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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.

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

Glasgow Department Store.

The Anderson family archive includes material of 5 of its members, namely the sisters Violet Meikle (1873-?) and Daisy Agnes McGlashan (1879-1968), Daisy's husband William Smith Anderson (1877-1929) and their two daughters Daisy M Anderson (1910-1996) and Agnes Violet Neish (nee Anderson) (c1912-2005). All of the members represented attended the Glasgow School of Art between 1888-1936, many of them establishing careers as artists.

Lewis Ballantine and his mother Alice Longmuir Nisbet were both students at The Glasgow School of Art. The family also includes John ("Jack") Hendry Ballantine, and Lewis Ballantine's maternal grandfather, Robert Dow Nisbet.

James Morton Dunlop was deputy head of Glasgow School of Art from 1886, and ran the Antique and Anatomy classes. From 1900 to 1926 he concentrated on the teaching of artistic anatomy, which was an essential element in the drawing and painting course of that time. His treatise, "Anatomical diagrams for the use of art students," was originally published in 1899. It came with an introductory preface by John Cleland, Professor of Anatomy at the University of Glasgow, and several instructional plates of the human body and its musculature. Dunlop dedicated his text to the Chairman, Governors and students of Glasgow School of Art, along with Francis H. Newbery.

Glasgow School of Art’s Governors’ Minutes for 21 March 1899 (?Archives and Collections) note that “The Head Master laid on the table proof sheets of a work prepared by Mr J. M. Dunlop, Second Master, on artistic anatomy, now being published prefaced by a letter of high commendation from Professor Cleland of the Glasgow University & dedicated to the Governors & Head Master of the School of Art. The Committee thought this book was wanted & would be of great service to art students. It would reflect credit on the author & they hoped he might find it would ultimately prove remunerative.” The Governors were proved right, for Morton’s book was hugely influential and well-received, evidenced by its going through no fewer than four editions. A facsimile reprint was issued in 1967.

Dunlop was among those Glasgow painters who in 1891 appended their names to a list requesting that the Corporation of Glasgow buy Whistler's "Arrangement in Grey and Black, No. 2: Portrait of Thomas Carlyle". The Glasgow Post Office Directory of 1906/7 lists his address as 8 Windsor Quadrant, Glasgow, and his profession as Art Master. He exhibited between 1900 and 1915 at the Glasgow Institute of the Fine Arts and Royal Scottish Academy.

GSA Archives and Collections hold a photo of Dunlop alongside fellow GSA staff on an outing to Tarbert in 1890, along with several letters.

By the end of the 19th century Glasgow School of Art was one of the leading art academies in Europe and after early success in the fine arts, the late 1890s saw Glasgow’s reputation in architecture and the decorative arts reach an all time high. At the very heart of this success was a talented young architect and designer, Charles Rennie Mackintosh whose reputation was to quickly spread beyond his native city and who, over a century later, is still regarded as the father of [i]Glasgow Style[/i].

Born in Glasgow on 7 June 1868, Mackintosh was apprenticed to a local architect John Hutchison, but in 1889 he transferred to the larger, more established city practice of Honeyman and Keppie.
To complement his architectural apprenticeship, Mackintosh enrolled for evening classes at the Glasgow School of Art where he pursued various drawing programmes. Here under the watchful eye of the headmaster Francis Newbery, his talents flourished and in the School’s library he was able to consult the latest architecture and design journals becoming increasingly aware of his contemporaries both at home and abroad. He won numerous student prizes and competitions including the prestigious Alexander Thomson Travelling Studentship in 1890 that allowed him to undertake an architectural tour of Italy.

Back in Glasgow, Mackintosh’s projects for Honeyman and Keppie during the early 1890s displayed an increased maturity. His design for the Glasgow Herald Building (1894) incorporated some cutting-edge technology including a hydro-pneumatic lift and fire-resistant diatomite concrete flooring. Later at Martyr’s Public School (1895), despite a somewhat restricted brief, he was able to introduce some elaborate but controlled detailing including the central roof trusses.

At a public lecture on architecture in 1893, Mackintosh argued that architects and designers be given greater artistic freedom and independence. He himself began to experiment with a range of decorative forms, producing designs for furniture, metalwork and the graphic arts (including highly stylised posters and watercolours), often in partnership with his friend and colleague at Honeyman and Keppie, Herbert MacNair and two fellow students, Margaret and Frances Macdonald.

In 1896 Mackintosh gained his most substantial commission, to design a new building for the Glasgow School of Art. This was to be his masterwork. Significantly, the building was constructed in two distinct phases, 1897-99 and 1907-09, due to a lack of money. Stylistically, the substantial delay in completion offered Mackintosh the opportunity to amend and fully integrate his original design (of 1896) which owed much to Scotland’s earlier baronial tradition with a second half to the building that looked very much to the 20th century through its use of materials and technology. Most dramatic of all the interiors was the new Library (completed in 1909), which was a complex space of timber posts and beams. Its construction owed much to traditional Japanese domestic interiors but ultimately the building was an eclectic mix of styles and influences.

In Europe the originality of Mackintosh’s style was quickly appreciated and in Germany, and particularly in Austria, he received the acclaim and recognition for his designs that he was never truly to gain at home. He contributed to the 8th Vienna Secession and participated in international exhibitions in Turin, Moscow and elsewhere. He entered an open competition to design ‘A House for an Art Lover’, put forward by a German design journal, [i]Zeitschrift fur Innendekoration[/i], in 1900. Although he failed to win the competition, his architectural designs were judged to be of such a high standard that they were later reproduced as a portfolio of prints.

Back in Scotland at The Hill House in Helensburgh (1904), the publisher Walter Blackie commissioned Mackintosh to design a substantial family home. In its appearance, it owed much to his House for an Art Lover designs and an earlier completed domestic commission, Windyhill (1900). Externally, The Hill House was notable for its simple and solid massed forms with little ornamentation, yet internally the rooms exuded light and space, and the use of colour and decoration was carefully conceived.

Throughout his career Mackintosh relied on just a handful of patrons and supporters. The Glasgow businesswoman Catherine Cranston proved to be one of his most influential and her series of tearoom interiors (designed and furnished between 1896-1917) provided him with a virtual freedom to experiment. Responsible for their ‘total design’ Mackintosh provided the tearooms with furniture (including the dramatic high-back chairs), light fittings, wall decorations and even the cutlery.

Despite success in Europe and the support of clients such as Blackie and Cranston, Mackintosh’s work met with considerable indifference at home and his career soon declined. Few private clients were sufficiently sympathetic to want his ‘total design’ of house and interior. He entered the competition to design a cathedral for the City of Liverpool (1902) but although his design showed a Gothic quality as requested, his entry was rejected and his design for Scotland Street School (1906) in Glasgow was to be his last public commission.

By 1914 Mackintosh had despaired of ever receiving the level of recognition in Glasgow that he felt he deserved. He became increasingly obstinate and incapable of compromise and it is known that this exerted unnecessary pressures on his colleagues. In an attempt to resurrect his career, Mackintosh resigned from the practice and with his wife Margaret Macdonald moved to London.

This was unfortunate timing, for with the onset of the First World War all building work was severely restricted. Adventurous plans for a suite of artists’ studios and a theatre were never built. However, after making adjustments to the exterior of a mid-terraced house at 78 Derngate in Northampton (1916), the client W J Bassett-Lowke commissioned Mackintosh to redecorate a number of the building’s interiors including the Guests’ Bedroom (1919). These designs show him working in a bold new style of decoration and construction, using primary colours and geometric motifs. It was an output of extraordinary vitality and originality but it went virtually unheeded.

A move to the South of France in 1923 signalled the end of Mackintosh’s three-dimensional career and the last years of his life were spent painting. He died in London on 10 December 1928.

Painter, and teacher, born and lived in Glasgow, where she studied at the School of Art under Fra Newbery, 1887-1902, and was a member of Charles Rennie Mackintosh's circle, like her artist sister Lucy Raeburn. She was president of the Lady Artists' Club of Glasgow, 1940-3, a member of the council of the TSA, 1948-51, and a member of the SSWA. She won the Lady Artists' Lauder Award, 1927 and 1951. She was the first art mistress of Glasgow's Laurel Bank School. 1903-14, returning there, 1939-45. Exhibited extensively with RSW, also with Royal Glasgow Institute of the Fine Arts, RSA, Walker Art Gallery, Liverpool, in the provinces, on the continent and in America. Died in Edinburgh.

Born in Japan, Suzuki studied Interior and Craft Design at Musashino Art University, Tokyo, before completing a BA in Silversmithing and Metalwork at Camberwell College of Arts in London (1994-1997) and an MA at the RCA in Goldsmithing, Silversmithing, Metalwork & Jewellery (1997-1999)
Known for creating complex forms from flat sheet of silver with extraordinary skill, his work is universally admired by museums and collectors and can be found in the V&A, Goldsmiths Hall London and other major collections.

Grandson of namesake, Walter Gilbert, who founded Bromsgrove School of Applied Art, Wally describes himself as an Applied Artist. He is a jeweller and silversmith who is also interested large scale metalwork and used his 2001 QEST Scholarship to further his studies in Canberra, Australia. This led to him to working in an iron and then a bronze foundry in the United States, giving him experience to fulfill commissions in architectural metalwork. He created a gated bronze aumbry for St. David’s Cathedral, decorative cast iron roof beams for a listed building and aluminium road & rail bridge parapets, amongst other projects.
Gilbert trained at West Sussex School of Art and Chelsea College of Art. His silversmithing has earned him a number of awards, and can be found in the V&A and many other international public and private collections. His numerous commissions include a mace for Hereford Cathedral and the the De Beers Diamond trophy for Ascot 2000. In 1999, he was made a Freeman of The Worshipful Company of Goldsmiths.

Believed to have studied at Bishoplands, near Reading, after completing her BA.

Glasgow based jewellery designer. GSA alumna.

Born in London, Dobbie graduated from the GSA in 2013 and has a studio in Glasgow.
In 2012 he received an Outstanding Student award from the Incorporation of Goldsmiths of the City of Edinburgh, and in 2015 was the first recipient of a P&O Makower Trust award to create a piece of silver for the National Museum of Scotland. Dobbie's work is also represented in a number of other important collections, including the Goldsmiths Company and the Pearson Collection.
Much of his work is inspired by geology and the dramatic landscapes of the Scottish Highlands and uses both traditional skills and modern techniques such as 3D printing.

Graduated from the GSA in 2018 and undertook further studies at Bishoplands Educational Trust in Oxfordshire from 2019-2021.
Watson specialises in chasing and repousse work and many of her pieces take inspiration from nature, particularly birds and woodlands.

Graduated from the GSA in 2005, returning as an Artist in Residence in 2022.
Her work is often inspired by the night skies and the written word - sometimes included in her designs.

Graduated in 2020 with a BA(Hons) in Silversmithing and Jewellery Design from the GSA. Fry followed this with further training at Bishoplands Educational Trust, near Reading, from 2020 to 2021. While there, she received a Jane Goodman award, using the grant to study working with niobium and becoming one of a small handful of smiths working with this metal which Fry uses to create distinctive incandescent coloured highlights on pieces.
Inspired by rocks and geological treasures, her work has won several awards including Contemporary British Silversmiths’ 2022 “Industry Award”, with a prize of 1kg of silver to make her design.

Graduated from the GSA in 2018, having received an Outstanding Student award from the Scottish Goldsmiths Trust (Incorporation of Goldsmiths of the City of Edinburgh) in 2015. Scott went on to take up a place at Bishoplands Educational Trust in Oxfordshire from 2018 to to 2019.

Callum Rice is a Glasgow based artist and filmmaker. Since graduating from The Glasgow School of Art in 2013 Callum has directed and produced a number of short films that intimately explore and depict social and personal histories and sites from across Glasgow and Scotland.

Edward Gwyn Jones (b.1997, Stoke-on-Trent) graduated with an MFA from The Glasgow School of Art in 2021. He was awarded the Ivan Juritz Prize for Visual Art 2021, a Europe-wide postgraduate prize from the Centre of Modern Literature and Culture at King’s College London, and the Postgraduate Chair’s Medal for Fine Art 2021 from the Glasgow School of Art for his video work ‘Genesis (What Can’t Light See?)’. Working across video, print and programming he has since undertaken two residencies at Cove Park, been a visiting artist at UdK Berlin and worked with LUX Scotland. Previously, in 2019, Edward co-founded artist-led space and curatorial collective Soft Spot in Manchester.

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.

Graduated from the Glasgow School of Art in 2006 with a BA Honours in Silversmithing and Jewellery and went on to complete a MA in Goldsmithing, Silversmithing Metalwork & Jewellery, Royal College of Art, London in 2012. Jennifer is also undertaking a part-time practice-led PhD exploring how craft and design processes of re-making/reconstruction can be used to reinterpret and gain new perspectives on historical objects. Through her own practice she produces objects in a range of materials using techniques, which move in and out of the hand-made, and digital.