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Robert Kerr was a student at The Glasgow School of Art in the 1950s.

Architectural photographer.

The daughter of a Writer (Lawyer), Keyden studied at the GSA from 1898 to 1902. Throughout her time as a student at GSA her address was given as 1 Claremont Terrace, Glasgow. In 1900 she is listed in the GSA Prospectus as being "Commended" for her work in the "Landscape or Seascape in Oil Colour" under the vacation sketching scheme of 1899.

Keyden was one of many GSA students to exhibit in the Turin Exhibition of 1902.

Kilgour graduated from The Glasgow School of Art with a BA in Fine Arts in 1981. He now lives and works in New York.

Georgina Goldie Killin (born on the 30th of January 1884, Lanarkshire) studied at The Glasgow School of Art from 1913 to 1921, staying on as a teacher from 1922 to 1929. She studied design (with a year of drawing and painting from 1917 to 1918), and was taught at least in part by Ann Macbeth, a notable Glasgow Girl and prominent suffragette, who was a staff member at GSA from 1902 to 1929. Macbeth is perhaps best known for her contributions to embroidery, but also taught metalwork, bookbinding and (from 1912) ceramic decoration. Killin is recorded as being taught by Macbeth in her first year 1913/14, and again in 1917/18 when she studied metalwork. During her teaching career at The Glasgow School of Art, Killin was involved in a number of aspects of design education. She began by teaching ceramics making and decoration (from 1922-23), followed by assisting with lectures on Design and Decorative Art (1923-25), and assisting Design and Museum Study (1925-28), before finally going on to teach Historic Ornament and Heraldry, and Enamels (both 1928-29). More recently Alison Brown, curator of European Decorative Art at Glasgow Museum, has been researching Killin’s ceramic work in more detail, using material from the GSA Archives to bring more of her work to light. If you have any more information, please get in touch.

Cheonae Kim is an artist based in Illinois. She earned a Bachelor of Arts in Drawing from Southern Illinois University, Carbondale, IL in 1983, and a Master of Fine Arts in Painting, Drawing and Printmaking from Southern Illinois University, Carbondale, IL in 1986.
Her work deals with form created by horizontal and vertical lines overlaid on a grid system. The lines are symbolic of our daily experience, which consists of opposite elements. Horizontal lines signify the passive, vertical lines the active or living. These forms also refer to certain sounds or language.
Repetition is another important element in her work. Another overriding aspect is the maze. In many ways the human mind or condition can be very much like a maze. When you go through a passage or open a door, another appears. The painting and the repetition are like the maze. There is ongoing visual repletion, the similarity of the optical effect to sound, the endless winding through mental corridors. In effect, through the simplest of means - a vertical and a horizontal line in endless combinations.

Charles McCreath Kincaid was born in Glasgow on the 29th of December 1890 to Annie Gibson McCreath and John Kincaid, a pawnbroker. His childhood was based in the Plantation/Govan area of Glasgow, at 60 Clifford Street. He studied Drawing and Painting at The Glasgow School of Art from 1907 to 1912. He enlisted with the Royal Army Medical Corps in November of 1915, listed as "Territorial Force" - Lowland Division". At this time he was living at Fourth Street, Pollockshields, Glasgow. He served both at home and on the Western Front until the end of the war and is listed in the School's World War One Roll of Honour. He married Helen Fontaine Huggins on the 7th September 1921. By 1923, he had moved to London, residing at Portland Avenue in Hackney. In 1938, he is listed as living at 9 Coniston Road, Finchley. He passed away in 1940 at age 50, his death registered at Edmonton in Essex. His occupation listed on his death certificate was "Designer and Representative (Colour Printers)".

Some information provided by a private researcher. If you have any more information, please get in touch.

James Joseph Francis Xavier King (c1855- 5th February 1933)
Fellow of the Entomological Society

GSA Student 1872-1894:

1875: Local examination, 2nd grade prize
1875: Local Prize, anatomy class, £2
1876: National Competition, 3rd grade prize, Stage 23d, ceiling design
1876: Haldane Prize, Stage 23d, design for hall ceiling, Medal & £3
1877: Local Science Examination, 1st class certificate & Queen's Prize
1879: National Competition, 3rd grade prize, Stage3b, ornament in outline from cast
1881: Local examination, 3rd grade certificate, Group 1
1882: Local Science exam., Queen's Prize, machine construction
1886: National Competition, Queen's Prize, Stage 22d, studies of historic styles of ornament
1886: National Competition, 3rd grade prize, Stage 22d, studies of historic styles of ornament
1886: National Competition, advanced section, commended
1886: Local exam., advanced, Stage 22d, design, Good, certificate
1886: Local exam., advanced, elementary principles of ornament, Fair
1887: National Competition, 3rd grade prize, Stage 12a, monochrome
1887:Art Master's Certificate, Group 2, work in Stage 12a accepted towards
1887: Local exam., advanced, sciography, Good, certificate
1888: National Competition: Gold medal, Stage 23c, 2 designs, Persian carpet
1888: National Competition: Owen Jones Bronze medal & prize
1888: Local exam., advanced, elem. principles of ornament, 1st Class
1888: Local Competition, Haldane Medal (design)
1889: National Competition, 3rd grade prize, Stage 22d, historic ornament
1889: Art Master's Certificate, Group 3, works in Stage 22d accepted towards
1889: Local exam., advanced, painting in monochrome, 2nd class
1890: National Competition: 3rd grade prize, Stage 1e, sciography
1890: Art Master's Certificate, Group 6, work in Stage 1e accepted towards
1890: Local exam., advanced, painting ornament in monochrome, 2nd Class
1890: Local exam., advanced, Stage 10a, plant drawing in outline, 2nd class
1891: Local exam., advanced, painting ornament in monochrome, 2nd Class
1892: Art Master's Certificate, Group 3, work in Stage 9a accepted towards
1892: Local exam., advanced, painting ornament in monochrome, 1st Class
1892: Local exam, 2nd grade certificate, elementary modelling, 1st class

GSA Staff 1877 - 1920/21:

Assistant teacher c.1877 – 1878
Teacher 1878 – 1880
Assistant master (Art) 1880 -
Assistant master (Drawing & Painting) 1896
Assistant master (Architecture) perspective and ornament 1896
Assistant master (Arch.) perspective, historic ornament 1897
Assistant master (Art certificate work) 1899 – 1901
Lecturer on geometry, perspective and plant form 1902 – 1903
Instructor (D&P) geometry, perspective 1904 - 1918/19

Conservator and Librarian 1904 - 1920/21

Staff council 1910/11 - 1920/21

Geometry 1919/20

Member of the Staff Council: 1919- 1921

Annual Report 1920-21 notes his retirement
Annual Report 1932-33 notes his death

Between 1885-94 his address is given as 207, Sauchiehall Street.
In 1877 his occupation is listed as Art Master.

The PO Directory of 1901 records his address as 1 Athole Gardens, Kelvinside. He is described as an Art Master at GSA and a lecturer in Economic Entomolgy at the West of Scotland Agricultural College.

King was an accomplished artist who exhibited between 1885 and 1891, particularly at the Glasgow Institute of the Fine Arts. In 1891 he had been amongst those who appended their name to the request that the Corporation of Glasgow should purchase Whistler’s Arrangement in Grey and Black (commonly known as Portrait of Thomas Carlyle). He was also an acknowledged expert in neuroptera, the class of flying insects with net-like wings, and published widely on this subject.

At GSA, King lectured in the ornament classes, before moving to geometry, perspective and plant form. He also acted as Conservator, and was charged with looking after School property, safe-keeping student work, preparing works for exhibition and inspection by the Masters, and engaging life models.

In 1909, with the opening of the School’s first purpose-built library designed by Charles Rennie Mackintosh, he was employed full-time as Librarian.

A 1907 portrait of him by David Forrester Wilson is in the collection of the Hunterian Art Gallery and an oil sketch by Sir John Lavery in the Glasgow Museums Resource Centre.

King [married name Taylor], Jessie Marion (1875–1949), illustrator and designer, was born on 20 March 1875 at the manse, New Kilpatrick, Dunbartonshire, the third daughter of the Revd James Waters King (1836–1898), Church of Scotland minister, and his wife, Mary Ann (1846–1896), daughter of James(?) Anderson, baker and miller, of Lanark; a younger brother was born a year later. Educated at the parish school in New Kilpatrick until 1891, she took a course at Queen Margaret College, Glasgow, before studying at Glasgow School of Art from 1892 to 1899, under F. H. (Fra) Newbery, who led the school into a golden era. Fellow students included Helen Paxton Brown, Annie French, Ann Macbeth, and Katherine Cameron as well as Margaret and Frances Macdonald, who in 1896 with Charles Rennie Mackintosh and Herbert MacNair launched the influential ‘Glasgow style’ allied to European art nouveau.
As a student King developed her mannered mode of outline drawing, combining delicately patterned surfaces with nervous, elongated lines and arabesque forms within grid-like frames often containing lettering, influenced by Aubrey Beardsley, Jan Toorop, and the late graphic style of Burne-Jones. Early successes included a national silver medal (1898) for illustrations to Edwin Arnold's The Light of Asia (1879), despite the ‘excessive attenuation’ of her figures, a gold medal at the international exhibition of ‘Modern decorative art’ in Turin (1902), and a commission from the Berlin publishing firm Globus Verlag. Work for British publishers established her as a leading illustrator alongside Arthur Rackham, Kate Greenaway, and Laurence Housman. A checklist of items reveals nearly 300 design projects in sixty years, ranging from art books to advertising cards. Her preferred medium was pen and ink, with watercolour, on vellum, and favourite motifs included ships with billowing sails, fairy maidens with billowing skirts, and intricate skeins of petals or birds composed of tiny dots, like a dew-drenched spider's web. Influenced by a Gaelic-speaking nursemaid with a fund of folklore, Jessie believed herself gifted with ‘second sight’ and her art was inspired by fantasy, while its minuteness derived from close, myopic vision. From 1899 to 1907 she taught book design at the Glasgow School of Art and from about 1905 she also designed fabrics and jewellery. Solo shows included ones at the Bruton Street Gallery, London (1905), and the Annans' Gallery, Glasgow (1907). From 1905 she was an active member of the Glasgow Society of Lady Artists.
On 29 September 1908, after a ten-year engagement, King married Ernest Archibald Taylor (1874–1951), furniture designer and artist. The couple lived briefly in Salford, where their only child, Merle Elspeth, was born in 1909, before moving in 1910 to Paris, where Taylor ran a teaching atelier and King continued with illustration, also exhibiting at the Salon and the 1914 ‘Arts décoratifs’ exhibition. Friends and acquaintances included Henri Matisse, Marie Laurencin, T.-A. Steinlen, J. D. Fergusson, and S. J. Peploe, and King's graphic style was subtly influenced by post-impressionist colour and Leon Bakst's Ballets Russes designs, becoming simpler and bolder. Later landscapes in coloured inks were particularly successful. She also learned the technique of batik printing, which became her forte. Each summer, the Taylors ran painting courses at High Corrie, Isle of Arran, and applied arts courses in Kirkcudbright, an artistic colony, where they settled in 1915. According to Robert Burns, of Edinburgh College of Art, no student's training was complete without a stay in one of the cottages at their home, Greengate. Wearing wide-brimmed hats and buckled shoes like a nursery-rhyme character, King (familiarly known as Jake) became a notable figure in Kirkcudbright, where she organized and designed community pageants. She decorated ceramic ware, designed wooden toys, and with Taylor produced murals for several Lanarkshire schools—a public art commission cut short by economic depression.
An encouraging mentor to younger artists like Marion Harvey, Anna Hotchkis, and Cecile Walton, King's whimsical illustrative style attracted no followers, however, with the exception of Ronald Searle, whose angular figures recall King's. When she died at home on 3 August 1949, her work was not highly regarded, and the first retrospective shows only took place in the 1970s including one at the National Library of Scotland, Edinburgh, since when her idiosyncratic art has steadily risen in critical and commercial favour. She was cremated at Kirkcudbright and her ashes were scattered at the church of Minard, Argyll, where her devoted nurse and housekeeper, Mary McNab (d. 1938), was buried.

Company: Ballast Trust.

Born in 1962, Shona Kinloch studied at The Glasgow School of Art from 1980-85 gaining a BA (Hons) Fine Art (Sculpture) and Post Graduate Diploma (Sculpture).
In 1988, her profile was raised when she made “Seven Glasgow Dogs” for the Glasgow Garden Festival, which resulted in a long list of public and private commissions.
She has public works in Scotland (Glasgow, Edinburgh, Perth, Ayr, Irvine, Eskbank, Hamilton, Kilmarnock and East Kilbride, where she lives); in England (Loughborough, Morecambe and Tattenhall) and further afield (on five Royal Caribbean cruise liners).
She is the winner of several awards including the Saltire Society Art in Architecture Award (1992) and the Association of Landscape Industries Sculpture Award (1999). She was elected to the Royal Glasgow Institute of The Fine Arts in 2009.

Amanda Kirk studied Embroidery and Weaving from 1976 at GSA, and designed garments for the 1978 fashion show. She was awarded a maintenance scholarship for a further four terms at Glasgow in session 1979-80.

Source: GSA Annual Report 1979-80 GOV/1/10

Bill Kirk trained in the workshop of Charles & Norah Creswick in Edinburgh before establishing his own studio in 1961. As a tutor of silversmithing, engraving and enamellings firstly at Glasgow School of Art (1961-1978) and then at Edinburgh College of Art (1980-1999), Kirk was a significant influence on the nurturing and development of fine silversmithing skills in Scotland. He was commissioned by HM Queen Elizabeth to make the communion cup for Dr Selby Wright for Canongate Church and there were many other commissions for his fine silverware both in the UK and abroad for ecclesiastical and domestic uses.

Ruth Kirkby is a letterpress printer living and working in Glasgow using traditional methods of printing with metal and wood type but also experimenting with new techniques within the process. She is particularly interested in analysing the way we experience letterforms and society’s relationship to the written word throughout the history of typography. She studied at The Glasgow School of Art from 2012-2015.

Alongside her own research-led practice, Kirkby works in collaboration with artists and designers using letterpress technology. She also works as a Technician at the Glasgow School of Art in the school’s letterpress printing workshop and helps run the Caseroom SWG3, organising workshops, events and providing technical printing support.

Jonathan Kirkwood graduated in Fine art Photography from The Glasgow School of Art in 2018. In 2018 he was awarded the W.O. Hutchison Prize.

Graduated from GSA in 2006 BA(Hons) Design: Silversmithing and Jewellery, then went on to complete a PGCE Secondary; Design Technology at Manchester Metropolitan University (2008-2009). In 2010 Laura joined the Goldsmiths Getting Started Program and was one of twelve of the graduates to be invited to participate in Cox & Power's Getting Started exhibition the following May.

Adriane Klapwijk studied Embroidery and Weaving at GSA from 1977 and designed garments for the 1978 fashion show. She won the Scottish Education Department Travelling Scholarship in session 1981-82.

Source: GSA Annual Report 1981-82 GOV/1/11

Born in 1964, Knight studied at Harlow Technical College before completing a BA in Three Dimensional Design: Silversmithing and Jewellery at Sheffield City Polytechnic in 1987. He went on to study at the RCA, graduating with an MA in Goldsmithing, Silversmithing, Metalwork and Jewellery in 1992. From 2003 he was a part-time Lecturer in Post Graduate Design, Jewellery and Metalwork at Sheffield Hallam University, combining this with his own work as Chris Knight Metalwork.
His practice includes sculpture and public art; he has collaborated with product, interior and landscape designers, architects, artists, engineering companies, developers, town planners and city councils. Knight was shortlisted for the prestigious Jerwood Applied Arts Prize (2005), won the Museum Sheffield National Metalwork award for his silver and stainless steel chalice titled Lest We Forget in 2010, and was lead designer of the St Leger Stakes permanent trophy. A Liveryman of the Worshipful Company of Goldsmiths, he has pieces in the Goldsmiths Collection, the V&A, Birmingham Museums and many other major public collections.

William Knight II & Samuel Knight entered a mark together on 24th January 1810 as small-workers. It is believed that they may have been brothers.
No record of apprenticeship or freedom.

Following a BA in Three Dimensional Design at the University of Wolverhampton, Bryony completed a Masters in Silversmithing at the Glasgow School of Art, graduating in 1999.
Based in Edinburgh, Bryony's work is fashioned and embellished using the techniques of repousse and chasing, often with enamel or gilded details. For the past twenty years she has been selling and exhibiting in galleries throughout the UK and abroad, whilst also undertaking larger and more intricate private and public commissions, including objects for J K Rowling, Winchester Cathedral, the Museum of Edinburgh & HRH Princess Anne.

Born in Kirkintilloch, Jack (John) Knox (born 1936) studied at The Glasgow School of Art and afterwards in Paris. In 1965 he joined the staff of Duncan of Jordanstone College of Art in Dundee and in 1981 became Head of Painting at Glasgow School of Art. After retirement he devoted himself to painting. Jack Knox died in 2015.

John Knox was born in Scotland sometime after 1910 and studied at the Glasgow School of Art, where he received a maintenance Scholarship in 1928. Knox was a member of the Glasgow School of Art club during his studies and exhibited sculptures with the Royal Scottish Academy of Painting, Sculpture and Architecture in 1930 and 1932. Knox relocated to Belfast in 1939 where he succeeded George MacCann as head of sculpture at the Belfast School of Art.

Henning Koppel was a Danish artist and designer. He studied at the Royal Danish Academy of Fine Arts's School of Sculpture in 1936–37 and at Académie Ranson in Paris in 1938. He is most known for his work for Georg Jensen in the years after World War II. He also designed porcelain, glass and lamps.
Unlike other European companies, which preferred anonymity, Scandinavian firms such as Georg Jensen promoted their designers and encouraged them to make a name of their own.

Kukainis was born and grew up in Riga, Latvia graduating from Riga Stage Gymnasium No.1. Graduated from Glasgow School of Art with Bachelor with Honours in Architecture in 2021, and Diploma in Architecture in 2022 receiving Chairman's Medal, Glasgow Institute of Architects Commendation, Glasgow Council Charlie Cochrane Medal and shortlisted for Architect's Journal Student Sustainability Prize for the Final Thesis Project: The “Post-Landfill”: Finding sustainability in problematic mid-20th century heritage. Nominated for Newberry Medal, 3D Reid Student Prize, Architect's Journal Student Award and RIBA Silver Medal. Has practised as Part 1 and Part 2 Architectural Assistant at award-winning architecture practices: Glasgow-based Anderson, Bell + Christie, and Riga-based Sudraba Arhitektūra, working from small and highly-individual private projects to large-scale public cultural buildings and wide residential developments.

Kunimaro was a student of Kuniyoshi Utagawa. He was also a poet, author and illustrator of books.

Alexander Kuusik graduated from The Glasgow School of Art in 2014. He was the recipient of the Newbery Medal.

Alida Kuzemczak-Sayer graduated from The Glasgow School of Art in 2009, with a BA in Visual Communication. In 2014, she graduated with an MA in Sculpture from the Royal College of Art, London.

She has exhibited in solo and group exhibitions at galleries and art fairs internationally and has undertaken residencies in South Korea, Scuola di Grafica di Venezia Italy and at UK organisations including Scottish Sculpture Workshop, Firstsite Colchester and New North Press/Standpoint London. Commissions include The National Trust, Norwich Cathedral and University of East Anglia/OUTPOST Gallery. Examples of her work are held in The Anthony Shaw Collection at York Art Gallery and Letterform Archive San Francisco. In 2022 she received a DYCP award from Arts Council England and in 2023 her solo exhibition Word Parts at Standpoint Gallery, London, was supported by the Henry Moore Foundation.

Bruce Lacey, born in 1927, is a British artist, performer and eccentric. He completed national service in the Navy and then became established on the avant-garde scene with his performance art and mechanical constructs. From 1948, he studied at Hornsey College of Art, followed by attendance at the Royal College of Art in the early 1950s. He formed a close association with The Alberts performance group and The Goon Show during this decade, helping pioneer a surrealist British sense of humour. He has collaborated with a wide range of artists, including Fairport Convention, and his most famous appearance in front of the camera was as a flute-playing gardener in 'Help!', the Beatles' feature film. As well as being equally comfortable working behind the camera, Lacey worked on experimental theatre performances and created mechanical devices. He was a visiting professor at several Art Colleges in the 1960s and 70s. Later, he moved to Norfolk with his wife and became part of a fair making network, Albion Fairs. Specifically he was responsible for running the "Faerie Fair" at Lyng, Norfolk in 1981-82. In 1996 there was a major retrospective of his life and art at the Glasgow Museum of Modern Art. A major survey of his work ran at the Camden Arts Centre, from 7 July to 16 September 2012. As of 2014, he still works and performs, often at the Norwich Arts Centre.

Sources: [http://www.trunkrecords.com/turntable/bruce_lacey.shtml, accessed 6 Aug 2015] [https://en.wikipedia.org/wiki/Bruce_Lacey, accessed 6 Aug 2015]

Ebby Lai graduated with an MDes Design Innovation & Service Design from The Glasgow School of Art in 2023. They were awarded the Postgraduate Chair Medal for the Innovation School.

Artist's statement: I am a service designer and strategist passionate about systems thinking and transformation, as well as the symbiotic relationship between humans and technology in the modern world. I strive to be curious and provocative to uncover true and meaningful insights in my work, while also being thoughtful and considering real-world challenges to make my projects and interventions actionable and applicable. My passion for speculative design, systems thinking, and leveraging technology for good is demonstrated through a successful track record of service design projects focused on enhancing inclusivity, accessibility, sustainability, and scalability. I am dedicated to shaping the future of service experiences through innovative design and systemic change, bringing a unique blend of creativity and practicality to my work.

Established by James Laing in Glasgow in 1840, the family jewellery business is now run by the sixth generation. Head quartered in Glasgow, the flagship store is in the historic Argyll Arcade, with branches throughout the UK.

William Cochrane Laine was born in Maryhill, Glasgow on the 15th March 1897 to Annie Keil Laing (née Tullis) and Robert Laing, a master jeweller. He attended evening classes in design at The Glasgow School of Art while working as an apprentice jeweller. On the outbreak of World War One he enlisted with the Army Service Corps. He died in St Andrews in 1945, leaving behind his wife, Jessie Thomson. His occupation is noted as silversmith and jeweller. William C Laing is listed on The Glasgow School of Art's First World War Roll of Honour.

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

Robert Laird was born on 16 July 1900, in Glasgow, the youngest of five children of Elizabeth Laird (nee McGowan) and David Miller Laird, a master upholsterer. Robert Laird studied at The Glasgow School of Art in the 1917 to 1918 session, taking evening classes in drawing and painting, whilst training to be a cabinet maker. The following year, his name is listed on The Glasgow School of Art registers, but it notes he is serving with the army and therefore did not attend. During the First World War, Laird served briefly with the RAF, enlisting on 5 July 1918. He served at RAF airfields Manston and Joyce Green in Kent before being demobilised at Georgetown in Renfrewshire in March 1919. He returned to his work as a cabinet maker and took further classes in drawing and painting in the 1919/20 session. From 1922 to 1923 he studied furniture design. Robert Laird 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; The National Archives: discovery.nationalarchives.gov.uk; Find My Past: http://www.findmypast.co.uk; The First World War Airfield at Farningham: http://www.felhs.org.uk .

Elspeth Lamb studied at Glasgow School of Art, Manchester Metropolitan University and the Tamarind Institute of Lithography, University of New Mexico USA, her main specialism being printmaking. She is an elected RSA Academician, and an elected member of the Society of Scottish Artists and Royal Glasgow Institute, and has taught several workshops in lithography at the Joan Miro Foundation in Mallorca, Spain. For 21 years she taught at the Edinburgh College of Art, latterly as Head of the Department of Printmaking and she has been visiting lecturer at many colleges in the UK including the Glasgow School of Art, Duncan of Jordanstone College Dundee and Middlesex University. She chose to give up all academic teaching commitments in 1999 to pursue her artistic career.

Born in Prestwick, Lamb studied at Glasgow Art School from 1907/08 to 1914/15, studying Drawing and Painting then Design, and taught Art at St Columba’s School, Kilmacolm, from 1918-1949. A ‘Glasgow Girl’ artist, calligrapher and teacher, she was part of the Scottish embroidery revival.

The Church of Scotland acquired the rights, in 1927, to print copies of her cradle roll, which was used into the 1970s. Lamb was commissioned to produce the Church of Scotland’s Loyal Addresses to King Edward VIII, King George VI and Queen Elizabeth, all of which are conserved in Windsor Castle.

She died in Dunblane, her family home, where she and her sister, Mildred, had a studio. There is an octagonal room on the ground floor of Dunblane Cathedral named after her in recognition of her outstanding artistic contribution to the cathedral.

Studied at the GSA from 1922 to 1925. Throughout her time in Glasgow, her registered address was her family home, Bryanston, in Dunblane.

Enrolled on the 'Black and White' course, she was taught by Dorothy Carleton Smyth amongst others. The course included classes in book illustration, lithography, wood engraving, press work in line and wash, fashion plate and other subjects. She later shared a studio in Dunblane with her sister Helen, a fellow artist, calligrapher and GSA alumna.

Robert Strachan Lamb was born in Beith, Ayr, on the 7th of September 1892, one of seven children of Margaret Lamb (née Love) and Alexander Lamb, a cabinetmaker. Lamb attended The Glasgow School of Art from 1922 to 1923 as a part time student of architecture. During the First World War, Lamb served as a Captain in The Royal Scots Fusiliers, though on the GSA Roll of Honour, he is only recorded as a 2nd Lieutenant. Lamb worked as a grocer's assistant. In 1920, he married Helena Grainger in Glasgow, a widow previously married to Joseph Clark Gibson, who had died serving in the war. They had two children. Lamb died in Glasgow in 1950, aged 58. Lamb 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: Ancestry: http://home.ancestry.co.uk/; Scotland's People: http://www.scotlandspeople.gov.uk; The National Archives: http://discovery.nationalarchives.gov.uk/details/r/D3284035

John Charles Lamont was born in Chryston, Lanarkshire on the 2nd of September 1894. He was the only child of Annabella Henry Lamont (nee Turnbull) and John Lamont, a doctor. A full time student of Drawing and Painting at The Glasgow School of Art between 1912 and 1914, he studied under Newberry and obtained a travelling scholarship though never went travelling due to being called up to war service as Acting Corporal with the Royal Tank Corps. Although earning a British War Medal and Victory Medal, he also received a serious injury that caused him to suffer ill health for the rest of his live, hindering his artistic practice and restricting the amount of work he could produce.

In spite of this, he moved to Kirkcudbright in the 1920s following the death of his father and a short period of employment in Ireland. There he joined a thriving artists' colony where he was reunited with fellow Glasgow School of Art classmate James Cowie (not included on the Roll of Honour as he declared himself a conscientious objector, refusing military service but accepting call-up to Non-Combatant corps) and befriended Robert Sivell (war-time engineer, fitting out trawlers and drifters for mine sweeping and similar operations), becoming affiliated with Archibald McGalshan, another well-known Glasgow School of Art graduate who had previously shared a studio with Sivell in Glasgow.

Lamont married the daughter of a Kirkcudbright cabinet maker and shipbuilder, Elspeth Sayers, whose sister Isobel became the wife of Robert Sivell. Lamont and Sivell were very close (Lamont even built himself and his new wife a house 'Millfield, The Stell' near to Sivell's home 'The Hollow') and a portrait by Sivell, Lamont by Lamplight, can still be seen on display in Gracefield Arts Centre as part of the Dumfries and Galloway collection. Lamont's paintings, typically landscapes and figures, were popular and exhibited in the Royal Scottish Academy and the Royal Glasgow Institute of Fine Arts prior to his death in 1948. His death certificate is signed by his brother in law, Robert Sivell.

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

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, Tales of the Kirkcudbright Artists by Haig Gordon.

Built houses for the people of Lanarkshire. Directors were R.D. Stewart (Chairman), S.R. Cooper (F.C.A), W. Fleming, and J. McW. Norman. Sidney Wesley Birnage was a consultant architect for the company. Had a factory located in Mossend, Lanarkshire where they produced their 'Bellstone' Block in the post-war period that included 3, 4, and 5 apartment double cottages. Boasted about reducing unemployment throughout Scotland. Provided optional colours and textures of their homes. Aimed to reduce maintenance costs for their buyers.

DCH Lang was a student at The Glasgow School of Art in the 1960s.

Peter Lang 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.

Born in Staines, Middlesex, she studied at Brighton Art School before attending the GSA from 1907 to 1910, where she took life classes with Maurice Greiffenhagen and Paul Artot.

Known for her etchings and aquatints, she also produced sculpture. She exhibited at the RSA, RGIFA, the Paris Salon and the International Society of Sculptors, Painters and Gravers. She worked as a book illustrator for many years and moved to Victoria, Canada, in 1940.

She died in Santa Barbara, California.