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Headmaster of Gorbals Art Class.

Sarah Sumsion was born in London in 1935, and now lives and work in Argyll and Bute. Her works include woven silk hangings for domestic and public interiors, and mixed media framed pieces. Sarah Noble before marriage, her husband Peter Sumsion (born 1931) was a lecturer at GSoA for 12 years.

Peter Sumsion was a first year tutor at GSA for 12 years.

Evan Summer has been making prints for over 35 years. He started when he was a chemistry major at the State University of New York College at Cortland. After completing his degree in chemistry, he moved back to his home town of Buffalo, New York, and began art school at the State University at Buffalo. He studied painting, printmaking and drawing, but printmaking quickly became his main interest. It’s combination of drawing and technical challenges ideally suited his abilities.

He had the opportunity to study with two outstanding teachers: Harvey Breverman in printmaking and Seymour Drumlevitch in painting. During this time in Buffalo (1970-73) he worked primarily with the collagraph, which at the time was a relatively new printmaking medium. Collagraph plates are built up like a collage and printed like an etching. Often he liked the plates better than the prints and this later led to interest in collage. After receiving his B. F. A. at Buffalo, he entered the graduate program in printmaking at Yale University.
Summer continued working with the collagraph and began experimenting with stronger, more durable materials to create his printing plates. He also started working seriously with etching.

He graduated with an M. F. A. from Yale in 1975. Subsequently, he held a number of summer and temporary teaching jobs at Creative Arts Workshop in New Haven, the State University of New York at Buffalo, Pratt Graphics Center and Wesleyan University. He moved to Philadelphia in 1978 and worked as an Artist in Residence under Hitoshi Nakazato at the University of Pennsylvania and taught at Tyler School of Art. The residency gave him a chance to develop his imagery and etching style. In 1984 he was hired at Kutztown University, one of the schools in Pennsylvania’s State System of Higher Education. He is now a Professor at Kutztown University and lives in Kutztown, Pennsylvania with his wife and two of four children.

He is a specialist in etching, sometimes combining it with engraving and drypoint. He does all preparatory drawings, plate work and printing himself without print shop collaborations. His copper printing plates usually go through 10 to 20 states, and he often works on a single plate for over a year.

Mary Newbery Sturrock (1892-1985), née Mary Arbuckle Newbery, was a Scottish artist who worked primarily in watercolour, embroidery and ceramics. The daughter of Francis Henry Newbery, Director of The Glasgow School of Art 1885-1918, and Jessie Newbery, designer, embroiderer and Glasgow Girl, she grew up in Glasgow with her elder sister Elsie (Margaret Elliot). Between 1911 and 1914, Mary studied in the Life School of Drawing and Painting at The Glasgow School of Art.

Her closest friend and artistic contemporary was Cecile Walton (1891-1956), daughter of the artists Helen and Edward Arthur Walton. The Newberys and Waltons were close family friends, renting houses near to each other in Suffolk as part of a wider artistic community that visited the area. This community also included William Oliver Hutchison and Eric Robertson, who became Cecile Walton’s first husband. A 1912 painting by Cecile depicts Eric and Mary posed languorously in a garden, Robertson reclining and Newbery sitting with a crown of flowers in her lap; a nod toward the symbolism that flowers hold in Newbery’s own work. The painting, ‘Eric Robertson, 1887 - 1941. Artist. With Mary Newbery, 1890 – 1985’, is held by the National Galleries of Scotland and displayed at the Scottish National Portrait Gallery.

Cecile Walton later introduced Mary to her own husband, the painter Alick Riddell Sturrock (1885-1953). The pair met in Suffolk and married on 21 October 1918 once Alick had returned from the First World War. Their wedding was held at Corfe Castle in Dorset, where Mary’s parents had moved upon Francis Newbery’s retirement. After the war, both Mary and Alick exhibited as part of the Edinburgh Group of artists, initially formed in 1912 and reconstituted in 1919, alongside artists including Cecile Walton, Eric Robertson, David Macbeth Sutherland and Dorothy Johnstone. The group held annual exhibitions at the New Gallery in Shandwick Place in 1919, 1920 and 1921. In the 1920 exhibition, a set of Mary’s embroidered cushions were reviewed favourably in The Scots Pictorial, which noted Newbery’s ‘fine sense of colour and design’.

In 1926, Mary and Alick moved to Gatehouse of Fleet, where they lived until 1934. In 1935, the couple moved to Edinburgh and lived at 2 Mansfield place until around 1945, when they moved to 13 South Gray Street where Mary would live the rest of her life. GSA holds a number of copies of a hand-drawn and printed change of address card for this move. Between 1935 and 1952, while living in Edinburgh, Mary submitted at least one watercolour per year to the Royal Scottish Academy exhibition. Examples include 'A July bouquet' (1940) and 'Dusty miller posy' (1946), which are demonstrative of Mary’s artistic style and practice and her unceasing interest in natural themes and subjects. Newbery also exhibited across her career at the Royal Glasgow Institute of the Fine Arts, where she showed some of her earliest works. Between 1911 and 1949, a number of pieces exhibited in the Royal Scottish Academy were also shown in Glasgow.

Mary’s best known and most recognisable works are watercolour paintings of flowers, which she made throughout her life. Her early work was especially influenced by Charles Rennie Mackintosh, whom, a close friend of the Newbery family, she had grown up around and often watched draw. Towards the end of his career, Mackintosh worked on his own botanical watercolours, and the two would often paint the same flowers. Mary would provide their Latin names so Mackintosh could inscribe them correctly. Whilst Newbery Sturrock and Mackintosh remained close friends throughout his life, her later work deviated somewhat from his influence and became more naturalistic.

Following the death of her husband in 1953, Mary travelled extensively. Later in life, she gave various interviews to art historians and biographers about her knowledge of The Glasgow School of Art, her father Francis Newbery and both her own and her father’s relationship to Mackintosh. For example, in 1973 she spoke with June Bedford and Ivor Davies for Connoisseur magazine about Mackintosh, and in the early 1980s, spoke with Anthony Jones (director of GSA 1980-6) about the history of The Glasgow School of Art, Fra Newbery and Mackintosh.

In 1983, a touring retrospective devoted to the Edinburgh Group was held at the City Art Centre Edinburgh in which both Mary and Alick were profiled. Mary exhibited examples of work across the applied and decorative arts, including floral watercolours, embroidery, ceramics and a sketchbook containing pen, ink and watercolour sketches of figures and flowers. Two years later, in 1985, Mary passed away aged 93.

Born Dundee. Painter of portraits and figure subjects, also a mural and church decorator and stained glass designer. Trained Glasgow School of Art. Won Guthrie Award, a travelling scholarship and the Torrance Memorial Prize. Modelled his work on the Early Renaissance combined with developments in ecclesiastical stained glass. Lived in Glasgow where for many years he was Professor of Mural Painting, Glasgow School of Art until resigning 1939. An eccentric, he was attracted to the circus and, abandoning Glasgow, he trained and managed a troupe of acrobatic birds known as 'Ancell's 40 Painted Pigeons' which toured the provinces with his wife a professional acrobat. Among his principal works are 'The Pilgrims', 'Where Sinks the Voice of Music into a Silence' and 'And Thou Art Wrapped and Swayed in Dreams'. Awarded ARSA 1935 but withdrawn forty years later. Exhibited RA(2), RSA 1925, RSW(3), GI(20) & L(5). Represented in Edinburgh City Collection.

Strang was a visitor to GSA classes and an external assessor and examiner in the late 19th-early 20th century.
Strang, William (1859–1921), painter and printmaker, was born at Dumbarton, on 13 February 1859, the younger of the two sons of Peter Strang, a builder, of Dumbarton, and his wife, Janet Denny. He attended Dumbarton Academy and entered the Slade School of Art at the age of seventeen. He was to remain in London for the rest of his life. In 1875 Alphonse Legros succeeded Edward Poynter as Slade professor of fine art at University College, London, and his influence was to be deep and lasting on Strang's art. Under Legros, Strang took up etching and, although he continued to paint, printmaking dominated his œuvre until the turn of the century. It was as an etcher of imaginative compositions, in which homeliness and realism, often imbued with a macabre or fantastic element, were subdued to fine design and severe drawing, that he first made a name. He signed his prints ‘W Strang’. The illustrations to Death and the Ploughman's Wife (1888) and The Earth Fiend (1892), two ballads written by himself, and those to The Pilgrim's Progress (1885) contain some of the best of his earlier etchings. Strang's strong personal interest in social issues grew alongside the rapid development of organized socialism in the 1880s and 1890s. His print The Socialists (1891) shows the artist among the people, listening intently to the impassioned orator. His membership of the Art-Workers' Guild in 1895 and close association with C. R. Ashbee and the Essex House Press established his commitment within its natural artistic and professional context. In 1885 he married Agnes McSymon, the daughter of David Rogerson JP, provost of Dumbarton; they had four sons (two of whom, Ian and David, were also printmakers) and one daughter. Among Strang's numerous single plates the portraits are especially good, though these were to be surpassed as the artist acquired more confident mastery and a broader style, tending to exchange the use of acid for dry point or mezzotint. The best of the later portraits are masterpieces of their kind. Among later sets of etchings are the illustrations to The Ancient Mariner (1896), Kipling's Short Stories (1900), and Don Quixote (1902). A catalogue of Strang's etched work, published in 1906, with supplements (1912 and 1923), contains small reproductions of all his plates, 747 altogether. He designed and cut one of the largest woodcuts ever made, The Plough, which measures almost 5 by 6 feet. The impression in the Victoria and Albert Museum is dated 1899 and was published and sold by the Art for Schools Association, Bloomsbury. During the latter part of his life Strang etched less and painted more, and much of his time was given also to portrait drawings executed in a style founded on the Holbein drawings at Windsor. He undertook a great number of these, and his sitters, many of the most distinguished people of his time, included Sir Lawrence Alma-Tadema (1908), Lord Kitchener (1910), the young Edward, prince of Wales (1909), and Thomas Hardy; his etching of the novelist became in the late twentieth century something of an icon. As a painter Strang experimented in many styles, but at his best was highly original. Bank Holiday (1912), in the Tate collection, and the Portrait of a Lady (Vita Sackville-West, 1918), at Glasgow, are good examples of his clean, bright colour and rigorous drawing. The Tate collection also holds two self-portraits (1912, 1919) and one landscape. The British Museum has 136 of the etchings, and an important collection of Strang's graphic work is in the Art Gallery and Museum in Glasgow. Strang was elected ARA in 1906, RA (as an engraver) in 1921, and president of the International Society of Sculptors, Painters, and Gravers in 1918. He was of medium height and strongly built. Outspoken and combative in argument, he delighted in good company, conversation, and fun. He often travelled on the continent, and visited the United States. He produced many self-portraits, etched, drawn, and painted, in a variety of guises. He died suddenly of heart failure at the Brinklea Private Hotel, Bournemouth, on 12 April 1921. Strang has suffered for being ‘unclassifiable’ in the history of early twentieth-century British art. An exhibition of his work, held in 1981 in Sheffield, Glasgow, and the National Portrait Gallery, went some way to re-establish the reputation of this most singular of image makers. He was an artist who combined a febrile imagination with formidable technical ability and a penetrating eye with a mordant wit, perhaps most clearly evident in his Bal Suzette (1913).

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

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Active between 1891 and 1938 in Birmingham. William Henry Stokes & Arthur George Ireland.

Irish novelist, known especially for the Gothic horror novel Dracula. Stoker was a friend of the Francis and Jessie Newbery. The Newberys met Bram Stoker as well as Charles Rennie and Margaret Macdonald at a Glasgow Theatre in 1896. After the play, Newbery invited the Stokers and Mackintoshes to GSA, and Stoker mentioned he was working on a vampire novel. The Newberys offered their cottage at Cruden Bay in the North East of Scotland to Stoker to help him finish his novel ‘Dracula’. To repay his kindness, Stoker established the Bram Stoker medal, awarded to the most imaginative piece of work. GSA Director Tony Jones decided to revive the award in 1982, when it was awarded to Steven Campbell.

James Templeton and Co. was established in 1843, making Chenille, Axminster, Wilton and Brussels carpets. Technological innovation and design skill brought the company considerable worldwide success throughout the 19th and 20th centuries, with its products in high demand in the domestic and commercial markets. It employed artists of international calibre such as Charles Voysey, Walter Crane and Frank Brangwyn, with their carpets used in Coronations and in liners such as the Titanic.
In their 1950s heyday they were Glasgow's biggest single employers, with 7,000 employees. Glasgow carpets were exported to all four corners of the globe, with major commissions for parliaments, concert halls and cultural institutions, along with domestic interiors. Famous Templeton carpets include the Regatta Restaurant carpets for the 1951 Festival of Britain, and the Twelve Apostles carpet made for the Paris Exhibition of 1867.
In 1983 Templeton's merged with another local carpet manufacturer, A. F. Stoddard of Elderslie, to form Stoddard International. A. F. Stoddard had been founded in 1862 by Arthur Francis Stoddard, an American who refused to live in the United States because of the continued slave trade. He regularly addressed abolition meetings in Glasgow, which had tended to side with the South during the American Civil War because of its strong cotton and tobacco routes. Stoddard's went on to produce carpets for the wedding of Queen Elizabeth II, the Palace of Holyroodhouse, Dickens and Jones, Epsom race-course, and Liberty's.
In 1980, the Guthrie Corporation Ltd of London and parent company of British Carpets Ltd (previously James Templeton & Co Ltd, carpet manufactures, Glasgow) acquired a £1.5m stake in Stoddard Holdings Ltd. In return, Guthrie Corporation Ltd transferred British Carpets Ltd's subsidiary companies, including Templetons Carpets Ltd, S J Stockwell & Co (Carpets) Ltd of Glasgow and Kingsmead Carpets Ltd of London to Stoddard Holdings Ltd. The Templeton factories in Bridgeton, Glasgow, were closed down in that year and production transferred to Stoddard's Elderslie site. In 1984, Stoddard Holdings Ltd became a public limited company as Stoddard Holdings plc. In 1988, following the acquisition of the textile manufacturers, Sekers, the company changed its name to Stoddard Sekers International plc . The 1990s and 2000s saw significant financial pressures for the company as consumer fashions moved away from carpeting in favour of wooden flooring. Stoddard's responded to these pressures by focusing on its core carpet market. In 1998, the Sekers business was sold and the company renamed as Stoddard International plc. In 2002, the company closed two production sites, including its headquarters in Elderlie; consolidating production in Kilmarnock, Scotland. However, the financial pressures on the company continued to grow and it went into receivership in February 2005. With no buyer to take the company on as a going concern, its assets were sold, and the liquidation of Stoddard International plc was finalised in 2009.
For more information, see also: [https://lib.gsa.ac.uk/special-collections/special-collections-stoddard-templeton/.
Please note, GSA Library has digitised volumes from its collections related to Stoddard International plc. These are available to view at this same address.

Company: The University of Glasgow.

Charles Stirrat was a student at the Glasgow School of Art c1914. He was awarded the Bronze Medal for Drawing and Painting for the 1915-16 session and the Glasgow City Educational Endowments Senior Art Bursary during 1914-15 session of £3. He is listed in the School's World War One Roll of Honour.

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The band Still House Plants was formed in 2015, by 3 students from The Glasgow School of Art, namely Finlay Clark, Jessica Hickie-Kallenbach and David Kennedy. In 2016, they created art and performed at the Glasgow International Festival, and they have released a number of albums .

Source: https://toneglow.substack.com/p/024-still-house-plants; https://www.psychedelicbabymag.com/2018/02/still-house-plants.html

William John Stewart was born at Laighpark in Paisley on 24th February 1893 to Margaret Ann (née Craig) and Hawthorn Stewart, a registered chemist. Stewart attended The Glasgow School of Art from 1912 to 1914 as an evening student of drawing and painting. He was granted the Haldane Evening Bursary each year. During that time Stewart's occupation was noted as draughtsman. At the beginning of session in 1914-15, Stewart resigned from The Glasgow School of Art and joined the army.

During the First World War, Stewart served as a Private in the 9th Glasgow Highland Battalion (Territorial) in the Highland Light Infantry regiment. He was killed in action in France or Flanders on 25th September 1917, and his regiment number was #333103. William John Stewart is commemorated on The Glasgow School of Art's First World War Roll of Honour.

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Sources: Ancestry http://www.ancestry.co.uk

Robert Lees Stewart only appears in the Glasgow School of Art Student Registers for the year 1901-2. His age is given as 15 years, and his address as 150 Buccleuch Street, Glasgow. There is no mention of him in any subsequent registers, or the annual reports or prospectuses of the school.Stewart appears five times in the Royal Glasgow Institute of Fine Artists Lists of Exhibitor. In 1906 he sold "Flowing to the Lowlands" for £11 from 35 Airlie Gardens, Glasgow. From 1911 his address is given as 15, Highburgh Road, Glasgow. His pictures "In the Fields -Autumn" and "By the Summer Seas (1911), sold for £8 and £10 respectivly, and in 1912 "A Country Road" sold for £13, and in 1916 "Girvan Harbour" sold for £4.

Photographer, based in Paisley.

Robert Stewart was one of the foremost British designers of the second half of the twentieth century. His work revolutionized design in postwar Britain. Trained at the Glasgow School of Art in the 1940s. He took charge of the printed textiles department there in 1949. He was passionately interested in surface design and became one of the most significant influences in the field. He designed for Liberty, Donald Brothers, and the Edinburgh Tapestry Company in Great Britain and North America before forming his own company to produce printed ceramic kitchenware. During the 1970s and 1980s he designed and manufactured large-scale ceramic murals for public buildings. During his thirty-five years at the Glasgow School of Art, Stewart proved to be an inspiring and influential teacher. His legacy is to be found in his many successful former students now working in a variety of fields, including textiles and theatre design.

Marion S Stewart (nee Gracie) studied at The Glasgow School of Art from 1949-1954. She later took up a teaching post at Duncan of Jordanstone College of Art and Design.

Margaret Stewart (married name Beck) studied at The Glasgow School of Art from 1949-1954 under Bob Stewart (no relation). She completed a diploma in Textiles in 1953, and a post-diploma in 1954. Students wanting to complete a diploma course were first required to complete the general course, all in all two years of full time study. During the 3rd and 4th years the studies were restricted to a main subject and one subsidiary craft. The best students who completed the diploma course could remain for one additional year to complete a post-diploma course. Students specialising in Textile Design and Fabric Printing were "trained to produce designs suitable for present day markets", and had to also study the "technical aspect of their subject in classes held jointly by the Glasgow School of Art and the Royal Technical College, Glasgow".

Received GSA Diploma in 1912 for Drawing and Painting.

Originally from Bridge of Allan in Stirlingshire, Stewart was educated at Dollar Academy before attending Gray’s School of Art in Aberdeenshire. His early inspiration came from his father, who initially trained as an optical instrument maker, but later taught evening classes in silversmithing after attending the same classes himself for a number of years, Stewart sat in on some of these early classes.

Stewart established his workshop in Dunblane in 1978. He always worked with a small team of skilled craftsmen. His father, an industrial designer, was a leading influence in his life as he had a keen interest in silversmithing. His brother, an engineer, joined him when he retired which explains why Stewart used a hydraulic press, not a tool normally associated with silversmithing, for very large commissions.

One of his most prestigious commissions was for the Scottish Parliament, the Honours of Scotland sculpture which sits in the main hall of the parliament building is arguably one of the most viewed pieces of contemporary silver in Britain today. Like many of his pieces, it invokes the history and heritage of not only the craft, but in this case the Scottish nation, and also the simple flowing lines for which he is so known. Claret Jugs and bowls were a particular favourite of his to make, he once commented ‘Claret jugs are lovely to make… you can express a lot with a jug – generosity, a convivial gathering – they are such an expressive thing.’

In 2020, The Scottish Goldsmiths Trust was generously gifted the entire contents Graham Stewart’s workshop, including the tools, machinery and books he collected throughout his career and used on a daily basis. It was Stewart’s wish, and the wish of his family, that these continue to be used to support early career silversmiths in Scotland. These are now at the Marchmont Silversmithing Workshops, a new, fully-equipped workspace for silversmiths, developed by the SGT in partnership with Marchmont Makers Foundation, with additional support from the William Grant Foundation.

Gillian graduated from Glasgow School of Art’s Communication Design Department, winning a school-wide prize in her degree show and specialising in printing illustrated artists books. She went on to work as a children’s book illustrator and art handler, before gaining a traineeship in a small commercial bindery in Glasgow, learning the basics of benchwork and specialising in blocking. In 2018 she became a QEST Craft Scholar, studying 1-1 with Tom McEwan as well as attending courses at Centro del Bel Libro Ascona and Professione Libro in Italy. In 2018 Gillian won 2nd prize for the Set Book in the DB Competition, and in 2020 she won best Student Craft binding in the National Library of Scotland Soutar Prize. In 2019 she was awarded a Print Futures Award from the Printing Charity, and in 2020 received an Endangered Craft Award from the Heritage Craft Association. In 2019 she held a 3 month solo show at The Lighthouse Glasgow, introducing the craft of bookbinding to a contemporary design audience.

Gillian now works from her bindery in Glasgow where she takes on commissions for bespoke books, creates fine bindings and sells limited run products. She teaches students from her studio, as well as in colleges and art schools across Scotland. She is a Licentiate of Designer Bookbinders and Chair of the Society of Bookbinders in Scotland.

Frederick Craik Stewart was born in Gourock, Renfrewshire on 16th November 1894, one of four sons of Mary Craik Stewart (nee Stormouth) and George Andrew Stewart, a metal storeman. The 1901 and 1911 censuses show the family lived in Govanhill, Glasgow. Stewart attended The Glasgow School of Art from 1913 to 1915 as a day student of drawing and painting and received the Highland Society bursary of £10. The School's records show that he lived in Langside, Glasgow during this time. Stewart served in the First World War, as 2nd Lieutenant in the Royal Field Artillery from May 1917. Stewart is commemorated on the School's First World War Roll of Honour and according to this, Stewart served as Captain in the Royal Field Artillery. His older brother, Kenneth, also served in the war, in the 3/7th battalion, Scottish Rifles. After the war, Stewart became a teacher of drawing and married Janette Grace Daly, also a teacher of drawing, in Govanhill in 1924. He wote a book called "Lino-Cutting for Schools" in 1934 as F Craik Stewart. Stewart died in 1935 and his wife died in 1979, aged 82.

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Sources: Scotland's People: http://www.scotlandspeople.gov.uk, The Gazette; http://www.thegazette.co.uk, Ancestry: http://www.ancestry.co.uk.

Fergus Stewart trained as a potter in Scotland before spending eighteen years in Australia teaching and running a succession of ceramics workshops. Stewart was a guest of The Glasgow School of Art's ceramics department and was given an exhibition in the Atrium Gallery, 5-15 October 1998.

Cas Stewart modelled in the 1982 fashion show.

Alexander Reid Stewart was born on 28 September 1927 in Blantyre, the son of Alexander Stewart, engineer's fitter, and his wife Lucy Soretta Crombie. He studied architecure at Glasgow School of Art and was elected Associate of the Royal Institute of British Architects in 1955. In 1956 he moved to East Kilbride where he had a post with the Development Corporation. He later worked in the Burgh Architect's Office in Motherwell and Wishaw, eventually becoming the Director of Technical Services, Motherwell District Council. He retired in Lanark by 1994.

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

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James McIntyre Stevenson was born in Slamannan, Stirlingshire on the 30th of December 1887 to Isabella Stevenson (née McIntyre) and John Stevenson, a teacher. He studied architecture at The Glasgow School of Art from 1904 to 1909. He emigrated to Calgary, Canada in 1911, where he worked as a draughtsman before forming a partnership with Leo Dowler. In 1915 he enlisted with the Canadian Oversees Expeditionary Forces. He served in France until June 1916, when he was wounded in the battle of Ypres. He returned to Calgary in 1919 where he was appointed as Resident Architect for the federal Department of Public Works, Alberta. In 1928 he formed a partnership with George Fordyce until his death in 1944. Stevenson then went into partnership with his son in a firm that was to become one of the largest architectural offices in Western Canada. He retired in 1956, succeeded by his son. He died in Calgary on the 4th May 1956. James M Stevenson is listed on The Glasgow School of Art's World War One Roll of Honour.

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Sources: Biographical Dictionary of Architects in Canada 1800 - 1950: http://www.dictionaryofarchtectsincanada.org.

Calum Stevenson (born Falkirk, Scotland) graduated with a BA(Hons) in Fine Arts from Duncan of Jordanstone College of Art & Design in 2019. Stevenson went on to graduate from Glasgow School of Art with a MA in Fine Art Practice in 2020.

In 2021, Stevenson became the youngest and first ever Scottish artist to win Sky Portrait Artist of the Year, a national televised competition. He was commissioned by the Scottish National Portrait Gallery to paint Nicola Benedetti, one of the most sought-after violinists of her generation. Stevenson’s work is now part of the permanent collection on display in Edinburgh.

Stevenson’s work has since been added to many public and private collections including the Kia Oval in London and the City Chambers in Glasgow.

Allan Stevenson was born in Burnhouse, Beith, Ayrshire, on the 2nd of October 1893, one of 4 children (siblings Margaret C, Willliam C, and Janet Lang) of Elizabeth (née Carswell) and David, a bacon curer. Stevenson attended The Glasgow School of Art from 1909 to 1913, as an evening student of drawing and painting, and life drawing, while working as a draper's apprentice. During the First World War he served probably with the Royal Garrison Artillery. After the war, he worked as bacon curer until he died at home in Barrhead, on the 28th November 1924, due to health problems caused by mustard gas poisoning while serving in France during the war. Stevenson 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 and Ancestry: http://www.ancestry.com

John Lockhart Sterling was born in Partick on the 4th of August 1895 to Clara Frances Lockhart (née Lowe) and John Lockhart Sterling, a cotton manufacturer. Sterling attended The Glasgow School of Art from 1912 to 1913 as a part time student of design and is also noted as a student of life drawing on Tuesdays. He is also recorded on the school register as a student from the Glasgow Technical College. He was educated at Glasgow Academy and Sedbergh. During the First World War, Lockhart first joined the 17th Highland Light Infantry in September 1914 and later obtained a commission for the Royal Scots Fusiliers 3rd battalion on the 17th of February 1915. He served with the Expeditionary Force in France and Flanders from the 27th of June 1915. Sterling died at Hulloch, in the battle of Loos on the 28th of September 1915 whilst acting Captain of his battalion. One of his officers wrote "He was as brave as they are made." He is commemorated at Loos Memorial. Sterling 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

Trained at London College of Fashion and Central School of Art . BA Hons in Jewellery Manufacture and Design

Jimmy Stephen-Cran studied Textiles at GSA in the 1980s and modelled in the 1985 fashion show.

Jimmy has been Head of the Fashion and Textiles Department at GSA since 2001. He has also designed for a number of well-known names including Chanel and Donna Karan.

Sources: Paisley Make paisleymake.com/person/jimmy-stephen-cran/

Thomas Stephen was born in Glasgow on 30th of July 1898, the youngest of 4 surviving sons of Margaret and Thomas Stephen senior, who worked as iron turner on locomotives. Thomas Stephen attended The Glasgow School of Art initially from 1916 to 1918 taking evening classes in drawing and painting and life drawing while working as an apprentice draughtsman, before his studies were interrupted by WW1. After the war, he continued at The Glasgow School of Art from 1919 until 1923 taking further classes in drawing and painting and etching. Stephen served briefly in WW1 joining the RAF on 24th September 1918 as a 3rd air mechanic. He was transferred to the RAF reserves on the 26th of February 1919. His work was exhibited once at the Royal Scottish Academy and on 4 occasions at the Royal Glasgow Institute of Fine Art, including in 1920, 'Floating Dock – Wartime', in 1921, 'Four Score and Fire' and in 1922, 'Jamaica Bridge' and also 'Repair Work on the Clyde'. Stephen was married to Edna Loucks from Connecticut and in the early 1940s was living in New York. Thomas Stephen is commemorated on The Glasgow School of Art's First World War Roll of Honour.

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Sources: the Dictionary of Scottish Art and Architecture by Peter J M McEwan; Scotland's People: http://www.scotlandspeople.gov.uk; Ancestry: ancestry.co.uk; Find My Past: findmypast.co.uk

A graduate of Gray‘s School of Art, Aberdeen, Sheana Stephen lives and works in Edinburgh. She first exhibited at an Edinburgh Festival exhibition in 1971 and has since shown her work throughout the UK and Europe. Some of her most prestigious commissions include making a brooch which was presented to Queen Elizabeth II, and in 2005, she was commissioned by the Scottish Geological Society to design and make a piece of jewellery to launch The Geology Festival. The piece, in silver and set with Scottish stones, was auctioned to raise money for Maggie’s Centre.

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

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Gillian Steel studied Design at GSA and graduated in 1986. She modelled in the 1985 and 86 fashion shows.

Gillian went on to work as a cultural co-ordinator across a number of local authorities from 2003 to 2014 and in 2008 gained an MSc in Electronic Imaging. As at July 2017, she works as a filmmaker, artist and educator in a number of different media.

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

Born in Helsby, Cheshire. Sculptor and craftsman in wood, who worked mainly on commission. He studied at Trent Polytechnic, Nottingham and Glasgow School of Art, graduating in sculpture. Stead won a travelling scholarship in 1975 and seven years later a Scottish Development Agency Crafts Fellowship. Because of his specially designed furniture and activities such as tree replanting and the establishment of a community plantation on the Scottish Borders, Stead was the subject of several television films. Showed at such venues as Scottish Craft Centre and Collins Gallery in Glasgow; also widely on the continent and in America; and had first sculpture show at Compass Gallery, Glasgow, in 1990, another at Ancrum Gallery, Ancrum, 1992. Giles Sutherland collaborated with Stead to product [i]Explorations in Wood: the furniture and sculpture of Tim Stead[/i], published in 1993. Stead's later commissions included The Peephole, at Museum of Modern Art Glasgow, 1996, which allows the viewer to participate in the artwork, and the Millennium Clock, Royal Museum, Edinburgh.

David Stark was born in Glasgow on 1st November 1896, one of children of Annie Stark (née Kerr) and Thomas Stark, a tailor journeyman. Stark attended The Glasgow School of Art from 1912 to 1914 as an evening student of drawing and painting course (during 1912-13 session), and from 1913-14 as an evening architecture student. During his studies his occupation is noted as Apprentice Architect and his address at that time was given as St Vincent Street, Glasgow.

During the First World War, Stark served as a Private in 17th Battalion (3rd Glasgow) of the Highland Light Infantry, and his regiment number was 15433. He was killed in action in France or Flanders on 1st July 1916. David Stark is commemorated on The Glasgow School of Art's First World War Roll of Honour.

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Sources: Ancestry http://www.ancestry.co.uk