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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.

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The scheme was disbanded in 1961 when funding was withdrawn, although it was recognised that the NDS had achieved its aims.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.

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 student representative system is run in partnership with the GSA Learning and Teaching Team and the GSA Students’ Association (GSASA). The GSASA is an independent body that represents student interests, runs events and opportunities, and provides advice and advocacy. GSASA is committed to widening access to education and the arts, and is committed to offering opportunities for the personal and professional development of its student members during their time at GSA.

The GSASA is a registered Scottish charity and is overseen by a Board of Trustees. Each year, it receives a block grant from the GSA that goes into supporting student societies, exhibitions, projects, student-run events and the activities of the Student Representative Council (SRC).

The SRC is the independent representative body of students at the GSA - they can run campaigns and support student initiatives in GSASA and GSA. The SRC is elected through the class rep systems and at meetings of members such as the Annual General Meeting. The SRC is made up of a Campaigns Committee, Funding Committee and Societies Committee. These committees are chaired by the Student President and Vice President and supported by the wider team at the Students’ Association.

The Student President works with GSA and the Students’ Association for the benefit of students across the School. They influence learning and teaching strategy and student welfare matters, develop the class and lead rep programmes and campaign for issues that matter to students.

The Vice President responds to emerging needs and issues raised by the student body through the programming of social, learning and professional practice events and projects. They work with students to develop student-led extra-curricular initiatives, lead on Degree Show celebrations, and help support and develop student societies.

The Academic Engagement Coordinator supports student voice activities, such as the election and training of student representatives, and helps students to be partners in the quality of their learning experience. They are there for students to speak to about becoming a rep, running for a sabbatical officer position, or volunteering for the Students' Representative Council. They are also the main contact for students needing to make appeals, complaints, or who are facing disciplinary procedures.

The Community & Societies Engagement Coordinator focuses on supporting and developing student societies, groups and sports. Students should speak to them about setting up a society, society funding, boosting engagement with your society and exploring its structure, sports teams and activities, or events that work with the local community or develop student community.

The Digital & Communications Coordinator supports students and their representative groups to manage online spaces and communications at the GSASA. They can assist students in anything relating to the Association’s digital platforms including its newsletter, social media channels, website and Canvas pages.

The Chief Executive supports the governance of the GSASA, working collaboratively with its Board of Trustees and elected student Sabbatical Officers in operating Glasgow School of Art Student’s Association as an effective charitable organisation promoting the welfare and interests of all students of GSA. They provide management and support for the Association’s staff and facilitate use of the GSASA building in both commercial and student engagement activities.

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 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.

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.

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 Art Club, which has occupied its existing Bath Street premises since 1893, was founded in 1867 by William Dennistoun, a young amateur artist who had been forced by ill health to leave the city. On Saturdays his friends went to see him at his cottage in rural Old Kilpatrick to draw and paint together. Dennistoun proposed that they should form an art club. He and 10 others, all amateur artists, held preliminary discussions in a tearoom above a Candleriggs baker's shop before launching the club in the Waverley Temperance Hotel in Buchanan Street. At their monthly meetings each member would bring a painting, usually a watercolour, and the others would comment. At times there could be fiery disputes. Membership grew in the 1870s, professional artists began to join, and exhibitions were held. Not surprisingly, the limitations of a temperance hotel began to be felt and in 1875 the club moved to a Sauchiehall Street hotel, also called Waverley, where something stronger than tea was to be had and annual dinners could be held in suitable style. A little later rooms were rented for six months at a time in the Royal Hotel, George Square. Life classes were held and occasional sketching classes. It was time for the club to find a place of its own, and in 1878 it moved to 62 Bothwell Circus and despite the depression following the City of Glasgow Bank failure, enough money was raised from the sales of paintings to help pay for the rent and furnishings and to hire a houskeeper. The continuing need for cash, however, helped to propel the club towards a critical move - the admission of lay members, which in any case was in tune with Glasgow's awakening interest in the arts. This proposal was strenously resisted at first but by the mid-1880s the painter James Guthrie was among influential members arguing successfully for change and male lay members began to be admitted, although women had to wait until 1983. To accommodate all the newcomers the club rented a new home at 151 Bath Street but this in turn was soon found to be cramped. It was time for Glasgow Art Club to buy its home. Two adjacent town houses were bought in Bath Street. John Keppie, already a member of the club, was put in charge of their conversion and he also created an adjoining gallery in the small back gardens. There is recent evidence that the young Charles Rennie Mackintosh had a hand in some of the gallery's ornamental details.The scene was thus set for countless dinners, dances, concerts, lectures and not least, exhibitions. The new rooms were opened on June 14, 1893. A short history of the first 100 years of the club, on which much of the above account is based, was written by the late J.M. Reid in 1967. [u]Famous Members[/u] Artist members of times past included James Guthrie and E. A. Walton, along with several other Glasgow Boys, although the pioneers of this group had initially been refused membership. Fra Newbery, the colourful head of Glasgow School of Art, was a member, as were many of his successors. Other notable members have included the photographer and art dealer James Craig Annan; the picturesque R.B. Cunninghame Graham, pioneer Scottish Nationalist and horseman of the South American pampas; Neil Munro; O.H. Mavor (James Bridie); and John MacCormick, leader of the Covenant movement for Scottish home rule. Among more recent artist members were David Donaldson, Alexander Goudie and Emilio Coia.

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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.

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 Carron Company was an ironworks established in 1759 on the banks of the River Carron near Falkirk, in Stirlingshire, Scotland. The company was one of the largest iron works in Europe through the 19th century. After 223 years, the company became insolvent in 1982 and was later acquired by the Franke Corporation, being rebranded Carron Phoenix.

Architectural journal, based in Manchester.

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.

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.

Mabel Thatcher (date of birth unknown) was an evening pottery and stained glass student at The Glasgow School of Art for the 1918/19 session. She lived in the Garnethill area of Glasgow.

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David Gray Terrace was born on the 15th of March 1893 in Carmyle, son of Janet Terrace (née Gray) and John Alexander Terrace, a master plumber. Terrace attended The Glasgow School of Art from 1913 to 1914 as a part time student though his class is unmarked. He is noted to have had a senior art bursary. He was also enrolled to study from 1914 to 1915 but dropped out to serve in the First World War as a Private in the Royal Scots Labour Corps 13th battalion. He first served in France from the 9th of July 1915. After the war, he returned to GSA to study part time design from 1920 to 1921 whilst employed as a sanitary engineer. Terrace's Short Service Report details that his trade was engineering and that he was an apprentice plumber alongside his father for four years, but also that he has "given up". From the Parish of Old Monkland, Terrace enlisted on the 1st of September 1914 and was made a special reserve on the 3rd of September. On the 6th of July 1916, he was admitted to hospital in Boulogne with a gunshot wound to his left leg and remained there for 57 days before being discharged. The record also details minor offences committed such as on the 11th of January 1915, when on active service he was absent from a parade at 5:30pm. As a punishment, Terrace was confined to the camp for two days. Other offences such as a parade absence until 8:30pm on the 17th of November 1916 resulted in Terrace being refused 8 days of pay, and also for having a dirty rifle while on active service for which he spent another two days confined to camp. He is described as being 5 foot 3.5 inches tall, weighed 8 stone 9lbs, had a "fresh complexion" with brown hair and bluish grey eyes. He is also noted as a Presbyterian. Terrace died in the South of Glasgow in 1968, aged 75. Terrace is commemorated on The Glasgow School of Art's First World War Roll of Honour.

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Sources: Ancestry: http://home.ancestry.co.uk/; Scotland's People: http://www.scotlandspeople.gov.uk;

George Ternent (born on the 31st May 1890) attended The Glasgow School of Art between 1908 and 1918. He worked as an insurance clerk during this period. Ternent studied drawing and painting and life as an evening student. In 1915, Ternent exhibited an engraving entitled 'The Visitor' at The Royal Glasgow Institute of Fine Arts and a painting, also entitled 'The Visitor', at The Royal Scottish Academy. In the Dictionary of Scottish Art and Architecture, Ternent is described as an 'obscure Glasgow engraver'.

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George Tennant was a student at The Glasgow School of Art between 1892 and 1894.

John Telford is noted on The Glasgow School of Art registers as being born on the 12th of November 1881, though there are no exact matches on Scotland's People or Ancestry to confirm his date and place of birth. This may be an error in the student registers. Telford attended The Glasgow School of Art from 1905 to 1906, and again from 1907 to 1908 as a part time student of drawing and painting. From 1908 to 1912, he studied as a full time student of drawing and painting. From 1907, he is recorded as holding an occupation as a teacher. During the First World War, Telford served as a Corporal in the Royal Scots Fusiliers as well as the Royal Scots. He was awarded a Distinguished Conduct Medal. He is commemorated on The Wishaw High School First World War memorial which was unveiled by Reverend J. A. F. Dean on the 24th of June 1920. It is likely that this is the school he taught at whilst studying at The Glasgow School of Art. Telford is commemorated on The Glasgow School of Art's First World War Roll of Honour.

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Sources: The Scottish Military Research Group: http://warmemscot.s4.bizhat.com/warmemscot-post-71035.html

Alex Telfer 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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Hock Aun Teh (郑 傅 安) (b. Malaysia), was the first graduate of The Glasgow School of Art’s Drawing and Painting Department from Asia, (studying 1970-1974). Teh was born to Chinese parents and grew up in Sungei Gedong, a remote village in Malaysia, and did not know where Glasgow was until he applied for a visa. He was trained originally in Malaysia focusing in traditional Chinese ink painting, focusing on birds, bamboo, flowers and landscapes with waterfalls. Teh considers his work contains four different cultural elements: his sense of colour which is bright and strong, and is unmistakably tropical; the calligraphic effect, which is Chinese; the materials, which are Western and his techniques, which are unique and personal to his ways of working. His works are in collections including GOMA and The National Art Gallery of Malaysia.

In recent years, Hock-Aun has begun to include sculpture in his oeuvre. This has resulted in several large-scale public commissions in mainland China, including a piece for the 2008 Beijing Olympics, a 17.2m painted steel structure for Yantai Universal in Yantai (2010), a 4m bronze for the City of Tonglin (2013) and an 8m painted sculpture for The City of Chang Chun (2019).

He holds Black Belt 6th Dan in Taekwon-Do and is the Grandmaster and Founder of Tukido.

Born Lennoxtown. Painter in oil of portraits, landscapes, figures and abstracts. Trained Glasgow School of Art and Melbourne University. Influenced by J D Fergusson and Picasso. His output was limited by preoccupation with the mental techniques of his art. Exhibited GI from Whitefield Lodge, Lennoxtown.

William Taylor was born in Glasgow on 13th August 1895, son of Christine Brown Taylor (née Knight) and William Taylor, a journeyman joiner. Taylor attended The Glasgow School of Art from 1912 to 1915 as an evening student of drawing and painting. As noted in the student registers, Taylor's occupation changed from designer (1912-13), to colourist (1913-14) and finally to carpet colourist (in 1914-15). During 1913 -14, Taylor was awarded £3 bursary and his address at that time was given as 114 North Street, Charing Cross, Glasgow.

During the First World War, Taylor was a Private assigned to the Territorial Force in the 5th Battalion of the Scottish Rifles, and his regiment number was 415913. From the medical inspection form signed by Taylor on 19th January 1916, it seems that he was employed as a woodcarver in Glasgow and his address at that time was given as 38 Phoenix Park Terrace, Glasgow.

Taylor was wounded in action on 25th September 1915; however he re-joined his unit on the 6th of October 1915 and continued his service. William Taylor seemed to serve in the army for over 4 years and 203 days, a much longer period of time than most of the men during the First World War. According to the military records, on 4th September 1918 Taylor's father also joined the army, at the age of 45, and was assigned to the 1st Battalion Army Service Corps (823/18) as a learner driver, guaranteeing him 4th Rate Corps Pay.

It is unclear what happened to William Taylor after the war, even though we know he came back to Glasgow and was awarded the OHMS Medal in March 1922. His death and date place is still unknown. William Taylor 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 Henry Taylor was born on 11 July 1886 in Perth, one of 3 children of Mary (nee Jackson) and Robert Duncan Taylor, a draper. He studied at The Glasgow School of Art for the 1913-14 session as an evening student of architecture. He worked during the day as an assistant architect with Glasgow architectural practice, Stewart and Paterson, accomplished designers in late Gothic, Scots Renaissance and Scots vernacular. At the beginning of the 1914-15 session, Taylor resigned from his place at art school to join the army. He served with the Royal Engineers in France with the 102nd Field Company in the 23rd Division of K3, Kitchener's 3rd New Army. In 1916, 102nd Field Company took part in the Battles of the Somme including the Battle of Albert, in which the Division played a part in the capture of Contalmaison, The Battle of Bazentin Ridge, The Battle of Pozieres, The Battle of Flers-Courcelette, The Battle of Morval and The Battle of Le Transloy and were involved in the capture of Le Sars. On 5 February 1917, Taylor married Catherine Stewart Wilkie of Carnock House, Carnock, Fife, the daughter of a retired factory manager. They were married in Dunfermline by the minister of Dunfermline Abbey, Taylor was 30 at the time and his wife, 38. It is probable that Taylor was subsequently injured in battle and returned to England. He died from his wounds on 13 June 1917, just a few months after his wedding day, and is buried at Earlsfield Cemetery in Wandsworth. Robert H Taylor is commemorated on The Glasgow School of Art's First World War Roll of Honour.

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Sources: Scotland's People: http://www.scotlandspeople.gov.uk; Ancestry: http://www.ancestry.co.uk ; the Dictionary of Scottish Architects: http://www.scottisharchitects.org.uk; The Long Long Trail: http://www.longlongtrail.co.uk; Commonwealth War Graves Commission http://www.cwgc.org

Nell Sutherland Taylor (born 30th September 1900, from Kilmacolm) studied Drawing and Painting and Design at The Glasgow School of Art between 1917 and 1919. Taylor attended the School three days a week.

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