Mappin & Webb is an international jewellery company headquartered in England. Mappin & Webb traces its origins to a silver workshop founded in Sheffield in 1775. It now has retail stores throughout the UK. Mappin & Webb has held Royal Warrants to British monarchs since 1897.
Mick Manning was born in 1959, grew up in Yorkshire and studied Art at Bradford and then Newcastle before an MA at the Royal College of Art. In 1990 he moved to Scotland to become Course Leader in Illustration at The Glasgow School of Art where his alumni have included Mark Hearld, Helen Stephens and Ross Collins. Mick gave up teaching in 1998 to concentrate on his own work as an established artist and illustrator.
After teaching design for a year at Cheltenham, Mann was appointed as Head of the Embroidery Department at the Glasgow School of Art in 1931. At the time of her appointment the once groundbreaking Embroidery Department had lost some of its energy after the First World War. The arrival of the energetic and dedicated Kathleen Mann at the age of 23 “Blew away the cobwebs” (Cordelia Oliver, The Herald, 1987) in the department which was still steeped in the arts and crafts heritage of Newbery and Macbeth.
Glasgow School of Art had always been an outward looking school interested in European movements, with the Mackintosh Building itself a monument to early Modernism. Once established in her office on the top floor, Mann set out to bring her department into the mainstream of Modernist design developments. Her emphasis on freedom and spontaneity in design are evident in the examples of her students’ work. She encouraged new techniques, in particular the use of machine embroidery, employing the free use of cut paper in the design process. A particularly fine example of her machine embroidery work is the Madonna and Child panel c1934-6 (Glasgow Museums). As always where innovative individuals challenge tradition there was some resistance, particularly to use of technology, which appeared to undermine arts and crafts tradition in embroidery.
Mann promoted large-scale work and often worked on panels as large as 6ft in height. Sadly none of these original works are known to exist at this time. The then Director of Glasgow School of Art W.O. Hutcheson, (1933-43) found her “an extremely interesting and capable person“ and the annual assessors’ reports congratulated the work of her department (1931/32, 19323/33, 1933/34). In a report on the Design School in 1933 Anning Bell notes, “Miss Mann is a great success. The students like her and she is keenly interested”. Mann encouraged in her students a spirit of exploration, which was consistent with the spirit of the times. Mann was Head of the Embroidery Department at Glasgow School of Art between 1931-35. Her achievements during her short tenure firmly established modern design and decorative art in the Glasgow School of Art as it was being developed across Europe.
In 1934 the Needlework Development Scheme in Scotland was initiated anonymously by J&P Coats thread manufacturers of Paisley. The scheme, a collaboration between the four Scottish colleges of art Gray’s of Aberdeen, Duncan of Jordanstone in Dundee, Edinburgh College of Art, the Glasgow School of Art and the thread manufacturers Coats. It was established with the stated aims of promoting and encouraging embroidery and embroidery design. Heads of Departments and teaching staff from the four colleges, including Kathleen Mann, were recruited to travel to Europe collecting and buying examples of contemporary and peasant embroidery. The collected embroidery works were intended to be used as teaching examples for distribution in schools and colleges throughout Scotland and beyond. An enthusiastic supporter of the scheme Kathleen Mann was an obvious choice as researcher and collector and travelled to France and to Italy in 1934 on this mission.
It was the same year that she married her colleague Hugh Adam Crawford A.R.S.A. Glasgow School of Art regulations of the time required that married women had to resign from post and it was with great regret that the school accepted her resignation. Mann had indicated a wish to continue in her post and it is likely that Director W.O. Hutcheson had hoped that this might be possible. However as no challenge was made to the rule by the Board of Governors the resignation was accepted in 1934.
Following her time at GSA Kathleen Mann dedicated her energy to her family and deferred to her husband’s career. She continued to write, to produce books and articles, about decorative art and embroidery, which contributed significantly to design education. Her last known embroidery commission was to design 3 new mitres for the Catholic Bishop of Glasgow in c1962 – none of which have survived.
Her books, such as Design from Peasant Art and China Decoration, show how use of folk art motifs and methods could liberate and take design forward. Mann believed that a synthesis of elements of peasant art combined with modernism was the way forward for a developing design aesthetic. A telling remark in one of her occasional articles for the Glasgow Herald in 1935 she noted “In Glasgow today colour is almost forgotten. Perhaps this is due to the fogs and dirt”.
The austerity of the war years was reflected in Mann’s contribution to the book New Life for Old Clothes, A & C Black 1943. Because of war economy restrictions on materials available to designers she compensated by decorating the plain china, making the utilitarian personal and adapting her design training to another use.
It is clear that Kathleen Mann was greatly influenced by her travel and collecting, she was one of the designers and educators for whom peasant art was one of the strands in the development of the contemporary modernist design. After her role at GSA Mann’s books and newspaper articles continued her contribution to developments in embroidery design.
Mann’s particular contribution to education in Glasgow School of Art was to re-invigorate the department to give impetus to the drive towards Modernism. She exhibited at an exhibition called 'From Four Decades' in June 1996 at East Kilbride Arts Centre along with Jim Barclay, Bill Bower, Joe Clark, Ralph Cowan and Eva Stimpson. Her last public appearance was when she opened the exhibition "A Century of Embroidery and Weaving at Glasgow School of Art". Kathleen Mann died on 11th January 2000.
Mary Malloy was a Silversmithing and Jewellery student at The Glasgow School of Art in the 1970s. She won the Johnson Matthey Silver Award in 1977.
Gilbert McCall Malcolm was born on 3rd March 1898 in either Kippen or Bridge of Allan in Stirlingshire, to Annie and John Malcolm. He attended The Glasgow School of Art from 1915 to 1916 as an evening student of drawing and painting. He returned to study at the School from 1919 to 1920 as an evening student of design. Malcolm's registered addresses were Golfview Terrace, Cardonald and Paisley Road West. His occupation was as a clerk. In the 1901 census, Malcolm and his family are listed as living in Burton Joyce in Nottinghamshire. Malcolm enlisted to serve in the First World War in March 1917 and served as a gunner in the 174th Siege Battery of the Royal Garrison Artillery. His regimental number was 145292 and he received the British War and Victory Medal. Malcolm was treated for gastritis and was demobilised from the army in November 1919.
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Sources: Ancestry, http://www.ancestry.co.uk.
Suraj Makwana studied at the Mackintosh School of Architecture and graduated with a diploma in Architecture in 2019. In 2019 he won the Chairman's Medal for Architecture.
Trevor Makinson was a painter and teacher, born in Southport, Lancashire. He attended Hereford School of Art and Slade School of Fine Art. Went on to lecture at Glasgow's School of Art and the University. Professor Makinson, who was a member of the Glasgow Art Club, showed in mixed exhibitons at RA, RP, RSA, UA and elsewhere. He had strong connections with Hereford, being a member of the Farmer's Club there, showing with Herefordshire Arts and Crafts and Wye Valley Art Society and having a series of solo shows at Hereford Art Gallery from 1944; it also holds his work. There were other one-man shows in the provinces. Public galleries in Buxton, Glasgow, Newport, Salford and elsewhere hold examples. Lived in Glasgow.
James Steel Maitland was born in Strone, Argyllshire, on 27 August 1887, to Kate Coats Steel, an adopted sister of thread magnate, George H Coats, and James Maitland, a successful master grocer. Educated at Kilblain Academy and Glasgow High School, the young Maitland had hoped to become an artist but, due to his parents' disapproval, opted instead to pursue architecture as a profession. He was articled to William Leiper in 1903, and the following year enrolled at The Glasgow School of Art, studying part-time under Eugène Bourdon and Alexander McGibbon until 1907 while serving his articles. His apprenticeship ended in 1909, when he left to London to find work. While there he was advised to apply for a vacancy in Brown & Vallance of Montreal, Canada – he emigrated later that year. In 1913 he left to travel in France, and the following year married the embroiderer Ellison J F Young.
On the outbreak of the First World War, Maitland went to New York to train as a pilot before returning to Britain to join the British Royal Naval Air Service. Specialising in seaplanes and flying boats, he worked chiefly on reconnaissance and submarine patrol over the English Channel. By the time he was demobilised he had reached the rank of flight commander and was decorated with the Air Force cross.
In 1920, Maitland joined the office of Paisley architect Thomas Graham Abercrombie as principal assistant. He became a partner in 1923 and, after Abercrombie's death in 1926, continued as sole partner. Maitland was admitted LRIBA in 1931 and FRIBA in 1932. In the 1930s he became the burgh architect of Renfrew, a position he held until his retirement in 1963. He died on 27 February 1982 in the home he had designed for himself in Paisley. As well as architecture, he had a passion for painting, wood-carving, costume designing and theatre scene painting, and had been a president of the Paisley Burns, Rotary and Bohemian Clubs as well as a committed Paisley conservationist.
Further information about James Steel Maitland is available at the University of Leeds Special Collections (https://library.leeds.ac.uk/special-collections) including a copy of drawings that he completed for a booklet called "The Education of a Quirk" and an in-depth interview where he talks about life during the First World War.
James S Maitland is commemorated on The Glasgow School of Art's World War One Roll of Honour.
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Jessie Mair was born on 7th October 1881. She attended The Glasgow School of Art from 1914 to 1915 as an evening student of drawing and painting. Mair's occupation was as a teacher. Her registered address was Crofthead Street, Uddingston.
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Allan Douglass Mainds was born in Helensburgh in 1881 to Catherine Thomson Gilfillan and William Reid Mainds, a landscape painter in oil.
After studying drawing and painting at the Glasgow School of Art (1896-1902), Allan won the Haldane Travelling Scholarship, enabling him to study in Holland and Brussels under Jean Delville, before proceeding to Paris, Rome and Venice. His subsequent style was said to be strongly influenced by French artists, stemming from his time in that country.
From 1909 until 1931 he was a member of staff at the School, instructing in ornament, life drawing and painting, and from 1910 to 1918, lecturing in history of costume and armour.
During the First World War Mainds served with the Royal Field Artillery in Flanders, where he was commissioned to the rank of captain. There his work included sketching landscapes for the gunners and, late in the war, acting as an instructor in a convalescent hospital. His 1916 field sketchbook includes carefully observed figures and desolate landscapes. The black and white detail of the trench systems are in stark contrast to several drawings and paintings of Rouen, which were worked on during periods of ‘R&R’ away from the front.
He was married, in uniform, in 1916 to Mary Hogg, who had been a full time student at the School of Art winning several prizes for embroidery and silversmithing. In 1929 he was elected an Associate of the Royal Scottish Academy and in 1931 he became Professor of Fine Art and Director of the King Edward VII School of Art, Kings College, University of Durham.
He died at home in July 1945, after the end of the war in Europe but before peace in the Far East. His son, a Captain in the Parachute Regiment, and his son in law, a Flight-Lieutenant in the RAF who was a Lancaster pilot, both survived the war and attended his funeral. Allan D Mainds appears on Glasgow School of Art's First World War Roll of Honour. If you have any more information, please get in touch.
Rona Main studied Textiles at GSA from 1975 and designed garments for the 1978 fashion show. She was awarded the Incorporation of Cordiners and Incorporation of Skinners and Glovers Prize for Leatherwork, and a maintenance scholarship for a further four terms at Glasgow, in session 1978-79.
As at July 2017, she is an artist in Glasgow.
Sources: GSA Annual Report 1978-79 GOV/1/10; LinkedIn http://www.linkedin.com
Franz Maggs is a Glasgow based fashion designer and artist (currently working from his home studio) creating a mix of bespoke garments for clients and fashion-based art installations.
His interest in fashion began at a young age, when he sketched his first design at 12 years old: a complete look consisting of a pink cropped top with matching hot pants worn by a model balanced on top of contrasting blue platform boots that were easily three feet high. Fortunately, through hard work and perseverance his style is arguably improved today, though his passion for fashion design, history, and theory, as well its versatility as a medium for society, culture, politics and stories, remains to this day.
Franz often describes his style as “morbid glamour” as he enjoys mixing dark twisted elements from novels, films, folklore and art and combining them with the glamorous exaggerated silhouettes from the past. He has a fondness for traditional and couture sewing techniques and is always researching and developing in order to enhance his work.
Franz studied Art and Design and Dumfries and Galloway college before he moved to Glasgow to study fashion design at the Glasgow School of Art, graduating with a BA Honours in 2017. That same year he worked in the costume departments of two films, “Outlaw king” a major production for Netflix in which he made costumes for the principle cast, and “Bunny” a short independent film in which he assisted the sourcing and selecting of costumes.
In 2018 he returned to The Glasgow school of art to study his masters in fashion design. And in 2019 after completing one of his most ambitious project to date in which he translated the dark sexualised world of J G Ballard’s novels into a dramatic fashion collection, he received his MDes Fashion with distinction.
It is his ambition to one day open a fashion studio in Glasgow where he can design and create bespoke garments, costumes and limited ready to wear collections, as well as experiment on his own work, and collaborate with other artists and designers.
Franz is greatly passionate about his work, and would describe it as an obsession, He will often spend hours perfecting the placement of a single seam, and will always aim for the garments he produces to be of high quality and longevity. His goal is to produce unique items of clothing that can be passed down through families and worn again and again, in contrast to what he sees as the fast fashion of today, where garments are discarded after only a short period of time.
To him, quality of manufacture can be just as important as quality of design, and with this in mind, he strives to produce truly original, captivating pieces that will stand the test of time.
Maeve studied for her Master of Architecture at Glasgow Scohool of Art and joined orms Architectural Parctice in London in 2015, qualifying in 2017. Prior to joining orms, she gained work experience in Northern Ireland, working on a range of projects including rural housing developments and commercial schemes before travelling to Vancouver, Canada.
Jessie S MacRobert studied at The Glasgow School of art in session 1917-18. The register does not state whether she attended afternoon or night classes but does say she 'attended a few lessons' in design. Her teacher was Miss Macluth. She resided in the West End of Glasgow, on Hamilton Park Terrace.
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Henrietta James Macreadie was born in 1891. She studied at The Glasgow School of Art from session 1914-1918. She attended day classes in drawing and painting, and later studied life drawing. She resided in the Ibrox area of Glasgow.
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George Gould MacQuarrie was born in 1887. He studied at The Glasgow School of Art in session 1914-15 then returned from 1918 – 1920. As he was not present during 1915-1918 session it is assumed he was part of the war effort. He attended evening classes in drawing and painting then went on to study life drawing. During this time He resided in the Partick area of the city. His occupation is listed as electrician.
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Sandra MacPherson studied at The Glasgow School of Art during the 1970s.
Margaret A M Macpherson studied at The Glasgow School of Art in session 1916-17. She attended day classes in drawing and painting. She resided in the Garnethill area of Glasgow.
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Margaret Macpherson was born in 1892. She studied at The Glasgow school of art from 1917-1919. She attended evening classes in china painting. During this period she resided in the Dennistoun area of Glasgow. Her occupation is listed as art student.
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Isabel Lilias Macpherson studied at The Glasgow School of Art from 1916-1920. She attended day classes in drawing and painting. She resided in the Hillhead area of Glasgow.
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Bill Macpherson was a senior lecturer in design at The Glasgow School Of Art in the 1980s.
Elizabeth (Betty) Forbes Macpherson was born in Greenock in 1883 to Jessie G Macpherson and John F Macpherson, a minister. She studied drawing and painting and design at The Glasgow School of Art from 1903 to 1909. During the First World War she joined the Scottish Women's Hospital as an orderly. From 1916 to 1919 she worked at a mobile hospital unit established by the Scottish Women's Hospital and the French Red Cross at Royaumont Abbey, France, along with her contemporary Norah Neilson Gray. In 1925 she married Charles MacIntosh Bruce. She died in 1965. Betty Macpherson is listed in the School's World War One Roll of Honour.
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Sources: http://www.scottishwomenshospitals.co.uk.
Alastair M Macpherson was born in 1896. He studied at The Glasgow School of Art in session 1914-15 then returned from 1918-1921. As he was not present during 1915-1918 it is assumed he was part of the war effort. He attended day classes in drawing and painting. He resided in the Queens Park area of the city.
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Mona MacPhee was born in 1897. She studied at The Glasgow School of Art in session 1917-18, attending evening classes in drawing and painting. She resided in the Kelvinside area, in the west of the city. Her occupation is listed as clerkess
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Flora MacPhee was born in 1885. She studied at The Glasgow School of Art from session 1914 -17, attending day classes in drawing and painting. She resided in the Pollockshaws area, in the South of the city.
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Allister MacPhee studied at The Glasgow School of Art in session 1918-19, attending evening classes in architecture. He resided in Rutherglen. His occupation is listed as apprentice architect.
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Kenneth MacPhail was born in 1891. He studied at The Glasgow School of Art in session 1918 -19, attending evening classes in drawing and painting. He resided in the Hillhead area, in the West End of the city. His Occupation is listed as Engineer.
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Alan George MacNaughtan was born in 1878 in Partick, one of seven children of Elizabeth Smith and Duncan MacNaughtan, an architect. MacNaughtan attended The Glasgow School of Art from 1893 to 1900 as a student of Architecture. During his studies, he was working as an apprentice to architecture firm Burnett, Son & Campbell from 1895 until 1897 when that partnership broke up and he stayed with Burnett until 1901.
MacNaughtan then moved to London where he started work with Aston Webb and Arthur Ingress Bell while studying at the Architectural Association. In 1903 he won a Silver Medal and a travelling scholarship to Italy. This lasted 9 months and resulted in sketches and watercolours, as well as a paper produced for the Glasgow Architectural Association called, "A Walk through Etruria." In 1904, he came back to Glasgow and joined his father's practice, becoming partner in 1907. In 1911 he was admitted to LRIBA, and in 1912 became sole practitioner at the firm after his father's death.
During the First World War, MacNaughtan served in the 9th battalion of the Highland Light Infantry as 2nd Lieutenant and then as Captain. While on active service he married Henrietta Jebb in Glasgow. He was seriously wounded in battle, ending his service and affecting his health for the rest of his life. In the later 1920s, he joined with John Arthur and established the firm Arthur & MacNaughtan in Glasgow. He was responsible for multiple schools, churches and villas in Glasgow and around Scotland.
Throughout his life, he continued to exhibit drawings and watercolours of Etruria and Scottish Highland views at the Royal Institute of the Fine Arts until 1941. He died on the 24th of August 1952 at age 74, after his already failing health took a downturn upon the death of his son, who had intended to carry on the practice.
Alan George MacNaughtan is commemorated on The Glasgow School of Art's World War One Roll of Honour as well as on the Glasgow Institute of Architects Roll of Honour (Associate).
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Sources: Ancestry: http://www.ancestry.com; Dictionary of Scottish Architects: http://www.scottisharchitects.org.uk.
Scottish-born Herbert McNair was a highly individual designer and talented teacher. He made an important contribution in the early 1890s to the development of Mackintosh’s creative imagination, and his paintings and furniture designs were among some of the most most individual of the Glasgow Style of the 1890s. The promise of his early career was not fulfilled however, largely because of external factors, and no work after 1911 is known.
McNair trained as an architect with Honeyman and Keppie, Glasgow from 1888 to 1895, where he met Mackintosh. He subsequently set up an independent studio as an artist and designer in the city centre – he never practised architecture. McNair had early success with a one-man show of his pastels in London in 1898 and his appointment that year as a lecturer at the School of Architecture and Applied Art, University College, Liverpool. Frances Macdonald and he married the following year, and their only child, Sylvan, was born in 1900. The couple exhibited work in Vienna (1900), Turin (1902) and Dresden (1903), as well as regularly exhibiting watercolours in Liverpool and London in the early 1900s. Difficulties arose with the closure of the School in 1905. McNair and a colleague set up an alternative school but this experiment was short-lived. Combined with these setbacks, the family wealth had been dissipated through poor business management. McNair and his family returned to Glasgow in straitened circumstances. A final but unsuccessful attempt to re-establish a career appears to have been made with an exhibition of the McNairs’ work at the Baillie Gallery, London. No work by McNair after that date is known. Following Frances Macdonald’s death in 1921, he destroyed much of her work, and subsequently lived in Argyllshire where he died in 1955.
Other examples of his work are held by the Hunterian Art Gallery, University of Glasgow, and the Walker Art Gallery, National Museums Liverpool. There is little published information currently available, except for an early article by Roger Billcliffe in the Walker Art Gallery Annual Bulletin, 1970-1. An exhibition of the McNairs’ work was held at the Hunterian Art Gallery, University of Glasgow, in the summer of 2006, subsequently touring to the Walker Art Gallery, Liverpool from January to April 2007.
Frances Macdonald’s achievements are less well known than those of her sister, Margaret Macdonald. In part this is due to the loss of much of her work, destroyed by her husband, Herbert McNair, after her death, and in part to the fact that she left Glasgow in 1899. Nonetheless she produced some of the most powerful imagery of the Glasgow Style, and her late symbolist watercolours are moving meditations on the choices facing women.
Frances was born in England and moved to Glasgow with her family by 1890. She enrolled as a student at Glasgow School of Art recording her address as 9 Windsor Terrace, Glasgow.
GSA records reveal a successful school career:
1891: Local exam., advanced, Stage 23c, ornamental design, 2nd class
1891: Local exam., advanced, Stage 10a, plant drawing in outline, 2nd class
1891: Local exam, 2nd grade certificate, freehand drawing, 2nd class
1892: National Competition, Bronze medal, Stage 23d, des for majolica plate
1892: Local exam, advanced, composition from given figure subject, 2nd class
1892: Local exam, advanced, painting in monochrome, 1st class
1892: Local exam, advanced, design, honours stage, 1st class
1892: Local competition, design, majolica, prize
1893: Local exam, advanced, drawing from the antique, 2nd class
1893: Local exam, advanced, design, honours stage, 1st class
1893: Local exam, advanced, principles of ornament, 2nd class
1893: Local exam, advanced, model drawing, 1st class
1893: Local exam, advanced, drawing in light and shade, 1st class
1893: Local competition, design section, hangings, 1st prize 1908/10 1908/10: art needlework and embroidery, design and instruction 1908/10: enamels, design 1908/10: gold and silversmithing, design 1908/10: metalwork, repousse &c, design
GSA Staff, Design Dept 1908/10
1908/10: art needlework and embroidery, design and instruction
1908/10: enamels, design
1908/10: gold and silversmithing, design
1908/10: metalwork, repousse &c, design
It was at GSA that she met Charles Rennie Mackintosh and Herbert McNair. In the mid 1890s Frances left the School and set up an independent studio in the city centre with her sister, Margaret Macdonald. Together they collaborated on metalwork, graphics, textile designs and book illustrations, exhibiting in London, Liverpool and Venice.
Following her marriage in 1899 to Herbert McNair she joined him in Liverpool where McNair was by then teaching at the School of Architecture and Applied Art. The couple designed the interiors of their home at 54 Oxford Street and exhibited a Writing Room at the International Exhibition of Modern Art, Turin. Macdonald also started teaching, and developed skills in jewellery, enamelwork and embroidery. The closure of the School in the early 1900s led to a gradual decline in their careers, compounded by the loss of the McNair family wealth through business failures. The couple returned to Glasgow around 1909. It was in the following years that Macdonald painted a moving series of symbolist watercolours addressing themes related to marriage and motherhood. She died in Glasgow in 1921.
For further information consult ed. Jude Burkhauser, ‘Glasgow Girls’, Canongate Press, 1990 and Janice Helland, ‘The Studios of Frances Macdonald and Margaret Macdonald’, Manchester University Press, 1995. An exhibition of the McNairs’ work was held at the Hunterian Art Gallery, University of Glasgow, in the summer of 2006, subsequently touring to the Walker Art Gallery, Liverpool from January to April 2007.
John Macnab attended The Glasgow School of Art in session 1916 -17. He attended day classes where he studied drawing and painting. He resided in Kilmacolm. There is no occupation listed.
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Chica MacNab attended The Glasgow School of Art from 1918 to 1925, where she studied drawing and painting. She resided in the Pollokshields area of the city. Prior to her studies she was a founding member of the Glasgow-based Society of Artist Printers. Once she had finished her course at GSA, she was offered a job and set up a class teaching lithography and colour block printing at the School of Art in 1926-1927 (Her students included Ian Fleming and Alison MacKenzie.) Her style is more in line with the Scottish genre printmakers of the pre-war years. Her woodcut class ran for only one year and her prints are extremely rare.
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Arthur Macmorland was born 8th October 1888. He attended the Glasgow School of Art and became an art teacher first in Girvan High School, Ayrshire then in Markinch, Fife. Next he went to Dunfermline Academy then to Marr College, Troon, Ayrshire where he taught until he retired to live in Fairlie. He painted in watercolour and chose out door subjects in Scotland and in particular the island of Iona. Many of his paintings are owned by members of the family. He married Jessie Nisbet (27 Dec 1916) whose father was a school master in Maybole, Ayrshire. Jessie was born on 25 Aug 1890 and died on 7 Jul 1966 in Helensburgh, where Manatte lived. They had two children: Arthur and Manette.
As a child Arthur suffered from rheumatic fever resulting in heart trouble which meant he was not called up for national service in World War I (1914-1918). He graduated with a DA. from Glasgow School of Art, where he had studied drawing and painting. He went on to teach art for a short spell in Doune. He married J.Nisbet in 1916. Then he was appointed to head of art in Girvan High School. His son Arthur was born in Girvan in 1919. He moved to itinerant art teaching in Fife and was then appointed head of the Art Department in Dunfermline High School, for approximately 15 years. During this period his daughter Margaret/Manette was born (1923).
He also exhibited his lively watercolours in various galleries and gave lectures in the history of art as well as putting forward a case for making art a Leaving Certificate subject in schools. The latter led him to be awarded a F.R.S.A. One of his watercolours was purchased by Dr Tom Honeyman for the Glasgow Art Gallery's collection. Some of his works are noted in The Royal Glasgow Institute of the Fine Arts Dictionary, including exhibited watercolours from 1932 -1953.
In 1935 the family moved to Troon where Arthur became head of art in the newly opened Marr College. When war broke out in 1939 gave up his car and cycled to school every day. He retired (early) at the age of 60 to move to Fairlie and he continued to paint till he died on 2 September 1953. His book on the Ostwald Colour Theory (published by Reeves water colour suppliers) was widely used in Scottish schools.
Source: McWhirter Family Genealogy http://www.mcwhirterfamily.co.uk/?page_id=363
Grace Stuart Macmillan was born in 1892 and attended The Glasgow School of Art in session 1914-15. She attended evening classes where she studied drawing and painting. She resided in Bath Street in the city centre. Her occupation is listed as teacher.
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Andrew MacMillan was born on 11 December 1928 in Maryhill, Glasgow, the son of a railway porter. He was educated at Maryhill Public School and North Kelvinside Secondary School. After leaving school he sat the Glasgow Corporation exam. During his time there he received the impetus to study architecture and he and studied at Glasgow School of Art from 1945. There he met Isi Metzstein, and the pair quickly became firm friends. Every Wednesday, what was often referred to as the ‘Isi and Andy’ double act could be found at the King’s Arms on Elmbank Street, discussing architecture, culture and politics.
After seven years with the Corporation he moved to East Kilbride New Town Development Corporation after the Second World War in 1952, He joined the firm of Gillespie Kidd & Coia in 1954, and soon began a close collaboration with Metzstein, who had been in the firm since beginning as an apprentice. The two were to carry out most of the practice’s design work from around 1957 onwards, as Coia approached retirement. Working in a bold and highly original Modernist idiom, they collaborated on a series of notable Roman Catholic churches between that year and 1980, of which St Bride’s in East Kilbride (1963–4) is among the most remarkable. Their masterwork is considered to be St Peter’s Seminary, Cardross, completed in 1966, which was to be the first modern building to be awarded Category-A listed status. They were also responsible for a series of important university buildings, including halls of residence at Hull (1963–7), additions to Wadham College, Oxford (1971–7), and Robinson College, Cambridge (1974–80). Although strongly inspired by Le Corbusier, they drew on sources as diverse as Victorian Glasgow, medieval urbanism and abstraction, and Metzstein always emphasised the importance of designing from first principles.
In 1973 he was appointed Professor of Architecture at the University of Glasgow and Head of the Mackintosh School of Architecture. Under his guidance the School achieved an international reputation. In 1986 he was Davenport Visiting Professor at Yale University. He also served as Vice President for Education at the RoyalInstitute of British Architects during the period 1980-85. Subsequently was avisiting professor or lecturer in a number of South American instutitions in Mexico, Columbia and chile and as far afeidl as Singapore and Japan. He was instrumental in establishing the new architecture school in Dublin. In later years MacMillan continued his involvement with the RIBA, the RIAS and the Royal Scottish Academy where he was made an Academician in 1990. He was awarded the OBE in 1992. MacMillan and Metzstein received lifetime achievement awards from the RIBA in 2008 and MacMillan received the RIBA's Annie Spink Award for services to architectural education shortly afterwards. From 2002 he chaired the RIAS Andrew Doolan Best Building Award each year. He collapsed and died during a Doolan Award visit on 16 August 2014. He is survived by his wife Angela McDowell whom he had married in 1955 and his four children and three grandchildren.
Helen C MacMath was born in 1889 and attended The Glasgow School of Art in session 1914-15. She attended evening classes where she studied drawing and painting. She resided in Kennishead Road, Thornliebank, in the south of the city. Her occupation is listed as teacher.
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Studied at the GSA from 1881 to 1884, the registers record her address as Westbank, Govan. She was awarded a number of prizes and certificates during her Art School career, the most significant being for the best painting from still life in Local Competition in 1883, the same award in Local Competition the following year and also in 1884, National Competition, advanced section, commended.
Henry MacManus, 1810-1878, art teacher and artist, was born in County Monaghan, Ireland. He worked in London from 1837-1844 and was a Head Teacher at Somerset House, London before being appointed Headmaster at the new Glasgow School of Design in 1844. The School was based at 16 Ingram Street and had accommodation for 500 pupils. MacManus started off on a high note, winning the confidence of the governors, who recommended him for a salary increase the next year. However he resigned in 1848 due to problems with the committee of management and returned to Dublin to become Headmaster of the Dublin School of Art, a position he held with great success until 1862. His departure from Glasgow became something of a cause celebre in the local press and art magazines, as Charles Heath Wilson, the man responsible for the report cited as the reason for MacManus leaving, became the subsequent Headmaster. MacManus, a painter, exhibited at the Royal Hibernian Academy, eventually being made the Honorary Professor of Painting there. He also exhibited at the Royal Academy, 1839-1841, British Institute and the OWS. He painted historical scenes and scenes of Irish life. He also worked as a book illustrator.
Scottish landscape painter. Moved to London at an early age and stayed there for the rest of his career. Exhibited six works at the Royal Acedemy, all coastal and figurative.
William John MacLeod was born in Kirkcaldy, Fife on January the 23rd 1891, the eldest of three children of Margaret Greig MacLeod (née Mitchell) and William MacLeod, a tobacco manufacturer. MacLeod attended The Glasgow School of Art from 1908 to 1912 as a full time student of drawing and painting. He won a national competition to study at Hospitalfield. He joined the army in 1915, but was invalided, spent 10 years recovering from his injuries, and later became a conscientious objector. It is possible that MacLeod served as part of The Royal Scots battalion during the First World War. Not much is known of MacLeod after the war though some of his work is kept in the Parliamentary Art Collection and includes oil paintings of the Houses of Parliament. One of these paintings, dating to 1941, shows damage to buildings caused by air raids in the Second World War. He was appointed by the Government as Senior Restoration Artist for Ancient Monuments. On the outbreak of WW2, he became an official war artist. He was awarded the Imperial Services Medal.
Please note that there are three men named William MacLeod listed as students at GSA in the early 20th century. If you have any more information, please get in touch. It is unclear which of these men are commemorated as a soldier of The Royal Scots on the Roll of Honour.
William Douglas Macleod was born in Clarkston, Glasgow, on January 1, 1892. Macleod worked in a bank between 1906 and 1915 and served in the Royal Artillery during the First World War. Mcleod enrolled at The Glasgow School of Art after the cessation of hostilities where he studied with Maurice Greiffenhagen (1862-1931) between 1919 and 1923. Macleod attended day classes in drawing and painting. During his studies he resided in Hill Street, Garnethill, towards the west of the city.
He lived and worked in his home in Lenzie, Renfrewshire in Glasgow between 1913 and 1949. Upon graduation in 1923, he began painting Scottish and European landscapes as well as producing many fine etchings between 1926 and 1963, influenced by colleague James McBey, in Belgium, France, Spain and North Africa. Between 1920 and 1930 he worked as a cartoonist for the Glasgow Evening News. His work is noted in the Royal Glasgow Institute of the Fine Arts dictionary for years 1919-1961, including a range of exhibited drawings, paintings and etchings.
Only forty two of his etchings are known, of which only about twenty can be dated. His work was illustrated in Fine Prints of the Year in 1927 and his name disappeared from their roles in 1930 when he seems to have quit etching. He signed many of his etchings W. Douglas Macleod to distinguish them from the work of Australian-born artist William Macleod. The Fine Art Society, London, published Macleod's etchings in the 1920s. He also designed a number of posters for the British Railway. His work is represented in the Glasgow Municipal Art Gallery. William Douglas Macleod died in Glasgow, Scotland in 1963.
Please note that there are three men named William MacLeod listed as students at GSA in the early 20th century. It is unclear which of these men are commemorated as a soldier of The Royal Scots on the Roll of Honour.
William Macleod was registered to study at The Glasgow School of art in session 1916-17. However, records show his name to be scored off in the register and noted as 'not coming.' He would have studied evening classes in life drawing. His date of birth and occupation are unknown.
Please note that there are three men named William MacLeod listed as students at GSA in the early 20th century. It is unclear which of these men are commemorated as a soldier of The Royal Scots on the Roll of Honour. If you have any further information about William Macleod, please get in touch.
Joanna Macleod was born in 1878. She attended The Glasgow School of art in session 1915-16. She studied evening classes in modelling. She resided in Bridge of Weir and her occupation is listed as teacher.
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Hannah W Macleod was born in 1891. She attended The Glasgow School of art in session 1917-18. She studied evening classes in drawing and painting under Ms Parker. She resided in Crossloan Rd, Govan.
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Ella R Macleod was born in 1905. She attended The Glasgow School of Art in session 1918-19 where she studied drawing and painting on Saturday mornings. She resided in Broomhill area of Glasgow.
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