmic harmony. 'The ancient valid response of the painter to the world around him', he wrote, 'is one of delight and amazement, and we must recapture it' (Gooding, 9). Like those of his acknowledged masters, Braque, Matisse, and Bonnard, his paintings were at once evocations and celebrations of the visible, discoveries of what he called 'the reality of the eye' (Knight, 24). The writer and controversialist Many of Heron's artist friends, William Scott, Alan Davie, Roger Hilton, Bryan Wynter, Terry Frost, and Peter Lanyon among them, owed much to Heron's intelligent critical championship of their work, writing intermittently as the New Statesman and Nation art critic from 1947 to 1954, and then as London correspondent for Arts (New York) between 1955 and 1958. He was an exciting writer, capable of subtle analysis and great clarity of utterance. By nature a celebratory critic, he had a gift for precise description of the plastic qualities of painting, and of the specific aspects of technique and manner that distinguish one artist from another: his talents as an art critic were those of one whose knowledge was derived from creative practice. His critical career began with a series of remarkably authoritative reviews for the New English Weekly in 1945 and 1946, on Nicholson, Braque, Klee, and Picasso, among others; later he wrote brief monographs: Vlaminck (1947), Ivon Hitchens (1955), and Braque (1958). Edited writings and lectures were published in 1955 as The Changing Forms of Art, and a further selection, Painter as Critic, appeared in 1998. In 1958 Heron gave up criticism, taking 'a vow of silence' (Gooding, 160); notwithstanding this, in later years, among much else, he wrote illuminating essays on the drawings of Bonnard (1972) and Constable (1994), and on late Picasso (1988) and late Matisse (1993). Heron was an inveterate controversialist, a courageous conservationist, and a master of trenchant polemical prose. Beginning with three famous articles for Studio International, in 1966, 1968, and 1970, he conducted a bravely sustained campaign against the programmatic critical promotion in Europe of American art, culminating in October 1974 with the publication over three days of a closely argued, 14,000 word article in The Guardian. As a distinguished artist outside the education system, his disinterested writings in the press against the merger of the English art schools with the polytechnics in the early 1970s, and on subsequent developments in the administration of art education, earned him enduring respect and affection among artist teachers. In the 1960s and 1970s he conducted several successful campaigns in defence of the historically unique landscape of West Penwith, including a celebrated fight in 1961 against the proposal by the Admiralty to requisition the Zennor headlands and moors as a military exercise area. From his eyrie at its highest point above the sea he maintained until his dying day an eagle eye on the twisting road that leads from St Ives to St Just, watching for any sign of straightening to its ancient track-line or of 'improvement' to its green walls and banks. The energizing convictions behind these time-consuming political and public actions were those of a profoundly decent man, inalienably patriotic without any disfiguring prejudice, who justly saw himself as upholding a native radical tradition that went back to Ruskin, Morris, and Shaw, exemplified in his own time by Herbert Read and Bertrand Russell. At its heart was a vital sense of the centrality of art and imagination to the fully experienced life. Heron was a handsome, elegant man, disarmingly charming and attentive to others, not without an almost childlike vanity. He was an emphatic and witty conversationalist, a marvellous story-teller and mimic. The range of his friendship was exceptionally broad and inclusive, for he was capable of inspiring great love and affection on the slightest acquaintance. He died, of a heart attack, at Eagles Nest on 20 March 1999, and was buried on 27 March at Zennor parish church. He was survived by his two daughters.

Source: Mel Gooding, 'Heron, Patrick (1920–1999)', Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Jan 2011 [http://www.oxforddnb.com/view/article/71796, accessed 6 Aug 2015] Note Author: Mel Gooding

Herman, Josef (1911–2000), artist, was born on 3 January 1911 in Warsaw, Poland, the eldest of the three children of David Herman (d. 1942), a partner in a shoe factory, and his wife, Sarah Krukman (1893?–1942). He was brought up in great poverty, mostly on the streets of the Jewish quarter, for his illiterate father was persuaded to make his mark on a document which gave his absconding partner the right to sell their shared shoe factory and flee to America. David Herman sank into deep depression, incapable even of feeding himself, and his young wife, Sarah, was forced to take control of the household, fetching in other people's washing and cleaning their houses. Eventually, David managed to pull himself together sufficiently to take up cobbling, but he remained a broken man. As a consequence of this early experience, however successful he was in later years, Josef Herman would always worry about money.
Herman attended a school in Warsaw until he was thirteen. He had already engaged in a long series of temporary jobs, the first of which was as a seller of soda water in a local cinema. As a child he adopted the habit of rising early, at 4 a.m. every day, in order to have some time to himself in the single crowded room where the family slept, before the bustle of the day began. It was a habit he maintained all his life, whatever time he went to bed, and helps to account for his prodigious output of drawings and paintings. At this time he also made the acquaintance of a wandering artist, Master Xavery Rex, and a Dr Saltzman, both of whom settled in their street. From one he learned the magic of art, from the other the lesson of true humanity.
Not until he was sixteen did Herman settle in a job, as apprentice typesetter to the one-time anarchist and printer Felix Yacubowitch. For the next three years he studied his trade until he fell ill with lead poisoning. Disbarred from printing on medical grounds, he became a freelance graphic designer, and enrolled for an eighteen-month stint at the Warsaw School of Art and Decoration (1930–32). In 1932 Herman held his first exhibition of pictures, in a frame-maker's shop, and began to enjoy a slight reputation as an artist. He joined the Phrygian Bonnet, a group of socially aware artists who painted the peasants of the Carpathian mountains in an expressionist manner. Although a lifelong and committed man of the left, Herman belonged to no political party, but the authorities considered all artists Bolsheviks. Warsaw was unwelcoming and antisemitic. In 1938 Herman left Poland for Belgium. He was never to see his family or his homeland again.
In Brussels, Herman enrolled at the Brussels Academy of Fine Arts and fell under the formative influence of Constant Permeke (1886–1952), a painter of peasants in a weighty, earthy style. The Nazi invasion of Europe cut short his stay. Herman fled through France to La Rochelle, where he was mistaken for a Polish airman because of his black leather coat and beret. He was put on a ship to England, arriving in Liverpool in June 1940. From there he was sent, speaking no English, to the Polish consulate in Glasgow.
Wartime Glasgow was surprisingly lively; Herman was befriended by the sculptor Benno Schotz, and renewed his acquaintance with the painter Jankel Adler. He met J. D. Fergusson, got to know Joan Eardley, then a student at Glasgow School of Art, and designed sets and costumes for Margaret Morris's Celtic Ballet company. In 1942 he learned through the Red Cross that his family had been destroyed in the Nazi holocaust; he had previously begun a series of drawings of Jewish life in Poland and transmuted this tragedy into a melancholy but powerful celebration of Jewish themes and memories, a kind of visual autobiography. Later, in 1953, he helped to found the Jewish Quarterly. In 1942 he met and married Catriona MacLeod (d. c.1990), a whisky heiress and also an artist. In 1943 the newly-weds moved to London, and Herman held his first exhibition there, at the Reid and Lefevre Gallery, shared with another unknown, L. S. Lowry.
As yet, Herman had not discovered his mature voice as an artist. He achieved this when first visiting the Welsh mining village of Ystradgynlais in the summer of 1944. There he experienced a key moment of recognition when he saw a group of miners returning from work briefly outlined on a bridge against a copper-coloured sky. That image stayed with him and provided a subject. For the next eleven years Herman lived in Ystradgynlais and painted and drew the miners. He was swiftly accepted into the community and nicknamed Joe Bach, and the work he subsequently produced made his name as a distinct artistic force in Britain.
Herman did not paint the miners at work in the pit—as Henry Moore had done—but captured them in the canteen or walking home, exhausted after their labours. More often than not, they are anonymous, and represent the universal rather than the particular: they stand for the dignity of labour, of the working man. There are portraits of individual miners, such as Mike, but these are portraits first, miners second. Herman was a subtle and perceptive portraitist—see, for instance, his portrait of Arnold Wesker in the National Portrait Gallery—but he rarely accepted commissions. For a decade the miner was his principal subject, but by no means his only one. His range was always far wider than commonly thought. Apart from fishermen and peasants at work, he also drew and painted ballet dancers and sportsmen (playing football, tennis, or snooker), while a chief preoccupation for many years was with the female nude. In later life Herman was just as likely to paint a single tree or bird, or a refulgent vase of flowers.
Although his reputation grew rapidly in the 1950s, not everything was well with Herman. His wife suffered a mental breakdown at the birth of a stillborn child, and Herman's own health suffered from the damp Welsh climate. Foreign travel was advised: over the next decade Herman visited Israel, France, Italy, and Spain. Early in 1955 and back in London, Herman met Dr Eleanor Marie (Nini) Ettlinger (b. 1925), who became his model and soon his mistress. That year he had a joint exhibition with L. S. Lowry and Nehemiah Azaz at the Wakefield City Art Gallery. There were retrospectives in 1956 at the Whitechapel Gallery in London, then in Glasgow in 1975, and at Camden Arts Centre in London in 1980.
In 1960 Herman divorced Catriona MacLeod, and the following year, on 11 March, married Nini Ettlinger. A son had been born to the couple in 1957, and they soon decided to forsake London for Suffolk. But disaster pursued them. In the mid-1960s Herman found he could not work and suffered from severe depression. In 1966 the Hermans' infant daughter died. Herman became suicidal and was given electroconvulsive therapy and drug treatment, recovering only gradually. He moved back to London on his own, and it was not until 1975 that the family was reunited.
Herman was really happy only when he was working. Admittedly his habit of early rising allowed him a head start on most people (‘six masterpieces before breakfast, my dear!’ he would boast), but his industry rarely flagged. He drew in pencil and ink, worked rapidly in watercolour and mixed media, and painted more slowly in oils. He read widely, particularly relishing the autobiographies of artists, and wrote voluminously himself. Mostly his writing took the journal form. His first book, entitled Related Twilights (1975), was subtitled ‘Notes from an artist's diary’, and is a vivid evocation of people, places, and art. Herman was also famous for his internationally acclaimed collection of African miniature sculptures, an enthusiasm that grew from his friendship with Jacob Epstein.
Herman received various honours, including an OBE in 1981, and was elected a Royal Academician in 1990. A generous and charming man, he was much loved by a wide circle of friends. Habitually dressed in brown cords, topped with a white lab coat when in the studio, he was a man of few worldly needs. In later years he mostly occupied a cosy bed-sitting room situated handily at the top of steep steps leading down to the picturesque studio full of his own work and his African sculpture. His profoundly humanistic vision has an inspiring boldness and monumental grandeur that will survive. He died at his home, 120 Edith Road, London, on 19 February 2000, and was cremated on 23 February at Golders Green. His works are held in numerous British collections, including the Art Gallery and Museum, Glasgow; the Glyn Vivian Art Gallery, Swansea; the National Museum and Gallery of Wales, Cardiff; The Scottish National Gallery of Modern Art, Edinburgh; the Tate collection and the British Museum, London; Birmingham City Art Gallery; Leeds City Art Gallery; the City Art Gallery, Bristol; and Aberdeen Art Gallery.

Thomas Herbert was born in Glasgow in 1879, one of nine children of Jessie Campbell and Thomas Herbert, a tailor. Thomas attended The Glasgow School of Art from 1891 to 1893 when he was just fourteen, along with two of his sisters. As of 1911, he had married and was working as an ironmonger. During the First World War, Thomas served in the "A" Company of the 18th Battalion of the Highland Light Infantry as a Sergeant. He was killed in action in France and Flanders on the 14th of March, 1916. He is memorialized in the Loos Memorial in Pas-de-Calais, France. Thomas Herbert is commemorated on The Glasgow School of Art's First World War Roll of Honour.

If you have any more information, please get in touch.

Sources: Scotland's People: http://www.scotlandspeople.gov.uk; Ancestry: http://www.ancestry.co.uk; Commonwealth War Graves Commission: http://www.cwgc.org.

Joanna Herbert was an artist. She married (in 1911) Tom Dobson, a printer who worked for missionaries in India. She won a scholarship to Glasgow School of Art in 1894 at the age of 14 and remained a student at the School until 1902.

Agnes Bain Herbert was a GSA alumna who studied at GSA for seven years between 1891 and 1899. She won the Haldane Bursary in 1891 (23 shillings) and 1892 (33 shillings). She went on to become one of the Glasgow Girls and is known for her ceramic painting.

Alexr John Hepburn was born on 9th February 1893 and attended The Glasgow School of Art during the 1915-16 session. He took evening classes in design where he was taught under Allan Douglas Mainds, a well-respected Scottish artist known for his landscape drawings and paintings and who served in The First World War as a captain with The Royal Field Artillery in Flanders and is included in The Glasgow School of Art's First World War Roll of Honour. Hepburn whilst attending The Glasgow School of Art, lived at 13 Clifford St Ibrox, Glagsow and his occupation is listed as 'Litho Artist'.

Clare Henry FRSA was art critic for The Herald from 1980-2000. For 20 years she covered the Scottish and UK art scene in depth, writing roughly 200 articles a year. With a particular emphasis on Scottish artists, her writing provides profiles, interviews and art news pieces along with critical reviews.

Graduating in 1964 with BA Hons Fine Art from The University of Reading she became a Researcher at the Paul Mellon Foundation for British Art (1968-1970) before taking the position of art reviewer for West End Times (1976-1980). She was also art critic for The Herald (1980-2000) and arts presenter at Scottish TV (1984-1987). She wrote regular features for The Art Newspaper (1986-2003) and contributed to The Guardian, Marxism Today, 20/20 London, Ikebana Ryusei Japan and The Scotsman.

She curated exhibitions in the 1980s and 1990s including 'New Scottish Prints' for Britain Salutes New York, in NYC; London's 'Serpentine Summer Show', 1985; 'Artists at Work', Edinburgh Festival, 1986; 'The Vigorous Imagination' at the Scottish National Gallery of Modern Art for the Edinburgh Festival, 1987; Critic's Choice London, 1987, 1988, 1990, 1992; Scots in Los Angeles, 1989; Scotland at the Venice Biennale, 1990, Critic's Choice for the RSA Edinburgh, 1994, New Millennium, Chicago and Washington DC, 1999.

She is a founding member of the Council of Management and a former chairman of both The Glasgow Print Studio and Salvo (the Scottish arts lobbying organisation). She served on the Scottish Design Council in the 1980s and on the working party for contemporary art of the National Trust. She was also on the board of Stirling's Smith Art Gallery and Museum and a trustee of the Scottish Sculpture Trust, 1984-1990.

She is also a former member of the British Council Visiting Arts panel, the National Union of Journalists, the Arts Correspondents Group London, Blackburn Printmaking Workshop NYC, and is a current member of the International Association of Art Critics, (AICA UK) and the American Association of Art Critics.

In 2000 she moved to New York where she was art critic for the Financial Times and The New York Sun until 2008. She now writes for various magazines in the UK and the USA and keeps a regular blog which can be found here. She also has a website called The Scottish Art Archive.

Studied at the GSA from 1912 to 1914 as a day student, taking classes in Drawing and Painting. His address was 32 Minerva Street. In 1913-1914 he was awarded a minor travelling busary of £3.

Claire Hendry studied at GSA - possibly during the 1970s.

Lynn Hendrie studied at The Glasgow School of Art during the 1970s.

Robert Henderson was a student at the Glasgow School of Art c1914. He is listed in the School's World War One Roll of Honour.

If you have any more information, please get in touch.

Mary Reid Henderson was enrolled at The Glasgow School of Art from 1901-1924. During this time, she studied both Drawing & Painting and Design. She was registered as a student for much longer than the commonly quoted dates of 1901-1908.

For the majority of the time she was registered at GSA her address given as 34 Dunearn Street. Her address between 1910-1912 is 134 St. Vincent Street. She also used this as a studio space and may have either taught from this address for another institution, or used this studio space to teach independently. In her last session, 1923-24, her address is given as 5 West Regent Street.

In 1906, Henderson was given a Travelling Bursary of £10. She was also awarded the Haldane Trust Bursary £15, a special prize for excellence in design of £10, and first prize in 1914 for metal work and enamelling. She was awarded her Diploma in Design and Decorative Art in 1914.

In 1912, Henderson married a fellow student, James McNeill. The student registers of 1912-13 amend her name, adding ‘Mrs McNeill’ in brackets, though this is not repeated in other years. Their marriage ended in 1929 with a decree of divorce on grounds of desertion.

Henderson remained registered as a student at The GSA after gaining her diploma. Registers show her developing knowledge in a range of forms, while also working as an art teacher. In some years, her profession is listed as 'Teacher' or 'Art Teacher'. It was common at this time for professionals to study part time in this way, both to build a diverse range of skills, and to be able to access the studio space and resources offered by GSA. For example, in her registration entry from 1910-11 adds a note, ‘Use of kiln only.’ Henderson’s registration information also shows a continuing course of study in Metalwork, Etching and Enamel.

Newspaper records show she was appointed as an art teacher at Bishopbriggs H G School in Nov 1912 to work part time, 3 hours per day for 3 days per week. Prior to this she spent time in Paris and other parts of France and Belgium, visiting art schools and other art centres.

Studied at the GSA from 1916 to 1920, initially as an evening student, recording her occupation as milliner. From 1917 to 1918 she was at the school on a Haldane Scholarship of £2.00. For her last two years she was a day student and took classes in Drawing and Painting.

Information from her grandaughter suggests she left for Canada to marry just before graduating. In Canada she taught at private girls schools and became the second
president of art education in Manitoba. Her daughter was also an artist.

John Henderson (1860-1924), son of Joseph Henderson, painter (1832-1908), was born in Glasgow in 1860. He studied at the Glasgow School of Art under Robert Greenlees and then took an MA at Glasgow University. Henderson was a landscape and portrait painter and first exhibited at the Royal Glasgow Institute in 1884. He was a member of the Council of the RGI, assisted at the Glasgow International Exhibitions of 1901-1911 and was a Governor at GSA from 1906-1918. He was appointed director of GSA in 1918, initially on a temporary basis (he had been acting director in 1914 when Newbery was ill). He seems to have had good links with staff and students (see DIR 6/3). His father and brother, both called Joseph Henderson, were also Governors of GSA.
Under his directorship the School formed stronger links with the University, and the Architecture Degree Course was introduced in 1924, leading to the School being recognised as a university teaching institution. He was involved in art education for Secondary Schools. He died suddenly in 1925.

David L Henderson was a student at the Glasgow School of Art c1914. He is listed in the School's World War One Roll of Honour.

If you have any more information, please get in touch.

Caroline Henderson studied at The Glasgow School of Art during the 1970s, where she had Kath Whyte as one of her lecturers.

Born in Auckland, NZ; died Pollockshields, Glasgow, 21 Nov. Architect. Came to Scotland at a very early age remaining for the rest of his life. Educated Irvine Royal Academy and Allan Glen's School, Glasgow, then studied at Glasgow School of Art with Mac Whannell and Rogerson. In 1911 awarded the Arthur Coates prize. Worked as assistant with Charles Rennie Mackintosh (qv) in John Keppie's office. 'His many well-proportioned, cleverly planned buildings, show evidence of his inventive skill and versatility, and his building for the Bank of Scotland in Sauchiehall Street, Glasgow, is generally considered the best example of its kind in the country'. Elected PRIBA 1950; toured Canada and the USA. In WW1 he lost the use of his right arm and hand. Elected ARSA 1943, RSA 1953. Regular exhibitor RSA.

Morag Hempstead studied Textiles at GSA from 1975 and designed garments for the 1978 fashion show.

Claire Heminsley studied Embroidered and Woven Textiles at The Glasgow School of Art during the 1980s, receiving her BA Hons in 1982 and a Post Graduate Diploma in 1983.
In 1986, she set up her own design company, Incahoots, whose clients have included the House for an Art Lover (Glasgow), BBC Scotland, and British Airways, among others. Heminsley has received awards by the Scottish Arts Council Creative Development, and is the chair of artist-led organisation Off The Rails Arthouse at Ladybank station (Fife).
Heminsley has also taught Design, Textiles and Illustration in different educational institutions, including The Glasgow School of Art, Cumbria College of Art and Dundee College.
Sources: http://www.incahoots.org.uk/about.html

Paul Hely studied at GSA in the 1970s and designed garments for the 1978 fashion show.

He set up Muse Fashion Limited in 2015.

Source: LinkedIn http://www.linkedin.com

Danish silversmith, believed to be based in Copenhagen, working in the early part of the C20th. Mark registered with the Danish Assay office between 1925 and 1948.
Online research suggests that the Danish hallmarking system is organized on a voluntary basis. The first Danish hallmarking was made in Copenhagen at the end of the 15th century. Later, other cities as Aalbotg, Aarhus, Odense and Viborg introduced their own mark as a guarantee of precious metals.
In 1893 the "Three-tower" mark of Copenhagen was adopted as the national mark in the new standardized hallmarking system. Copenhagen had the only Assay Office in Denmark.

John Hegarty was a student at The Glasgow School of Art in the 1920s.

Tracy Heath studied at GSA in the mid 1980s and modelled in the 1985 and 86 fashion shows. She worked with Alexanders (Kirkburn Mills) Peterhead for a year on an industrial placement. This placement was to develop woven fashion fabrics and was supported by the Scottish Woollen Industry.

Mike Healey studied under John Cunningham at Keil School and later Glasgow School of Art, winning the Haldane Drawing Prize and the Post Graduate Leverhulme Travelling Scholarship. He is an Associate of Glasgow School of Art. In the early 1980s he taught at the School of Art and worked there until 1997. Mike travels extensively but his home and studio is in Southend, by Campbeltown, Argyllshire, on the Mull of Kintyre. Mike Healey was awarded, in permanence in 2004, the Professorship of Art and Design at the University of Lincoln, England.

In 2014 Alexandra Healey was a student on the MSc in Information Management and Preservation at the University of Glasgow.

Martin Head modelled in the 1978 fashion show.

James A Hazlett was born 10th November 1895. He studied at the Glasgow School of Art during the 1915-1916 session, taking evening classes in design and attending the technical college's weaving department. Hazlett lived at 120 French Street, Bridgeton whilst studying at the school and his occupation was a warehouseman.

John Harold Hayward was born in Cheshire on the 8th of July 1891 to Hester Hayward (née Hamar) and Thomas A Hayward, floor manager of an engineering factory. Hayward studied architecture at The Glasgow School of Art from 1908 to 1914, before enlisting with the Royal Army Medical Corps during the First World War. He worked as an architect's assistant in Glasgow in 1919 before relocating to London, where he remained until June 1921. He qualified as an architect later that year, and was admitted ARIBA in 1922. John H Hayward is listed in the School's World War One Roll of Honour.

If you have any more information, please get in touch.

G T Hay was a student at the Glasgow School of Art c1914. He is listed in the School's World War One Roll of Honour.

If you have any more information, please get in touch.

John Hassall (21 May 1868, died 8 March 1948) was an English illustrator, known for his advertisements and poster designs. Hassall was born in Walmer, Kent, and was educated in Worthing, at Newton Abbot College and at Neuenheim College, Heidelberg. After twice failing entry to The Royal Military Academy Sandhurst, he emigrated to Manitoba in Canada in 1888 to begin farming with his brother Owen. He returned to London two years later when he had drawings accepted by the Graphic. At the suggestion of Dudley Hardy (along with Cecil Aldin, a lifelong friend), he studied art in Antwerp and Paris. During this time he was influenced by the famous poster artist Alphonse Mucha. In 1895, he began work as an advertising artist for David Allen & Sons, a career which lasted fifty years and included such well-known projects as the poster "Skegness Is so Bracing" (1908). Between 1896 and 1899 alone, he produced over 600 theatre poster designs for this firm while, at the same time, providing illustrations to several illustrated newspapers. Making use of flat colours enclosed by thick black lines, his poster style was very suitable for children's books, and he produced many volumes of nursery rhymes and fairy stories, now fetching high prices on eBay, such as Mother Goose’s Nursery Rhymes (1909). In 1901, Hassall was elected to the membership of the Royal Institute of Painters in Water Colours and the Royal Society of Miniature Painters. He also belonged to several clubs, including the Langham (until 1898), the Savage, and perhaps most notably, the London Sketch Club (of which he was a President 1903-4). In 1900, Hassall opened his own New Art School and School of Poster Design in Kensington where he numbered Bert Thomas, Bruce Bairnsfather, H. M. Bateman and Harry Rountree among his students. The school was closed at the outbreak of the First World War. In the post-war period, he ran the very successful John Hassall Correspondence School. John Hassall was the father of poet Christopher Hassall and the printmaker Joan Hassall, OBE. He was also the grandfather of the actress Imogen Hassall and grandfather (and surrogate father) to noted "green" architect, David Dobereiner. Arguably John Hassall's most famous creation was "the Jolly Fisherman" in 1908, which is regarded as one of the most famous holiday advertisements of all time. His 1910 design for the Kodak Girl, in her iconic striped blue and white dress, became a feature of Kodak's advertising to the 1970s. Hassall's design was continually updated to reflect changing fashions and trends and was longer lasting and of greater international significance than his Jolly Fisherman.

Robert Harvie was born in Bothwell, Lanarkshire on 15th February 1891 to Margaret Rutherford Harvie (née Ms Ayton) and Robert Harvie, a master joiner and cabinet maker. He studied architecture at The Glasgow School of Art from 1908 to 1909, during which time he worked as an architect's apprentice. In 1909 he emigrated to Vancouver, Canada, where he worked as a civil engineer. In 1915 he enlisted with the Canadian Oversees Expeditionary Forces, with whom he fought until his death in combat on August 31st 1918. A newspaper article of the time describes that he was hospitalised after being gassed, but left without medical permission to go back into action. He was killed several weeks later in the battle of Drocourt-Queant. Robert Harvie is listed on The Glasgow School of Art's World War One Roll of Honour.

If you have any more information, please get in touch.

Sources: Canadian Great War Project: http://www.canadiangreatwarproject.com.

Susan Harvey (now Harvey-Davies) studied Embroidery and Woven Textiles at GSA in the 1980s and modelled in the 1982 fashion show. She won the International Linen and Woven Textile Bursary, the Dorma Design Award and the Incorporation of Weavers Educational Travel Grant in session 1981-1982.

As at July 2017, she is a painter and has exhibited around the UK.

Source: Flickr https://www.flickr.com/people/susanharvey/; GSA Annual Report 1981-82 GOV/1/11

James (Jas) Macgregor Harvey was born on 30 October 1896 and studied evening classes in Architecture during the 1915/16 session where he lived at 8 Beamount Gate Downhill. Harvey worked with John Burnet & Sons where he was a draughtsman from 1908 until 1915, when he was awarded a RIBA studentship. Macgregor, during the First World War, was unfit for active service and therefore undertook munitions factory work.

In 1918, he became the chief draughtsman with Charles McNair and was later taken into partnership by Eric Sinclar Bell forming the architectural firm Bell and Harvey at 75 Murray Place, Stirling. The Firm was dissolved on the 31st January 1926 with both architects practising separately, Harvey at 64 Murray Place and Bell continuing at 75 Murray Place. Harvey became a Fellow of the Royal Incorporation of Architects in Scotland (RIAS) from 1927 and a Fellow of the Edinburgh Architectural Association around 1930 and his address was 43 Spottiswoode Road, Edinburgh. He married his wife Irene May Sudlow on 29th July 1927. Harvey moved to 28A Polwarth Terrace by 1939-1940 where he lived until at least 1959. From 1927 until at least 1945 he worked with Edinburgh City Architects Department on hospital projects. He was named 'LRIBA' by the Royal institute of British Architects on 7 May 1946 and his proposers were Ebenezer James MacRae, Professor William James Smith and John Ross McKay. The 'LRIBA' was awarded to architects who were able to show a level of competence without the need for examination.

Harvey as well as his architectural practice also exhibited as painter at the Royal Scottish Academy on several occasions between 1950 and 1959 where his address is listed as 28a Polwarth Terrace, Edinburgh. Harvey in his later life was also a partner at Reiach & Hall from 1960. Harvey died on 14th June 1979 at the home of his daughter, Elizabeth V Craig at 11 Hillpark Road, Edinburgh.

Sources

Ramsey Cornish Actioneers and Valuers, Edinburgh http://www.ramsaycornish.com/current-auction-catalogue/page/2/?view=100

http://www.stirlingarchives.scot/2016/02/29/aberfoyle-parish-church-hall-1925/

http://www.scottisharchitects.org.uk/architect_list.php?alpha=h

http://www.scottisharchitects.org.uk/architect_full.php?id=100181

The Edinburgh Gazette 5thMarch 1926 https://www.thegazette.co.uk/Edinburgh/issue/14211/page/280/data.pdf

Elizabeth Marion Harvey was born on 22 May 1927 at 48 Cartvale Road, Glasgow, the daughter of William Harvey, insurance clerk, and his wife Jessie Hubbard.

She was an architecture student at the Royal Technical College and the Glasgow School of Art, between 1945-1950, and was elected a student member of the RIBA in 1953. She was living in Glasgow around this time.

For a time she worked for the County Council of the County of Lanark as a Junior Architectural Assistant, Grade APT. II.

She married Norman Murray Henderson on 23 March 1959 in Glasgow Cathedral. She was still a student member of the RIBA in 1960 but is not listed in directories thereafter.

Charles Claud Cleland Harvey was born in Aberdeen on 23rd February 1883, the 3rd son of Elizabeth Reid (née Hamilton) and Robert Harvey, an H M Inspector of Schools. Harvey was educated at Ayr Academy and the Royal Technical College of Glasgow. Harvey also attended The Glasgow School of Art as a part time architect from 1904 to 1905, 1907 to 1908 and 1910 to 1911. He was an assistant in Sir John James Burnet's Glasgow office from at least 1911 until 1914 and was the job architect for the restoration of Duart Castle. He was well-known in antiquarian circles in Glasgow as Recording Secretary of the Provand's Lordship Club and an authority on seals and heraldry. Harvey was the author of "of numerous pamphlets on subjects connected with Scottish national history" and wrote a book on the St. Andrews Cross as the national arms of Scotland. He had been engaged in compiling a calendar of Yester MSS when the First World War broke out. During the First World War, Harvey served as a Lieutenant in the Argyll and Sutherland Highlanders in 7th battalion (Territorial), having previously enlisted as a private in the 9th HLI. The 1/9th and 2/9th battalions formed in Dumbarton in 1914. Harvey died on 3rd April 1916 of wounds sustained in France, aged 33. His death falls between the dates of the battle in the Western Front, referred to as the Actions in the Spring of 1916 which occurred from the 14th of February to the 13th of June 1916. In this battle, soldiers fought to keep a hold of high grounds east of Ypres in the Battle of Mount Sorrel. It was in this battle in the First World War where German soldiers first used phosgene gas. The 3rd of April was the day British troops successfully recaptured "Crater No. 5" after an hour of bombardment. Harvey is commemorated on The Glasgow School of Art's First World War Roll of Honour and on the Glasgow Institute of Architects Roll of Honour (student).

If you have any more information, please get in touch.

Sources: Scotland's People: http://www.scotlandspeople.gov.uk, Ancestry: http://home.ancestry.co.uk/, The Dictionary of Scottish Architects: http://www.scottisharchitects.org.uk/index.php; The Long, Long Trail: http://www.1914-1918.net/argyll.htm; http://www.longlongtrail.co.uk/battles/battles-of-the-western-front-in-france-and-flanders/actions-in-the-spring-of-1916-western-front/

Brian Hartley works across the disciplines of visual art, design and performance. He studied at Glasgow School of Art and his work has evolved through a wide range of artforms, reflecting an ongoing interest in the relationship between visual art and theatre, performance and participation.

Ronald Harrison was a student at The Glasgow School of Art in the 1960s.

GSA Alumna
Graduated from the GSA in 2012. Studio in Irvine, Ayrshire.

Gwendolyn Amy Harrison (also known as Gwendolyn Amy Lithgow and Lady Lithgow) was born 1897 in Helensburgh, the daughter of John Robinson Harrison a Clyde ship-owner.

Harrison studied drawing and painting as a day student at The Glasgow School of Art during the session 1914-1915.

Whilst studying at The Glasgow School of Art, Harrison lived at Croft House (known now as The Long Croft) at 41 George Street Helensburgh. The house was built in 1901 by well known artist and architect Alexander Nisbet Paterson where he had previously lived with his wife Margaret (Maggie) Hamilton also a well-known artist who was influential to the arts and crafts movement and the sister of James Whitelaw Hamilton, one of the first Glagsow boys.

Gwendolyn Harrison married Sir James Lithgow a Scottish industrialist on 11th September 1924 at St Mary's Church Wreay Carlisle. It is possible that Gwendolyn came to known James through her father John as he had previously ordered ships from his future son in law.

Sir James Lithgow was a Scottish Industrialist who played a major role in British shipbuilding and steelmaking in the 1930s. Lithgow's father was a partner in the shipbuilding firm Russel and co and with his brother Henry, they reconstructed the partnership Russel and co into a private limited company Lithgow ltd. The two brothers decided that in the event of war, James would take on military service whilst Henry would continue to run the shipyard. James Lithgow served in WW1 and was a lieutenant. In 1917 he was appointed the Director of Merchant Shipbuilding and his responsibility was to ensure that production targets were met. James re-joined his brother in the business in 1919.

In 1924 the couple built a Victorian mansion, Gleddoch House in Langbank after their marriage, a few miles from their shipyards in Port Glasgow. Today Gleddoch House is luxury hotel, golf course, restaurant, spa, sports complex and wedding venue known as 'Gleddoch House Hotel and Golf Club.' The couple had three children, Margaret, Ann and a son, William, who would later inherit the family company.

Henry Lithgow died in 1948 leaving the running of the company to his brother. The company also faced heavy demands for replacing lost ships following the end of the war. His brother's death clearly affected James greatly as just four months after Henry's death, he suffered a thrombosis and stroke which he never fully recovered from. James Lithgow died in 1952 at Gleddoch House, Langbank.

After James Lithgow's death, Gwendolyn Harrison acted as chairman of the company until 1959. This was due to her son William Lithgow requiring more experience before assuming control of the family firm. When Harrison took over as chairman of Lithgow group, it comprised of some twenty-six companies. She had no experience in running of such a large company and therefore greatly relied upon her husband's advisors and the other more experienced managers in order to run the enterprise. However, it is clear that Harrison was not merely a figurehead of the company as she had strong opinions on how the firm was run. She ordered several resignations including: Sir John Duncanson, deputy chairman of Lithgow's Limited, Jackson Millar the chairman of Fairfield, and Lord Elgin, the Govan firm's vice chairman, who had all been appointed by her husband, Sir James Lithgow. Harrison also improved the lives of those working in the shipyards, at a meeting regarding the reconstruction of the yard; she proposed that adequate facilities for lavatories and wash rooms should be provided before the company would be required to do so. Harrison's son, Sir William Lithgow became the chair of the company by 1960 after his mother's resignation.

In the 1960s, The Lithgow Group led by William Lithgow, merged with Scott's shipbuilding of Greenock, this became Scott Lithgow in 1970. From 1980 the company was nationalised by the government under the control of the British Shipbuilders Corporation by The Aircraft and Shipbuilding Industries Act 1977.

Gwendolyn Amy Harrison died in 1975 at the age of 78.

Sources

http://www.thepeerage.com/p49939.htm#i499390

https://www.theglasgowacademy.org.uk/media/3156/1924-1925.pdf

https://en.wikipedia.org/wiki/Sir_William_Lithgow,_2nd_Baronet

http://www.inverclydeshipbuilding.co.uk/home/inverclyde-shipyards/lithgows

http://westminsterresearch.wmin.ac.uk/8549/1/Murphy_VOL1.pdf

https://en.wikipedia.org/wiki/Sir_James_Lithgow,_1st_Baronet

Harris was a student at The Glasgow School of Art in the 1920s.

Calum Harris was a GSA architecture graduate, 2016

Bernard Harrington was a Silversmith, Designer and Lecturer. He was Head of the Silversmithing and Jewellery Department at the Duncan of Jordanstone College of Art and Design at Dundee. He was the first Head of that Department and taught at the College from 1943 until 1974.
Prior to his arrival in Dundee, Bernard Harrington is thought to have been based in Sheffield, where he was noted as being a member of the distinctly 'modernist' Sheffield Artcrafts Guild in the 1930's.
A talented Silversmith, Bernard Harrington was the maker of several noted pieces of silverware during his lifetime. Perhaps the most important of his output was the Civic Mace of Dundee.