Rebecca B Inglis was born on the 15th March 1902. Rebecca is registered in the 1917-18 session as a day student of Drawing and Painting at The Glasgow School of Art. Her address is given as Maybole, Ayrshire.
If you have any other information, please get in touch.
Source: GSA student registers
Frank Edwin Innes was born on 3/2/1895. He was first registered at The Glasgow School of Art in the 1918-1919 session as an evening class student of Drawing and Painting. In 1919 he became a day student, also of Drawing and Painting, which he remained throughout 1919-1923. He is absent from the register for one academic year, returning in 1924-1925, again as a day student of Drawing and Painting. His registered address for the duration of his studies was 92 South Wellington Street, Glasgow.
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Source: GSA student registers
Helen S. Innes was born on 24/8/1897 or 1898 (dates fluctuate across The Glasgow School of Art registers during her period of enrolment). She was registered as a daytime art student from 1914-1923 and as an afternoon student in the 1926-27 session. From 1914-1918 she studied Drawing and Painting, changing to Design in the 1918-19 session. In 1922-23 she is registered as specialising in metal work. Helen's home address during this whole period is listed as 101 Armadale Street, Dennistoun, Glasgow.
There is a Helen S. Innes registered in the 1901 census as being born in Glasgow in 1898 to a George Innes (General Medical Practitioner) and Elsie Innes, however, the family's listed address in 1901 is 38 New Street, Moray, so it is not clear if this is the same Helen S Innes.
If you have any other information, please get in touch.
Source: GSA student registers, ancestry.com
Daniel Ireland was born on 20/9/1895. He was first registered at The Glasgow School of Art as an Assistant Bookseller in the 1910-11 session, studying at evening class under the tutelage of a Mr Jackson. He returns the next year, listing his occupation as Warehouseman and studying Drawing and Painting at evening class under the tutelage of a Mr Shanks. In 1918-1919 Daniel is registered at The Glasgow School of Art as an Engineer. There is no mention of him in the intervening sessions. His address on both School registers is listed as 95 North Hanover Street, Glasgow.
According to the 1901 census records, Daniel is the 4th child of Thomas Ireland (Plumber and Gasfitter) and Mary Ireland. His siblings were John (born 1888), Isabella (born 1890), Thomas (born 1893), Emmy (born 1898) and Alexander (born 1/1/1990). In 1901 the family resided at 272 Duke Street though records would indicate that prior to this they had lived in Perthshire.
On 7/6/1918 Daniel's youngest brother, Alexander, signed up at the Maryhill Barracks and was enlisted into the Kings Own Scottish Borders regiment. It is likely he fought in either the 2nd Battle of the Somme or the 2nd Battle of Marne. There is no record of his death or his return.
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Source: GSA student registers, ancestry.com
William Farquhar Ireland was born in Glasgow on the 29th May 1894, one of two children of Margaret Ireland and Matthew Hendrie Ireland, an Inverness agent. Ireland attended The Glasgow School of Art from 1910 to 1915 as a part time student of Architecture. During the First World War, Ireland served as a second lieutenant in the 8th Gordon Highlanders battalion where he died on 9th April 1917, aged 22. The 9th of April marked the beginning of the Battle of Arras which lasted until the 16th of June 1917 and is likely to have been the battle in which Ireland fell. A memorial stands for him in Roclincourt Valley Cemetery, France. Ireland 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/; The National Archives: http://www.nationalarchives.gov.uk/; Ancestry: http://www.ancestry.co.uk; Lives of the First World War: https://livesofthefirstworldwar.org/ Every Man Remembered: http://www.everymanremembered.org/profiles/soldier/190208/; The Long, Long Trail: http://www.1914-1918.net/gordon.htm; http://www.longlongtrail.co.uk/battles/battles-of-the-western-front-in-france-and-flanders/the-arras-offensive-1917-battle-of-arras/
Elizabeth O. Irvine was born on 3/3/1889. The 1915-1916 Glasgow School of Art register lists her as residing at 1 Yarrow Gardens, Kelvingside. There is no registration number allocated to her record and no further mention of her attending The Glasgow School of Art as a student or a member of staff.
If you have any other information, please get in touch.
Source: GSA student registers
Olive Irvine studied at GSA in the 1970s and modelled in the 1982 fashion show.
Jean H Irwin was born on 25 April 1905. She studied painting and drawing as a day student at Glasgow School of Art from 1923-1928. She was awarded her Diploma in 1927 and the following year studied metalwork in the afternoon and evening classes at GSA.
Attended the GSA from 1887-1889 following a LLA ('Lady Literate in Arts') degree at the University of St Andrews. She went on to become an active suffrgist, founder member and secretary of the Glasgow and West of Scotland Association for Womens Suffrage. She campaigned for the creation of the Scottish Trades Union Congress (STUC) and was elected as its first secretary when it was formed in 1897.
By the 1920s, Irwin was focusing much of her time on the fruit farm she owned in Blaigowrie, developing model housing for workers there. She was elected as as a fellow of the Royal Society of Arts, and was made a Commander of the Order of the British Empire in 1927.
Isle of Mull Silver Company was established in 1975 by Philip Campbell (Incorporated 2005) and continues to produce a range of gold and silver items which are handmade on the Island and bear the Scottish hallmark and the makers mark PDAC (Philip D'Auvergne Anley Campbell) in a quatrefoil.
In 1802, James Coats, snr, (1774-1857), a weaver from Paisley, Renfrewshire, Scotland, set up in business, laying the foundation of the business that was later to become J & P Coats Ltd, thread manufacturers, Paisley. James Coats senior was born in 1774, into a family of Paisley weavers. After serving his apprenticeship as a weaver, he spent six years in the army with the Ayrshire Fencibles, a cavalry regiment. He returned to weaving in 1796 on leaving the army and in 1802, shortly after his marriage, he went into business on his own. Seeing a market for Canton Crape, the majority of which was at that time imported from China, he set about trying to reproduce this material in his own factory. Canton Crape was made from silk, the manufacture of which had been introduced to Paisley in 1760 by Humphrey Fulton; hence both the raw material and the skilled labour were readily available. Another manufacturer, James Whyte, had also been trying to produce Canton Crape, with much the same degree of limited success as James Coats. He and Coats decided to combine their knowledge by entering into partnership, and were eventually successful in producing Canton Crape in such quantities as to virtually corner the market.
As his fortunes increased so James Coats began to look to the future. He built a house in Back Row, Ferguslie, Paisley, and became a sleeping partner in the Paisley firm of Ross & Duncan, a firm of thread twisters. At the same time he acquired knowledge of the business which would be useful to him in years to come since the production of Canton crepe requires yarn which has a particular twist. When his contract with Ross & Duncan expired in 1826, James Coats built a small mill at Ferguslie, and began producing his own thread, using a 12 horsepower engine. The mill at Ferguslie was the forerunner to the larger works which J & P Coats developed on this site. On his retirement in 1830, the management of the manufacturing department was passed to his partners and his son William, and the thread business was transferred to his sons James Coats, jnr, (1803-1845) and Peter Coats (1808-1890), the firm becoming known as J & P Coats. Shortly after its inception another son, Thomas Coats (1809-1883), entered the firm as a partner.
Each of the three brothers had knowledge of a different area of expertise: James in manufacturing, Peter in merchandising, and Thomas in engineering. The company expanded rapidly during the 1830s, both at home and overseas, and by 1840 three-quarters of their trade was with the USA. For twenty years the selling department of the American branch of the business was managed by Andrew Coats (1814-1900), a younger brother of James, Peter and Thomas. The high quality of Coats' thread made it extremely popular, to the extent that several companies produced inferior imitations, resulting in a number of legal cases In addition to the Paisley mills, J & P Coats built mills in the USA at Pawtucket, Rhode Island State, between 1870 and 1883. James Coats of Auchendrayne, Ayrshire, the son of Sir Peter Coats managed these mills. Production at Paisley continued apace, with new markets opening up at home and abroad. In some cases high customs duties were overcome by building mills abroad, so that in a short time J & P Coats had branches in Russia, Germany, Austria, Hungary and Spain.
In 1883, the firm became a private joint stock company of family shareholders and in 1890 the business was floated as a public company, with a capital of £5,750,000 and an average annual profit for the preceding seven years of £426,048. James Coats, jnr, remained unmarried, but a number of the sons of Peter and Thomas Coats entered the firm as partners, thus retaining the family interest in the company. One of the leading competitors of the Coats' firm was the firm of Clark & Co, another Paisley thread company, which had grown up through the same period as Coats. With the death of John Clark of Clark & Co in 1896, the way was opened for take-over. J & P Coats amalgamated with Clark & Co, its American associates and also with Brook of Meltham and Chadwick of Eagley Mills, Bolton, England, to form the enlarged firm of J & P Coats Ltd, with a market value of around £22 million, and approximately 25,000 shareholders. The company, with its headquarters in Glasgow, Scotland, had 17 production centres, 60 branch houses, 150 selling depots, and around 21,000 employees throughout the world, the UK workforce totalling around 11,000. One of the leading figures in the company at this time, was Otto Ernst Philippi, Foreign Sales Manager, whose selling policy has been regarded as one of the major keys to the firm's success.
The company continued trading as J & P Coats Ltd throughout the first half of the 20th century, expanding by acquiring controlling interests in several other textile companies. In 1960, following the takeover of Patons & Baldwins Ltd, the company became known as J & P Coats, Paton amp;& Baldwin Ltd. In 1965, they acquired a controlling interest in the Pasolds group, which included 'Ladybird' children's wear, 'Donbros' knitwear, and 'Chilprufe' garments. In 1967, they acquired both Dynacast Precision Engineering and Jaeger fashions. In June 1967, the company became known as Coats Patons Ltd. In 1967, Coats Patons Ltd amalgamated with Vantona Viyella to form Coats Viyella plc, a company registered in Uxbridge, Middlesex, England, which became Coats plc in 2001.
Between 1934-1939 the company sponsored the Needlework development in Scotland scheme, a collaboration between art and design education and industry. The scheme encouraged needlework and therefore also the sale of J & P Coats thread. This developed into the nation-wide Needlework Development Scheme managed by the The Central Agency Ltd of J & P Coats Ltd. Loan collections of historical and modern embroideries were developed with examples being purchased by, or donated to, the Scheme. These collections were then exhibited and loaned to schools in order to help teach and promote embroidery as an art form. In 1961, the company withdrew funding for the Scheme and it ceased to function. The collection of over 3000 textile items was broken up and disseminated between around 14 universities, colleges and museums in the UK.
J. Giusti & Co. was a Glasgow-based business active from the late 19th to the early 21st century specializing in plaster work and mould making. The firm was likely founded by one of the Giusti Brothers who are listed in an 1871 census residing at 130 Hospital Street, Glasgow: Calelo Giusti (born c.1843), Giuseppie (sic.) Giusti (born c.1844) and Gamalielo Giusti (born c.1847). The three brothers are listed in the census as “stucco image makers.”
The family seems to have started two separate businesses, both of which are recorded in the Glasgow Post-Office Annual Directory, 1884-85. One business, “Giusti Brothers,” is listed as “figure makers” and operated at 7 South Coburg St. The other business, “J. Giusti” is listed as “plaster modeller” and operated at 87 Bothwell St. The two Giusti businesses continued to operate for several years, and by 1886 “J. Giusti” was expanded to “J. Giusti & Co.” By 1889, only the J. Giusti & Co. business was listed in the Post-Office Directory, but under two locations. The first location at 328 South Vincent St. is listed under “Modellers,” and the second location at 87 Bothwell St. is listed under “Modellers (In Wood).”
J. Giusti & Co. engaged in a several enterprises outside of their work with plaster. The company is also described as confectioners in 1899 and later, from 1902 until at least 1910, as wine and Italian merchants. However, the company's longest business interest was in the production of plaster moulds as well as the sale and repair of plaster casts.
Records from the Glasgow School of Art Board of Governors indicate that the school purchased plaster casts from J. Giusti & Co. and hired the company to make plaster reproductions of student work as early as 1890. The company was hired to repair plaster casts at the GSA as early as 1891 and was hired for the same purpose through 1996 when the company performed repair work on the Winged Victory of Samothrace.
In the mid-20th century the company was purchased by the Gaggini family. They continued to operate under the business name J. Giusti & Co., and described themselves as “statuary and cornice repair, moulders and figure makers.” Throughout much of the 20th century the company supplied local schools and churches with plaster casts and operated a retail shop selling plaster objects at least through the mid-1970s. After the business closed, members of the Gaggini family continued to repair statuary, work with plaster, and supply plaster casts until as recently as 2016.
Helen Jack was born 28/8/1881. She first appears in the 1913-14 Glasgow School of Art register as a teacher of evening classes in Drawing and Painting. After a year of absence she returns in 1915-16 as an evening class teacher of Modeling. There is then a break of several years before Helen is once again listed as a teacher of evening classes, this time in the field of Design.
In the first two registers Helen is listed as residing at Sandymount, Shettleston, and in the latter two her address is given as 39 Springburn Road, Shettleston.
If you have any other information, please get in touch.
Source: GSA student registers
Isabella Jack was born 23/11/1893. The 1914-1915 Glasgow School of Art register lists her as residing at 934 New City Road, Glasgow, and names per profession as 'Machinist'. Isabella attended evening classes during this session but there is no record as to what discipline she was training under.
There are three Isabella Jacks her age listed as residing in Glasgow in the 1901 census but it is unclear as to which (if any) are her. In terms of geographical area it is most likely that she is the Isabella Jack listed as the daughter of James B Jack (Confectioner) and Elizabeth Jack, residing at 3 Braco Road, Glasgow, in 1901. This however cannot be confirmed.
If you have any other information, please get in touch.
Source: GSA student registers, ancestry.com
Joanie Jack studied Printed Textiles at GSA between 1981-1985 and modelled in the 1985 fashion show. She was awarded a prize in session 1984-85, and exhibited at Surtex in New York, in session 1986-87. She began career in design working for Missoni in Italy before freelancing for textile manufacturers worldwide. Was Head of the design team at Sekers Fabrics Ltd. and appointed Senior Design Executive with Scottish Design. Currently teaching at the Glasgow School of Art in Continuing Education and works as a free-lance textile designer.
Albert Jackson. Although Albert appears in The Glasgow School of Art registers of 1912-1914, 1915-1918 and 1919-1922, there are various discrepancies as to his given date of birth. His birthday is always listed as 25 October but the year of birth deviates from 1883-1887, depending on each register. In all of the registers Albert is listed as a Mechanic (Engine Fitter) or as an Engineer. Again, these listings are not consistent across the years.
In his early years at The Glasgow School of Art, Albert is registered as a Saturday student of Drawing and Painting. In 1915 he changes to an evening student (again with Drawing and Painting) and in 1919 returns as a day student of Drawing and Painting, Modeling and Design.
Albert's address in the 1912-13 register is listed as 1259 Govan Road, Glasgow. In all the other registers he is listed as residing at 5 James Street, Whiteinch.
If you have any other information, please get in touch.
Source: GSA student registers
Alex L Jackson was a student at the Glasgow School of Art c1914. He is listed in the School's World War One Roll of Honour.
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Jackson was a both a student and member of GSA staff between 1904 and 1913.
Ethel Jackson is registered as an afternoon student of Design under Miss Macbeth in the 1915-16 Glasgow School of Art register. Her address is given as Rockville, Dunbarton.
If you have any other information, please get in touch.
Source: GSA student registers
The son of a wealthy businessman in Berlin, Hans was expelled from the Friedrichs Real Gymnasium under the anti-Jewish legislation of the 1930’s. Unable to pursue his intended career he became a carpentery apprentice in the trade school of the Jewish community in 1937. He worked unpaid with the Reich's Representation of Jews in Germany ('Reichsvertretung der deutschen Juden') until February 1939, then later in the same year, emigrated to England on the Kitchener camp scheme.
Despite initially initially helping at a BBC monitoring centre translating German short-wave radio signals for the War Office, he was deemed an Enemy Alien and was interned on the Isle of Man, later travelling in the HMT Dunera to Australia. He volunteered to join the Pioneer Corps in 1941, was posted back to the UK, and sent to Scotland to build stage sets for the Entertainment Corps. In 1942 he enrolled as an evening student at the GSA taking classes in Drawing and Painting, then in later years switching to Commercial Art and Design.
After the war, he formally anglicised his name to Harold Jackson, took up British citizenship, married and opened a very successful Graphic Design business on Pollokshaws Road in Glasgow. Hugh Jackson Screenprint Ltd. became one of the first companies in Scotland to develop the technique of screen printing on plastic.
Following his first wife’s death in the mid 1980s, he began to paint, producing pictures of his experiences before and during the war which were exhibited at the Beth Shalom Holocaust Memorial Centre. He also helped create the Garnethill Synagogue’s Esterson Archives Room, now part of the Scottish Jewish Archives Centre.
James E Jackson was a student at the Glasgow School of Art c1914. He is listed in the School's World War One Roll of Honour.
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Elín Jakobsdóttir (born 1968), is an Icelandic painter and filmmaker based in Glasgow, where she did her BA and MFA in Fine Art and also studied at the Royal Scottish Academy of Music and Drama. Commissions and works in public collection include The Louvre, Paris; Leeds Museums and Art Galleries; Stills, Edinburgh and Glasgow School of Art. Elín was the winner of the Benno Schotz prize in 1992.
James Templeton (1802-1885) was born in Campbeltown, Argyll & Bute, Scotland. He began his career in a small wholesale draper in Glasgow, Scotland, before working for a merchant house in Liverpool, England. He spent 3 years in Mexico on the company's behalf, then returned to Scotland where he gained experience in the Glasgow cotton industry before moving to Paisley, Renfrewshire, Scotland. Here he established a shawl-making business in 1829 at the age of 27. He became interested in the weaving of chenille when it was introduced to the Paisley shawl-making industry in the 1830s and in July 1839, he and William Quiglay, a weaver in his employ, obtained a patent for an improved method of making chenille. Templeton realised the possibility of applying this to make a new type of carpet and in December of that year bought out Quiglay's share of the patent. Chenille carpets were a cheaper alternative to hand tufted Axminster. Producing Axminster was a slow process as each piece of yarn constituting the pile had to be tied to a pair of warp threads by hand. The chenille carpet was woven on a loom like cloth and subsequently cut into narrow strips that resembled striped caterpillars. The strips, each constituting a line of pile, were then woven in a setting loom to the warp threads which formed part of the base of the carpet; it was possible to weave a complete seamless carpet and to use a wide range of colours in the pattern so that it had a rich appearance closely resembling traditional Axminster. Production was therefore much quicker and more efficient although two separate weaving concerns were needed. Templeton left Paisley to concentrate on chenille carpets and began production in King Street, Glasgow, where he produced fitted carpet to specific dimensions and also strips of carpet that could then be fitted together to produce a whole carpet. His brother, Archibald, and his brother-in-law, Peter Reid, joined him in partnership as James Templeton & Co in 1843. James remained in control of the business while Peter handled the accounts and Archibald moved to London around 1850 to manage the London office and warehouse. Whilst the company made a loss for the first 3 years, it subsequently made consistent profits. By 1851 the company was employing some 400 people and the firm's capital exceeded £14,000. When the firm's patent ran out in 1853, competitors arose but the firm continued to prosper, employing a large number of designers and exhibiting at international trade fairs where they frequently won prize medals. The company's original factory was destroyed by fire in 1856 but a former cotton mill was acquired in William Street, later renamed Templeton Street, in Bridgeton in the East End of Glasgow. In 1860 the firm's capital exceeded £35,000 and over the next decade rose to £102,000 as profits were reinvested. Templeton also diversified his output, producing the cheaper and more popular Brussels carpet during the 1850s. In 1855 production for this business was transferred to another factory on Crownpoint Road, Glasgow, controlled as a separate firm, J & J S Templeton & Co in which he was partnered by his eldest son, John Stewart Templeton. This firm became one of the leading British producers of Brussels and Wilton carpets. John Stewart Templeton remained in charge of that side of the business for 30 years but also became a partner in James Templeton & Co along with his younger brother, James, in 1866. The 1870s saw the market falter. Sales declined and Templeton experimented with the mechanisation of chenille carpet production although by his retirement in 1878 mechanisation had still not fully been achieved. By this time, chenille carpets accounted for 5 per cent of the carpet industry's total production with James Templeton & Co the second largest chenille manufacturer with approximately 25 per cent of the market. On their father's retirement, John and James jnr took charge of the business with James taking control of the finances while John travelled widely in Europe and North America acting as the firm's spokesman and policy maker. John also continued the mechanisation programme for chenille begun by his father with new machinery being installed at the Templeton Street factory. A major breakthrough came in 1882 when William Adam, a former employee and partner in Tomkinson & Adam of Kidderminster, patented an improved setting loom which initially wove carpet up to one yard wide. Templeton applied for a licence, and was successful alongside two other firms. Together, the four firms met as the Association of Axminster Manufacturers, fixing prices to maintain profits. By 1882, Templeton had installed 120 of the new looms and, along with Tomkinson & Adam, was far outstripping the production of the other two firms. In 1878 Tomkinson & Adam had obtained the rights to a 'Royal Axminster' loom but Templeton's commitment to mechanised chenille weaving had prevented him from taking a licence. However, in November 1887 John Templeton obtained the rights to a new spool Axminster power loom from the American company, E B Biglow. Thirty looms were to be installed and a new factory built. However, the partly completed factory, with its exterior modelled on a Doge's palace, was blown over in strong winds in 1889 and it was only in 1891 that production of the Albert Axminster commenced in any quantity. John Templeton began a campaign to reduce the high pricing policies of the Axminster carpets within the industry but met fierce competition from Tomkinson & Adam licencees. Many of these companies resisted the price cuts as they also produced the cheaper Wilton and Brussels carpeting, which like Axminster, appealed to the higher end of the market. Templeton succeeded and so when cheap imported American Axminster entered the market in 1893 the firms were able to compete. In March 1895 Templeton's new factory was working night and day shifts, with women weavers working day shifts and men the night shifts producing spool Axminster. By 1900 over 16,000 people were employed producing chenille and Axminster and a further 300 on Wilton and Brussels carpets. The combined capital of the company exceeded £330,000. The Templeton brothers withdrew from active involvement with the company and John's son-in-law, D H L Young, succeeded them, having been a partner since 1887. Under his direction the firm continued to grow until the outbreak of the 1914-1918 World War. By 1913 the firm was the largest carpeting manufacturer in terms of output in the UK and had a capital of £648,000, a sum exceeded only by John Crossley & Sons Ltd of Halifax. As well as producing carpets James Templeton had taken an active interest in his work force. He made substantial donations to the works' Benevolent Trust and helped establish a factory savings bank. In 1938 James Templeton & Co was incorporated as a private limited company. The company provided the carpets for the 1911, 1937 and 1953 coronations in Westminster Abbey as well as providing carpets for the House of Commons, Cunard and P&O steam cruise liners. By 1955 the company had a total of six factories in Glasgow and agencies throughout Europe, the USA and the former British colonies.
Related Material: Please note, GSA Library has digitised the following volumes from its collections related to James Templeton and Co.:
Short essays delivered and now dedicated to the workers of James Templeton & Co.'s and J. & J. S. Templeton's carpet factories: https://archive.org/details/shortessaysdeliv00temp and Carpets and interiors: a guide for architects, decorators, furnishers, hoteliers, shipbuilders: https://archive.org/details/carpetsinteriors00anon
Alexander Jamieson was born in Glasgow on 23 Sep 1873, the son of Elizabeth Reid Jamieson and Alexander Jamieson, who worked for a Blacksmith. Jamieson attended The Glasgow School of Art (then known as The Haldane Academy) from 1886 to 1899. Their records list his occupations as Apprentice Manufacturer, Lithographic Draughtsman, Lithographic Artist, Art Student and Artist. He received the Haldane Bursary for three consecutive years between 1899 and 1891. In 1898 he won a Scholarship to Paris. There he met the painter Gertrude (Biddy) Macdonald, whom he married in 1907. He visited Spain in 1911. He served in France during the First World War, in the King's Own Scottish Borderers. He is known as a painter of landscapes, chiefly views of French towns and gardens, and occasional portraits and genre He lived for many years at Burnside, Weston Turville, near Aylesbury, Buckinghamshire. He died on 2 May 1937. Alexander Jamieson 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: the Dictionary of Scottish Art and Architecture by Peter J M McEwan; Tate: http://www.tate.org.uk; Ancestry.co.uk: http://www.ancestry.co.uk
Known to have worked in Inverness from 1780s. Hammermen's minutes and apprenticeship register (1813-23) records a partnership of Charles Jamieson and Robert Naughten (or Naughton)
Dorothy M. E. Jamieson (or Jameson – records vary) was born 24/3/1894. From 1912-1913 she is registered as a day student of Drawing and Painting, changing to a day student of Design in 1913-14, and back to a day student of Drawing and Painting in 1914-15. Her address in 1912 is given as Clydeview, Balshagray Avenue, Partick West (one of the fine merchant houses in Whiteinch which was destroyed in the 1960s to make way for the motorway*), changing to Glenwood, Langside Road, Newlands in 1914.
Records* indicate her parentage to be that of James Steele Jamieson (a Grocer, Wine Merchant, Italian Warehouseman and Agent) and Nellie Armour Brown (nee Wiseman) Jamieson. These records also list her as having two younger sisters, Edith B. (born 1897) and Ada Constance (born 6/11/1901). The 1901 census records indicate that the household had a live-in domestic servant (named as Janet L. Russell). This, and the nature of Dorothy's addresses, would indicate her family to be one of means.
If you have any other information, please get in touch.
Sources: GSA student registers, ancestry.com, *whiteinchhistory.wordpress.com, archives.rootsweb.ancestry.com
GSA alumna - graduated in Silversmithing and Jewellery in 2002.
George Jamieson was the son of William Jamieson, an Aberdeen silversmith.
He completed his apprenticeship in 1841 succeeding to his father who died in the same year and in 1862 he participated as exhibitor to the 1862 International Exhibition (presenting in the section Works in Precious Metals, and their imitations and Jewellery: granite and pebble ornaments) ..
In 1875 his son William George Jamieson was admitted into the Aberdeen Hammermen and entered in partnership with his father under the style George Jamieson & Son (since 1848 the firm was active at 73 Union Street, Aberdeen and from 1867 at 107, Union Street). The firm was maker of "Granite ornaments and Scotch Jewellery, Crest Brooches, Highlands Ornaments and agent for Elkington & Co."
In 1881 William Whyte Carry entered in the partnership, becoming sole proprietor in 1908.
In 1925 the firm moved its activity to 142 Union Street and in 1933 changed its name to Jamieson & Carry (Joseph Robert Carry, son of William, was made partner).
Joseph Carry's wife, Diana, and his son, Michael Robert Carry, became partners in the business in 1969 and another son, Peter David Carry, became a partner in 1976.
The firm claims as its founder Alexander Forbes, silversmith in 1733 at "The Head of Broad Street" in Aberdeen. Today. the firm is still active at 142 Union Street, Aberdeen.
Mother Joanna Jamieson entered the Glasgow School of Art to study mural painting in 1951 when she was 16. Eventually she was led to the religious life and became a Benedictine nun at Stanbrook abbey. She served there twice in 12 year terms as Abbess, retiring in 2007. She then took a one-year refresher course at the Royal Drawing School in London, where she studied, well into her 70s.
Between 2010 and 2014 she worked on a commission to create a substantial mural, 26 feet by 18 feet in the Grange Restaurant at Buckfast Abbey. The mural depicts the monks building the abbey.
In 2017, age 82, she completed another mural for the Kairos Centre in London depicting Mother Magdalen (Frances) Taylor, who founded the Poor Servants of the Mother of God.
Both murals show her interest in a technique pioneered by Lyonel Feininger, the 20th century German-American expressionist who used overlapping triangular planes of light to convey depth, space and movement.
Robert K Jamieson was a student at the Glasgow School of Art in 1900, during which time he worked as a coach painter. During the First World War he served in the Artists Rifles regiment. He is listed in the School's World War One Roll of Honour.
If you have any more information, please get in touch.
June Jansen studied Textiles at GSA from 1975 and designed garments for the 1978 fashion show. As at July 2017, she is an independent arts and crafts professional.
Source: LinkedIn http://www.linkedin.com
Fergus Jardine was born in Dennistoun, Glasgow on the 8th of May 1893, one of five children of Isabella Jardine [nee Simpson Brown] and Andrew Jardine, a Grocer and Wine Merchant. Jardine attended The Glasgow School of Art from 1912 to 1916 as a part-time student of Drawing and Painting, excelling in Life Drawing which he focused on in 1915 while working as a Clerk. During the First World War, Jardine served as a Private in the 14th battalion of the London Scottish Regiment. He was wounded by shrapnel to the wrist and hand on the 25th of September 1916 during battle in the Somme but continued service until 1920, receiving a British War Medal and Victory Medal in 1922. After the war, he hoped to resume his occupation as a Clerk should his hand injury allow it. His date of death is unknown. Jardine is commemorated on The Glasgow School of Art's First World War Roll of Honour.
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Sources: the Dictionary of Scottish Art and Architecture by Peter J M McEwan; the Dictionary of Scottish Architects: http://www.scottisharchitects.org.uk; Scotland's People: http://www.scotlandspeople.gov.uk. Roots Chat http://www.rootschat.com/forum/index.php?topic=723017.0
Norah Jardine studied Embroidery and Weaving at GSA from 1974 to 1978 and designed garments for the 1975, 1976, 1977 and 1978 fashion shows. She was awarded the Incorporation of Cordiners and Incorporation of Skinners and Glovers Prize for Leatherwork in session 1977-78. Norah completed her PGCE at Notre Dame College of Education and went on to teach at Cathkin High School. In 1986 she became Principle Teacher of Art and Design at St Bride's (later St Andrew's and St Bride's High School) in East Kilbride in South Lanarkshire. Norah retired from teaching in 2015 abut then worked for the SQA as Subject Implementation Manager for Art and Design and Photography, retiring from this post in 2018. She has also held the post of Principal Assessor for Higher Art and Design and was one of the Scottish Representatives on the Council for the NSEAD.
Ellen C Jarvie was born on the 27th of June 1901 and attended day classes in drawing and painting at The Glasgow School of Art between 1913 and 1923. There is no record of her occupation but she resided at 10 Whitefield Avenue, Cambuslang.
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Isobel Jarvie attended metal work classes at The Glasgow School of Art from 1917-1918. She was part of the Pollock shields Ladies Class and was taught by a Mrs Davidson. There is no record of her date of birth. She resided at Windyhough, Letham drive in the Newlands area of south Glasgow.
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William Jarvies was born on the 17th of April 1886 and attended evening classes in life drawing and drawing and painting at The Glasgow School of Art between 1913 and 1923. He resided at 153 Raeberry Street in Glasgow and worked as an iron turner. Between 1921 and 1922 he did not attend classes though in 1922-23 his occupation is listed as an engineer.
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Joined Garrard, The Crown Jewellers at age 15 and spent 34 years with the company, finishing as MD. In 1999 he launched my own business in St. James's to design, create and source unique silver and jewellery for the Worlds most discerning clients. A Freeman and Liveryman of The Worshipful Company of Goldsmiths, he maintains a passion for British craftsmanship and endeavours to only use UK manufacturers.
Agnes Jenkins took evening classes in design at The Glasgow School of Art between 1915 and 1916. Her birthday was the 7th of April though the year has not been recorded. She resided at 9, Havelock Terrace in the west end of Glasgow.
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Agnes Law Jenkins was born on the 5th of January 1897 and attended evening classes in drawing and painting and design at The Glasgow School of Art between 1916 and 1919. She resided at 126 Whitehill Street, Dennistoun in the East end of Glasgow and worked as a designer.
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Graduated from GSA in 2019 and continued at the School as an Artist in Residence. Goldsmiths Company 'New Designers' award in the same year.
Her Degree Show, entitled 'Momento Vivere' (remember to live) celebrated foodstuffs and the relationships that emerge through the sharing of meals, and included a selection of pieces inspired by cabbage leaves. A popular form in porcelain, particularly majolica, these works also echo Dutch Still Life painting, another source of inspiration.
Peter Matheson Jenkins was born on the 27th of August 1888 and attended evening classes in life drawing at the Glasgow School of Art between 1914 and 1916. He worked as clerk and resided at number 18 Clincart Road, Mount Florida in Glasgow.
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Founded by Danish silversmith, Georg Jensen, in 1904, the Design House's philosophy is to create innovative designs that are both beautiful and functional. Georg Jensen grew up close to forest and lakes just north of Copenhagen. Nature was his core source of inspiration. Symbols of the natural world weave a common thread throughout his designs: fruits, blossoms, leaves and organic shapes.
The son of an architect, Joass was born in Dingwall in 1868. After a short period of basic training in his father's office from 1883 to 1885, he was articled to John Burnet & Son in Glasgow, and studied at Glasgow School of Art. He remained there until 1890 when he moved to the office of Robert Rowand Anderson, from where he won the Pugin Studentship in 1892, his final year at the GSA. This was his most significant award from the Art School, but a very successful student, he had previously won a Haldane Bursary prize in 1886 and prizes in local and national competitions in building construction and architectural design.
In 1893 he moved to London to spend a year in the office of Ernest George & Peto, from which he transferred to that of Edward John May in October 1894. He passed the qualifying exam in that year and was awarded the Owen Jones studentship, enabling him to travel to Italy and Sicily, his travels prior to that date having been limited to Scotland and England.
He was admitted ARIBA on 10 June 1895, his proposers being George, John McKean Brydon, and Allan Graham, whom he had known in Glasgow.
Marc Johansen graduated in Communication Design from The Glasgow School of Art in 2017. In 2017 he was awarded the W.O. Hutchison Prize.
John Avery was an architectural and technical photographer who took many photographs for the Port of London Authority and other public bodies during the first quarter of the 20th century.
Mary Johnson studied Printmaking at The Glasgow School of Art in the 1990s.