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Flax, hemp and tow spinners, net and twine manufacturers of Kirkcaldy, Scotland.

The Glasgow School of Art has its origins in the Glasgow Government School of Design, which was established on 6 January 1845. The Glasgow Government School of Design was one of twenty similar institutions established in the United Kingdom's manufacturing centres between 1837 and 1851. Set up as a consequence of the evidence given to the House of Commons Select Committee on Arts and their connection with Manufactures of 1835-1836, the Government Schools hoped to improve the quality of the country's product design through a system of education that provided training in design for industry. Somerset House was the first of such schools to be established, opening in 1837, and others followed throughout the provinces.

In 1853 the Glasgow Government School of Design changed its name to the Glasgow School of Art. Following the receipt of some funding from the Haldane Academy Trust, (a trust set up by James Haldane, a Glasgow engraver, in 1833), The Glasgow School of Art was required to incorporate the name of the trust into its title. Consequently, it became the Glasgow School of Art and Haldane Academy, although by 1891 the "Haldane Academy" was dropped from the title. Glasgow School of Art was incorporated in 1892. In 1901 the Glasgow School of Art was designated a Central Institution for Higher Art Education in Glasgow and the West of Scotland.

Initially the School was located at 12 Ingram Street, Glasgow, but in 1869, it moved to the Corporation Buildings on Sauchiehall Street, Glasgow. In 1897 work started on a new building to house the School of Art on Renfrew Street, Glasgow. The building was designed by Charles Rennie Mackintosh, former pupil of The Glasgow School of Art. The first half of the building was completed in 1899 and the second in 1909.

The Government Schools ran courses in elementary drawing, shading from the flat, shading from casts, chiaroscuro painting, colouring, figure drawing from the flat, figure drawing from the round, painting the figure, geometrical drawing, perspective, modelling and design. All these courses were introduced from the start at the Glasgow School apart from that of design. The course in design was the "summit of the system" where students came up with original designs for actual manufactures or decorative purposes and it was not until 1849, when Charles Heath Wilson became headmaster, that classes in design began to be taught. Also in this year Bruce Bell was engaged to teach mechanical and architectural drawing.

After 1853 the above pattern of courses was extended to 26 stages which formed the national curriculum for art schools. This system was known as the South Kensington system. An Art Masters could be awarded by gaining certificates in the available subjects. There was no restriction on entry and students could take as long as they wished to accumulate their passes before being awarded their Art Masters.

In 1901 the Glasgow School of Art was given the power to award its own diplomas. In the same year Art 91D classes for day school teachers commenced which were later known as the Art 55 classes. From 1901 to 1979 the School of Art awarded its own diplomas and thereafter it awarded degrees of the Council for National Academic Awards. In the 1970s the School of Fine Art and the School of Design were established. With the demise of the Council for National Academic Awards, from 1993 Glasgow University awarded the School's degrees in fine art and design.
In 1885 the Glasgow School of Art taught architecture and building construction conforming to the South Kensington system. Following on from the designation of the School as a Central Institution and the empowerment of the School to award its own diplomas, the School and the Glasgow and West of Scotland Technical College worked together to produce a curriculum for a new course leading to a joint diploma.

In 1903 the joint Glasgow School of Architecture was established within the Glasgow School of Art in conjunction with the Glasgow and West of Scotland Technical College. For the new diploma design classes were to be taught at the School of Art and the construction classes at the Glasgow and West of Scotland Technical College. The first diplomas in architecture were awarded in 1910.

In 1924 the Glasgow School of Art became a university teaching institution when the University of Glasgow set up a BSc in Architecture which was to be taught at the School of Architecture. In 1964 the Royal College of Science and Technology (formerly the Royal Technical College, formerly the Glasgow and West of Scotland Technical College) merged with the Scottish College of Commerce to form the new University of Strathclyde. Following the merger the Glasgow School of Architecture came to an end, the last students transferring to Strathclyde degrees and graduating in 1968.

In 1970 the Mackintosh School of Architecture was established. It is housed within the Glasgow School of Art and forms that school's Department of Architecture. Its degrees are accredited by the University of Glasgow and its Head is the University's Professor of Architecture.

The Glasgow Government School of Design was originally managed, as were the other Government Schools, by the Board of Trade and a Committee of Management representing local subscribers. Then, in 1852, the Government Schools of Design were taken over by the Department of Practical Art. This Department was renamed the Department of Science and Art in 1853 and was located in South Kensington, London. The Committee of Management was replaced in 1892 by the Board of Governors. In 1898, control of the School was transferred again, this time to the Scotch Education Department (renamed the Scottish Education Department in 1918).

The School became academically independent in 1901 when it was free to develop its own curriculum and its own diplomas, subject to the approval of the Scottish Education Department. The chief executive of the School was the Headmaster, renamed Director in 1901, and a Secretary and Treasurer was responsible for all aspects of the administration of the School. As the School grew, other administrative posts were added.

Department store.

In 1903 the joint Glasgow School of Architecture was established within the Glasgow School of Art in conjunction with the Glasgow and West of Scotland Technical College. For the new diploma design classes were to be taught at the School of Art and the construction classes at the Glasgow and West of Scotland Technical College. The first diplomas in architecture were awarded in 1910. In 1924 the Glasgow School of Art became a university teaching institution when the University of Glasgow set up a BSc in Architecture which was to be taught at the School of Architecture. In 1964 the Royal College of Science and Technology (formerly the Royal Technical College, formerly the Glasgow and West of Scotland Technical College) merged with the Scottish College of Commerce to form the new University of Strathclyde. Following the merger the Glasgow School of Architecture came to an end, the last students transferring to Strathclyde degrees and graduating in 1968. In 1970 the Mackintosh School of Architecture was established. It is housed within the Glasgow School of Art and forms that school's Department of Architecture. Its degrees are accredited by the University of Glasgow and its Head is the University's Professor of Architecture.

Founded by David Band, Brian Bolger, Helen Manning and Fraser Taylor, The Cloth was an interdisciplinary design studio founded to facilitate movement between fine art and design projects. The Cloth designed textile collections for fashion designers in London, Paris and New York. Clients included: Betty Jackson, Paul Smith, Yves Saint Laurent, Bill Blass, Calvin Klein and Nicole Miller. The Cloth produced their own ready to wear collection, sold in: Saks Fifth Avenue, Barneys New York, Fred Segal, Isetan, Seibu, Browns, Harrods and Liberty of London. Graphic design and corporate identity clients included: Quartet Books, Vintage Books, Random House Publishing, Saatchi and Saatchi Design, Rapier Marketing, Wolf Owlins, Columbia Records, Step Electronics, Rusk International, Interview Magazine and Condé Nast.

The Corporation of the City of Glasgow (also known as The Corporation of Glasgow and Glasgow Corporation) was formed in 1895 from the 'Glasgow Town Council'. Following local government reorganisation in 1975, it became the City of Glasgow District Council. In 1996, with the dissolution of Strathclyde Regional Council, and transfer of responsibilities to (The City of) Glasgow District Council, the authority was renamed as Glasgow City Council, becoming a single-tier structure.

The Commission for Relief in Belgium (CRB) was founded in October 1914 as an international food relief programme. The main task of the Commission was to obtain foodstuffs from abroad and ship to Belgium, who had been occupied by German troops since August/September 1914. Although a significant number of the Belgian population had left the country, a number remained behind.
With offices in London, Rotterdam and New York, the CRB orchestrated the operations that aimed to sustain the occupied parts of Belgium and Northern France. It ensured that food supplies, and sometimes money, were delivered into local warehouses throughout Belgium.
The CRB was also supported by the Comittee National de Secours et d'Alimentation, as well as the Belgian Relief Fund. The latter organisation was set up to provide relief for Belgian refugees; providing clothing, food, work and housing for families.

J. Giusti & Co. was a Glasgow-based business active from the late 19th to the early 21st century specializing in plaster work and mould making. The firm was likely founded by one of the Giusti Brothers who are listed in an 1871 census residing at 130 Hospital Street, Glasgow: Calelo Giusti (born c.1843), Giuseppie (sic.) Giusti (born c.1844) and Gamalielo Giusti (born c.1847). The three brothers are listed in the census as “stucco image makers.”
The family seems to have started two separate businesses, both of which are recorded in the Glasgow Post-Office Annual Directory, 1884-85.  One business, “Giusti Brothers,” is listed as “figure makers” and operated at 7 South Coburg St. The other business, “J. Giusti” is listed as “plaster modeller” and operated at 87 Bothwell St. The two Giusti businesses continued to operate for several years, and by 1886 “J. Giusti” was expanded to “J. Giusti & Co.” By 1889, only the J. Giusti & Co. business was listed in the Post-Office Directory, but under two locations. The first location at 328 South Vincent St. is listed under “Modellers,” and the second location at 87 Bothwell St. is listed under “Modellers (In Wood).”
J. Giusti & Co. engaged in a several enterprises outside of their work with plaster. The company is also described as confectioners in 1899 and later, from 1902 until at least 1910, as wine and Italian merchants. However, the company's longest business interest was in the production of plaster moulds as well as the sale and repair of plaster casts.
Records from the Glasgow School of Art Board of Governors indicate that the school purchased plaster casts from J. Giusti & Co. and hired the company to make plaster reproductions of student work as early as 1890. The company was hired to repair plaster casts at the GSA as early as 1891 and was hired for the same purpose through 1996 when the company performed repair work on the Winged Victory of Samothrace.
In the mid-20th century the company was purchased by the Gaggini family. They continued to operate under the business name J. Giusti & Co., and described themselves as “statuary and cornice repair, moulders and figure makers.” Throughout much of the 20th century the company supplied local schools and churches with plaster casts and operated a retail shop selling plaster objects at least through the mid-1970s. After the business closed, members of the Gaggini family continued to repair statuary, work with plaster, and supply plaster casts until as recently as 2016.

Domenicho (Domenico) Brucciani (1815-1880) was born in Lucca, Italy and migrated to England in the first half of the nineteenth century. He established a business which produced casts of sculptural works from international collections. By 1837 he owned a showroom near Covent Garden and was selling works to the British Museum and the South Kensington Museum (now the Victoria and Albert Museum). By 1857 D. Brucciani & Co. were working for the British Museum, making moulds and casts of their classical sculptures, bronzes and other pieces, to be sold commercially. The company was successful during Brucciani's lifetime as it capitalised on the nineteenth century fashion to have plaster casts of sculptural works in the home. Following his death his business was purchased by another Italian, Joseph Caproni (1846 - 1900), who retained the name D. Brucciani & Co., and the business continued to manufacture casts, with customers including the Fitzwilliam Museum and the Museum of Classical Archaeology. However, as demand for plaster casts declined in the twentieth century, the business failed. Consequently, it was purchased by the V&A and operated as the Department for the Sale of Casts until 1951 when it was forced to closed due to financial losses.

Charles Smith was a plaster figure and sculptor's moulder in London active from at least 1886 until his death in 1918. After the death of Charles Smith, his sons, George Smith and Charles Smith Jr continued the business. The firm experienced financial difficulty in the 1920s, although the family continued to be involved in mould making and plaster casting until 1953.

Newspaper.

Responsible for printing and publishing The Annual Reports of The Glasgow School of Art. Regarding the Needlecraft Exhibition, the material presented indicates that the firm were in touch with The School regarding the paper type and quality for the exhibition catalogue.

The Haldane Academy Trust was created by James Haldane (fl.1840), Glasgow engraver, in 1833. It was a private charity to develop the study of fine arts. James Haldane was also a founder member of the Glasgow Philosophical Society and engraved their Diploma of Membership.
The Haldane Academy Trust supported the Glasgow School of Art and required that the name be incorporated into the title of the School: Glasgow School of Art and Haldane Academy. However, the 'Haldane Academy' was dropped from the title in 1891 as the School of Art was being confused with the Trust. The principal benefit which the School of Art enjoyed from the Trust was that the Trustees negotiated with the Corporation for accomodation to be made available for the School of Art. The Trust matched the rent that was paid to the Corporation by the School of Art, supporting its tenancy in the Corporation Buildings. The Trustees also introduced various prizes and awards and appointed their own examiners of student work in connection with these. The Turstees arranged special lectures on art and architecture known as the [i]Haldane Lectures[/i]. Alexander 'Greek' Thomson was one of the Trustees and delivered a lecture series. Other Trustees included Charles Heath Wilson, Blackie the publisher, Annan the photographer and many Professors of the University of Glasgow for example J. Macquorn Rankine.

The Kinecraft Society at the Glasgow School of Art (GSAKS) was formed in 1933. They were very inventive with their films due to low budgets. Some of their inventive stylistic choices included superimpositions, dissolves, and bisected frames. The Glasgow School of Art Film Group or Kinecraft Group would often meet in Willie MacLean’s room while experimenting in cinematography and discussing recent politics news. This was during the time of silent films where special music and sounds were often later recorded over top.

Both Norman McLaren and Helen Biggar were members of GSAKS. The two individuals had shared interests in left wing politics and worked together on various films. Once Norman had met Mr. Brodie at Collet’s Bookstore in Glasgow who was an agent for the distribution of left-wing films, he and Helen joined the Kino Film Group shortly after. Helen was elected the president of the Kino Group in May of 1937. Norman’s first film was in 1933 at age 19 where he made a film titled “Seven till Five,” which depicts any average day for a GSA student in 1933. It showcases various different arts such as screen printing, pottery, drawing, sewing, dying, modelling, calligraphy, metalwork, and carving. Norman’s second film and the first that Helen worked on came out in 1935 and was titled “Camera Makes Whoopee.” Helen made most of the decor and costumes herself. It took nine months to make.

The Scottish Education Department was formed from The Education (Scotland) Act 1872 when responsibility for schooling in Scotland was taken from the Church of Scotland. It was originally called the Scotch Education Department, was a committee of the Privy Council of the United Kingdom, and had its offices in London. In 1885 the department became a responsibility of the new ministerial post of Secretary for Scotland, under whom the Scottish Office was set up.
In 1918 the department was moved to Edinburgh and the name was changed to the Scottish Education Department. The Secretary for Scotland became the Secretary of State for Scotland in 1926. The department was renamed the Scottish Office Education Department (SOED) in 1991, and the Scottish Office Education and Industry Department (SOEID) in 1995.
With devolution in 1999 the new Scottish Executive set up the Scottish Executive Education Department (SEED) to oversee school education whilst the Scottish Executive Enterprise and Lifelong Learning Department – later Enterprise Transport and Lifelong Learning Department (ETLLD) – took over responsibility from the former SED for further and higher education. In May 2007 the new Scottish National Party government abolished the departments within the Scottish Executive.

Cunninghame, David, die sinker, stamp and seal engraver, stamper and embosser in relief, embossing press manufacturer, and special machine engraver, sole agent for parallel motion endorsing machines, 48 Buchanan Street ; house, 12 VaJeview terrace, Langside .

Clydesdale Bank plc (Scottish Gaelic: Banca Dhail Chluaidh) is a commercial bank in Scotland. Formed in Glasgow in 1838, it is the smallest of the three Scottish banks. Independent until it was purchased by Midland Bank in 1920, it formed part of the National Australia Bank Group (NAB) between 1987 and 2016. Clydesdale Bank was divested from National Australia Bank in early 2016 and its holding company CYBG plc, trades on the London and Sydney stock exchanges. CYBG plc's other banking business, Yorkshire Bank operates as a trading division of Clydesdale Bank plc under its banking licence.

Crown & Rose Pewter, Englefields Ltd., London, England.Brown & Englefield founded in 1885. Makers stamp on this piece mark used from 1948. Englefields was bought by Royal Selangor (of Malaysia) in 1987.

Originally established in Glasgow over 50 years ago, the Quaich Company is now run by Wentworth Pewter, one of the last remaining pewtersmiths in Britain, based in Sheffield.

Newspaper.

A postal service and courier company in the United Kingdom, originally established in 1516. The company's subsidiary, Royal Mail Group Limited, operates the brands Royal Mail (letters) and Parcelforce Worldwide (parcels). General Logistics Systems, an international logistics company, is a wholly owned subsidiary of Royal Mail Group.The company provides mail collection and delivery services throughout the UK. Letters are deposited in a pillar or wall box, taken to a post office, or collected in bulk from businesses. Deliveries are made at least once every day except Sundays and bank holidays at uniform charges for all UK destinations. Royal Mail generally aims to make first class deliveries the next business day throughout the nation.

Harrison and Sons Limited was a major worldwide engraver and printer of postage stamps and banknotes.The company was established in 1750 by Thomas Harrison; in 1839 Thomas Richard Harrison entered into partnership with John William Parker, creating Harrison and Co. It went through similar names and retained a link with the Harrison family until 1979 when Richard Harrison left the company.It obtained its first Post Office contract in 1881. The company won the contract to print the single colour United Kingdom Edward VII stamps in 1911 after the Post Office decided not to renew its contract with De La Rue. Initially, using printing machines manufactured by Timsons of Kettering it went on to produce most of the British stamps over the 60-year period from the 1930s until the 1990s, including the first UK stamp using the photogravure method in 1934 and the first photogravure commemoratives in 1935 for the Silver Jubilee of King George V. The first UK Christmas issue in 1966, on the specially designed Jumelle press, was also printed at Harrison and Sons. They printed their last British commemorative issue, referred to as ‘Queen’s Beasts’ issue, in 1998. The stamps actually being printed one year before they were issued to the public.The company (abbreviation H&S) also printed stamps, banknotes, passports and gift vouchers for over 100 other countries from 1881 until 1997 when it was acquired by De La Rue security printers. Some of its most famous publications were The London Gazette and Burke's Peerage.In addition to union related issues at Harrisons, rumours suggested that the sale was also prompted by the steady inroads being made by Harrisons into De La Rue's banknote bus

The Centre for Advanced Textiles (CAT) at Glasgow School of Art was established in 2000 with a Research and Development Grant of £661,000 from the Scottish Higher Education Funding Council. The remit of the centre is to: i) provide cutting edge facilities for textile design education; ii) investigate the aesthetic, technical and commercial opportunities presented by digital textile printing, and; and iii) operate a commercial service bureau for industry and individuals.

Glasgow based printing company based on Blythswood street, specialising in offset photolithography printing.

Department store.

Established in Edinburgh in 1921, Lonsdale and Dutch specialise in the manufacture of hand-made architectural lanterns and light fittings in iron, copper, steel, lead and pewter, using traditional methods.

Newspaper.

The Glasgow School of Art Club was formed under Fra. Newbery in 1885/1886 to enable former students access to GSA and allow for informal meetings between staff, former and present students. The Club's activities included exhibitions, "at homes", theatrical productions and the Vacation Prize Scheme, which was developed to encourage sketching and painting in the open during the summer months. The Clubhouse was in Blythswood Square.

A later iteration was established by The Glasgow School of Art, Glasgow, Scotland, in 1969. The Club was affiliated to the Students Union and was therefore open to present students and also current staff. The society's constitution claims that it object was "the provision for for the members thereof of recreational, social and educational facilities." The Club provided a snack bar and licensed bar as well as meeting rooms.

Manufacturer of fine tableware

The Young Regenerators was a group of secondary school students who worked with the GSA's Widening Participation Department. They worked with tutor Mick Peter for Glasgow International Festival of Visual Art 2018. The group comprised Luke Andrew, Erin Barclay, Tanya Belkaid, Stephanie Binns, Caitlin Callaghan, Abbey Campbell, Heather Clydesdale, Duncan Colquhoun, Tegan Duffy, Shannan Flockhart, Scott Jaffrey, Amy Jones, Kirsten McNairn, Ebubechi Okay-Adibe, Evie Peat, Abbey Roy, Emily Walker, Fraser Whiting and Thomas Whiting.

The Needlework Development Scheme (NDS) was a collaborative project between art and design education and industry. Originally established in Scotland in 1934, its aim was to encourage embroidery and to raise the standard of design in Britain.
Financed by J and P Coats, the thread manufacturers, the Scheme was organised by the four Scottish art schools, Aberdeen, Dundee, Edinburgh and Glasgow. Its collection of foreign and British embroidery was available to domestic science and training colleges, women's institutions and schools, as well as art schools. By 1939, the Scheme had acquired some 900 embroideries but the outbreak of WWII closed the Scheme and the collection was retained by the four original art schools.
Glasgow School of Art was instrumental in re-starting the Scheme late in 1944. Its aims were the same as its predecessor, but expanded its remit to include other arts schools in the United Kingdom where embroidery was taught.In the years following the WWII, the Scheme became centralised and staffed with a qualified embroidery expert, a secretary and several practitioners. The Scheme commissioned the British designer Mary Kessell to prepare designs to be interpreted by embroidery artists in Britain, as the best needlework examples in the collection were foreign. The result was a touring exhibition of work by the Bromley College in London.
The scheme was disbanded in 1961 when funding was withdrawn, although it was recognised that the NDS had achieved its aims. The NDS had amassed 3000 textile items by this time, which were divided and distributed around universities, art schools, organisations and museums including the National Museum of Scotland, the Embroideries Guild and the V&A.