Showing 2408 results

Person/Organisation

Allison, Florence

  • S620
  • Person

Florence Allison attended The Glasgow School of Art in the 1918-19 session. She attended the Pollokshields Ladies Class, taught by Mr Davidson, where she was joined by a number of women from the south side of Glasgow.

Allison, Robert

  • S618
  • Person

Robert Allison, born on 3rd August 1901, attended The Glasgow School of Art at the end of the First World War taking evening classes in drawing and painting between 1918 and 1920 whilst working as a designer. After missing a year he returned for the 1921-22, 1922-23 sessions, again taking evening classes in drawing and painting. He exhibited on many occasions at the Royal Glasgow Institute of the Fine Arts between 1926 and 1953, mainly watercolour landscapes.

Sources; The Royal Glasgow Institute of the Fine Arts 1861-1989 Volume 1 - Roger Billcliffe

Amabile, John

  • S919
  • Person

John Amabile modelled in the 1984 fashion show. He studied Interior Design at the Glasgow College of Building and Printing. He is now a designer and television presenter, and co-director of Amabile Design, and has been production designer on a number of films and television programmes.

Sources: LinkedIn http://www.linkedin.com; The Can Group http://www.thecangroup.co.uk/jonathan-amabile/

Ancill, Joseph

  • S621
  • Person

Joseph Ancill was born in Leeds on 20th November 1896 to Cecilia and Simon Ancill. His family later moved to the Gorbals area of Glasgow where he lived with his parents, elder sister, Rhoda, and younger siblings, Reuben and Anna, later moving to the west end of Glasgow. He attended The Glasgow School of Art from 1911 and continued there as a day student of drawing and painting throughout the First World War period until 1919. Ancill was an accomplished painter and engraver and exhibited on many occasions at The Royal Glasgow Institute of the Fine Arts between 1918 and 1972 and also on five occasions between 1919 and 1961 at The Royal Scottish Academy. He had a particular talent for portrait painting and his subjects included: James Welsh, Lord Provost of Glasgow painted in 1945, which can be viewed at the Glasgow Museums Resource Centre; Ida Shuster, actress, painted in 1945 and part of the collection of The Scottish National Portrait Gallery and Sir Maurice Bloch, whisky merchant and benefactor to Glasgow University, painted in 1954 and part of the collection of The Scottish Jewish Archives Centre. Ancill died circa 1976.

Sources; The Royal Glasgow Institute of the Fine Arts 1861-1989 Volume 1 - Roger Billcliffe: The Royal Scottish Academy Exhibitors 1826-1990 - Charles Baile de Laperriere: Dictionary of Scottish Art and Architecture - Peter J. M. McEwan: Art UK, artuk.org: Ancestry, ancestry.co.uk

Anderson, Agnes Violet

  • P75
  • Person
  • c1912-2005

Agnes Violet Anderson was born in Hexham, Northumbria on 21 January 1912. She attended GSA from 1929-1935 studying Drawing and Painting and participated in the societies formed in that era at the School such as the Drama Society and the Kinecraft Society. She married Mr. Neish in the 1930s.

Anderson, Arthur Taylor

  • S625
  • Person

Arthur Taylor Anderson was born on 5th May 1892. He attended The Glasgow School of Art as an evening student of modelling in the 1915-16 session.

Anderson, Charles

  • P305
  • Person
  • 1936-

Anderson has been one of Scotland’s most successful mural designers and sculptors. Following a short period as an Art Teacher after his graduation from Glasgow School of Art in 1959, he embarked on a career as a professional mural painter and sculptor for the next 30 years. This was mainly major Art and Design projects throughout the United Kingdom, carrying out commissions for a wide variety of clients including local authorities, property developers, banks and major insurance companies. His last project before he retired as a sculptor was the prestigious sculpture for Livingston New Town in 1996 which was the result of winning a national sculpture competition to provide a bronze figurative group entitled “The community” for Livingston New Town. Since early 1997 he has returned to the painting of easel pictures and has exhibited at the Royal Glasgow Institute, the Royal Scottish Society of Painters in Watercolours, The Royal Scottish Academy, and several exhibitions in London. Charles has works in various private collections throughout the U.K. and abroad. Charles was elected R.S.W. in November 2004. He served as President of the Glasgow Art Club for three years until February 2009.

Anderson, Elizabeth

  • P328
  • Person
  • fl c1900s

Elizabeth 'Lizzie' Anderson attended The Glasgow School of Art (GSA) from 1898–1900 and was one of the first students to work in the newly-opened building designed by Charles Rennie Mackintosh.

Anderson, Jane Rankin

  • P821
  • Person
  • c1852-c1922

Jane R. B. Anderson attended the Glasgow School of Art from 1871 until 1883, although she may not have attended continuously during this time. Other information listed includes:

Address: 24, Gibson Street, Hillhead

Occupation: Draughtswoman

Student Career:

1876, Prize awarded in local competition, Stage 6b, for
figure shaded from flat.

Anderson, Mary C

  • S624
  • Person

Mary C. Anderson was born on 14th May 1899. She attended The Glasgow School of Art as a day student of drawing and painting in the 1915-16 session and again as an afternoon student of fashion plate in the 1918-19 session. At that time, she lived at Glenmavin, Renfrew.

Anderson, Nellie

  • S623
  • Person

Nellie Anderson was born on 20th August 1895. She attended The Glasgow School of Art from 1910 until 1915 as a day student of drawing and painting while living at Drumcavil Lodge, Gartcosh.

Anderson, Sheila

  • S764
  • Person

Sheila Anderson studied at GSA in the late 1970s and modelled in the 1978 fashion show. As at July 2017, she is a professional artist based in the south of England.

Source: Sheila Anderson Hardy, Artist http://www.sheilafineart.com/

Anderson, Steven

  • P348
  • Person
  • fl c1990s-

Steven Anderson is a Glasgow-based artist who studied at The Glasgow School of Art from 1993-1997, and at Duncan of Jordanstone College of Art and Design in 2007-2008.

Anderson, Walter

  • S626
  • Person

Walter Anderson was born on 8th September 1900. He is listed on The Glasgow School of Art registers of 1917/18 as an evening student of drawing and painting but it is noted that he returned to day school.

Anderson, William James

  • P259
  • Person
  • 1863-1900

William James Anderson was born at 17 Bell Street, Dundee, on 22 November 1863, the son of James Anderson, tea dealer, and his wife Margaret Steel. In August 1877 he was articled to James Gillespie of St Andrews, obtaining a place in the Edinburgh office of Robert Rowand Anderson and George Washington Browne. There he worked on Glasgow Central Station and other high-quality projects until about 1883 when he moved to Glasgow as chief assistant to Thomas Lennox Watson. While there he studied at Glasgow School of Art for sessions 1884-85 and 1886-89, and in 1887 he won the Alexander Thomson Travelling Scholarship which enabled him to spend five months in Italy in 1888. These studies were immediately reflected in the high-quality Renaissance detail of the ground floor of Watson's Citizen Building in St Vincent Place. In the following year he transferred to William Leiper's office to assist him with the equally high-quality detailing of the Sun Insurance Building, but the directories suggest that Leiper may have allowed him to commence a small private practice from his home at 62 Cadder Street, Pollokshields, to which he had moved from 10 Albert Drive Crosshill c1886-87.
In 1890 Anderson published his Thomson Scholarship drawings as 'Architectural Studies in Italy' and became president of the Glasgow Architectural Association. In the following year he left Leiper's and commenced his own practice at 136 Wellington Street with his younger brother Alexander Ellis Anderson (b.1866) as assistant, and secured elevation as ARIBA on 5 June 1893, having passed the qualifying examination. His proposers were William Leiper, Leiper's close friend W Forrest Salmon and Watson. There was not a lot of business in the first year or so but the Governors of Glasgow School of Art commissioned a series of seven lectures delivered at the Corporation Galleries in 1893-94 on the architecture of the Italian Renaissance as part of a Beaux-Arts inspired 'study the classics' programme for its architectural students. Of these lectures five were published by BT Batsford as 'The Architecture of the Renaissance in Italy' while the two introductory lectures were developed into a course on the history and development of Greek architecture followed by three lectures on Roman architecture, delivered in 1896-97. These were then put into book form as 'The Architecture of Greece and Rome' which was completed by R Phené Spiers and published by Batsford in 1902. As director he gave a further course on the various styles of architecture down to that time, and in the winter of 1898-99 he gave a further course dealing with the Renaissance in France. These he intended to develop into a third volume, but the texts were found not to be sufficiently complete for publication and eventually at the suggestion of Sir john W Simpson, Batsford commisioned a totally new book from W H Ward, published in 1911.
These scholarly activities and Anderson's fine draughtsmanship resulted in Anderson's appointment as Director of the Architectural Department at Glasgow School of Art in 1894 at the early age of thirty. This appointment gave him sufficient security to marry Agnes Inglis Dundas at the Cockburn Hotel, Glasgow, on 12 September and move house from 27 Westmorland Terrace (to which he had moved c1892) to 7 Waverley Gardens, followed by a further move to 1 Marlborough Gardens, Cathcart. The practice itself moved to 95 Bath Street, where he took chambers adjacent to those of Alexander Nisbet Paterson with whom he shared a single apprentice, Alexander David Hislop. Anderson's principal client was The Fireproof Building Company, the principal of which was a Mr Orr, a pioneer of pre-Hennebique reinforced concrete construction based on the use of steel beams, old rails and barbed wire. Orr was his own structural engineer and Anderson's superintendence correspondingly limited. In 1898 there was a partial collapse of the floors of Napier House in Govan Road which killed five of the men working on it. At the inquest the jury found that insufficient steel beams had been specified for the floors, but Hislop and Anderson's friend Alexander Wright's recollection was that the collapse resulted from a combination of a bad mix in the concrete and too early removal of the shuttering. Anderson suffered a nervous breakdown and had to become a patient at Gartnavel where he committed suicide with a razor on the evening of 25 March 1900. He was survived by his wife and an infant son who subsequently emigrated to Canada. His moveable estate amounted to £312 lls lld.
Shortly before his death, in or about 1899, Anderson appears to have formed a brief partnership with William Leiper for the commission for the interior work for SS Regele Carol I for the 'Roumanian Government'. It was run from Anderson's office at 95 Bath Street. As Anderson was in the middle of the Napier House inquest, Leiper must have been helping his former assistant with this particular job. Indeed it may have been that by this stage Anderson had been committed to Gartnavel Asylum and that Leiper stepped in to assist with all Anderson's jobs.

Anderson, William Smith

  • P73
  • Person
  • 1878-1929

William Smith Anderson (1878-1929), sometimes know as 'Jock' Anderson, was born in Kilsyth.A few years later his family moved to Kirkintilloch. On leaving school he was apprenticed to a firm of ironfounders, Messrs. Cameron and Robertson of Kirkintilloch, eventually becoming their commercial traveller. Much of his business was in England and after marrying Daisy McGlashan in September 1909 the family moved to Hexham, Northumberland.
Anderson attended GSA from 1897-1901 winning several Haldane Bursaries. From 1909 onwards he painted landscapes and street scenes in watercolour and oils. He also painted still life and interiors.
Student Career:
1897 Model Drawing Advanced 1st Class
Drawing Light and Shade Advanced 1St Class
Haldane Bursary 15/6
1898 Haldane Bursary 23/
1899 Drawing from the Life 2nd Class

Andrew, D P G

  • S149
  • Person

D P G Andrew was a student at The Glasgow School of Art c1914. He is listed on the School's World War One Roll of Honour. Please contact us if you have any information.

Andrews, Edith Lovell

  • P186
  • Person
  • 1886-1980

Andrews was born in Newport, Monmouthshire and studied at Glasgow School of Art (1908-10) and at Heatherley's School of Fine Art with Gerald Massey. She lived on Bellair Terrace, St Ives, and exhibited at Show Days well into the 1950s. A watercolourist, she painted local scenes, particularly around Zennor on the north coast. She also exhibited widely abroad.

Annan, James Craig

  • P8
  • Person
  • 1864-1946

Annan, James Craig (1864–1946), photographer, was born on 8 March 1864, the second of the seven children of Thomas Annan (1829/30–1887), photographer, and his wife, Mary Young Craig, at 15 Burnbank Road, Hamilton, Lanarkshire, in Talbot Cottage, named after William Henry Fox Talbot, the inventor of positive–negative photography. He learned about photography as a boy from his father, and after attending Hamilton Academy until 1877 he joined the family firm. In 1878–9, and probably longer, he studied chemistry at Anderson's College in Glasgow. He travelled to Vienna in 1883 to be taught the process of photogravure by its inventor, Karl Klí?; knowledge of this technique was particularly beneficial for his family's business, which specialized in the reproduction of works of art. He made beautiful photogravures about 1890 from the original calotypes taken just under fifty years earlier by his fellow Scots, David Octavius Hill and Robert Adamson: this revived an interest in these early masterpieces of photography. About 1891 Annan decided to follow his own interests as a creative photographer. Springing from the city of Glasgow's artistic stramash, he made fine portraits of the illustrator Jessie M. King (c.1906) and the embroiderer Ann Macbeth (c.1908), while his photograph of Charles Rennie Mackintosh (1893) has become the icon of that architect and designer. He also photographed Ellen Terry (1898), George Bernard Shaw (1910), and G. K. Chesterton (1912). Annan, ‘an artist by intuition and a photographer by training’ (Touchstone, 34), established a huge reputation by exhibiting, often by invitation, in numerous photographic exhibitions throughout Europe and the United States. His work was widely reproduced, often in such fine journals as Die Kunst in der Photographie of Berlin and Camera Notes and Camera Work of New York. His writing was also in demand: ‘Picture-making with the hand-camera’ in the Amateur Photographer of 1896 was translated for the Bulletin du Photo Club de Paris, and in 1897 extracts appeared in the Bulletin de l'Association Belge de Photographie. In the American Annual of Photography for 1897 this same article by Annan formed the basis of ‘The hand-camera’ by Alfred Stieglitz, with whom Annan was to enjoy a long correspondence. In this influential article Annan presumed that a photographer would ‘have some inherent artistic taste … assiduously cultivated by observing … all departments of the fine arts’. He advised that ‘the general composition [having been] first selected, … the operator should wait until the figures unconsciously group and pose themselves’ (‘Picture-making with the hand-camera’, Amateur Photographer, 23, 1896, 275–7). His recognition of photography's unique ability to seize the instant was diametrically opposed to the approach of Henry Peach Robinson, whose highly regarded Bringing Home the May (1862) was carefully preconceived and painstakingly assembled from nine separate negatives. ‘A connoisseur of transcience’ (Jeffrey, 98), Annan produced fresh, forward-looking photographs: The Beach at Zandvoort (1892), for example, catches fisherfolk in an almost abstract, asymmetrical frieze. Throughout his life he recorded movement—in 1894 the stride of The White Friars, in 1913 the swing of the driver's lengthy stick in Bullock Cart, Burgos—anticipating Henri Cartier-Bresson's ‘decisive moment’ by about half a century before that phrase was defined. Annan's The White House (1909) is now considered to be ‘one of the seminal examples of the instantaneous snapshot wedded by vision to the formal concerns of modern art’ (Green, 22). In photogravure, images are transferred from negatives to plates which can be worked, as would an etcher, before printing, a technique which Annan exploited brilliantly. In The Etching Printer (1902), for instance, he softened the background to emphasize William Strang's intense, practised glance at the etching plate balancing so delicately on his fingers. A lifelong bachelor, Annan was tall, and had a characteristic bald cranium well depicted in a drawing of 1902 by Strang. He was precise and businesslike and despite his achievements modest, unassuming, and retiring. He died of carcinoma of the stomach at his home, Glenbank House, 1 Beechmount Road, Lenzie, Dunbartonshire, on 5 June 1946 and two days later was buried in the Auld Aisle cemetery at Kirkintilloch. It was not until the late 1970s that interest in his work revived. Yet at the end of the nineteenth century and the beginning of the twentieth, when photography was fighting for recognition as an art in its own right, he was ‘universally conceded … to be one of the ablest, the most gifted, most artistic of the really great pictorial photographic leaders of the times’ (Keiley, 197).

Appleby, William Crawford

  • S627
  • Person

Wilfred Crawford Appleby was born on 28th January 1889 in Dudley, Worcestershire. He attended The Glasgow School of Art from 1917 until 1919 taking evening classes in modelling and architecture whilst working as a sheet metal worker and engraver. From 1912 to 1954, with the exception of 1913 and 1944, he exhibited works at the Royal Glasgow Institute of Fine Arts every year, usually two or three works a year. He mainly exhibited etchings of Glasgow architectural scenes, but also scenes elsewhere in Scotland, England and abroad, including Paris and Venice. He also exhibited frequently at the Royal Scottish Academy between 1918 and 1954 and at the Aberdeen Artists Society as well as elsewhere in Scotland and overseas.

Archibald, John

  • S150
  • Person

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

If you have any more information, please get in touch.

Armour, Fiona

  • S765
  • Person

Fiona Armour was a Textiles student at GSA from 1975, and designed garments for the 1978 fashion show. As at July 2017, she is an Art and Design Teacher and Costume Designer in Edinburgh.

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

Armour, Mary

  • P822
  • Person
  • 1902-2000

Mary Nicol Neill Steel was born in Blantyre as one of 6 children of a local Steelworker. She attended Hamilton Academy, where her talent was recognised and encouraged by the art mistress, Penelope Beaton (who later went on to teach at Edinburgh College of Art). The training that Mary received whilst at Hamilton Academy would have stood her in good stead when she started her training at Glasgow School of Art.

For her first two years at Glasgow School of Art, Mary Armour spent her time on a General Course that included classes in Design, Leatherwork, Embroidery, Metalwork, and Drawing and Painting. This was not uncommon at this time, with students deciding upon their specialism after the second year. She concentrated on Painting.

When Mary Armour attended Glasgow School of Art the head of painting was Maurice Griffenhagen, assisted by David Forrester Wison. These two men would have had contrasting and valuable influences upon the work of many students of the school at this time, and this can be seen in some of Mary Armour's early work. However, this is not to say that she did not have a very distinctive style of her own. Indeed, her diploma show exhibition showed an unusual break from tradition. It is probably this boldness and break from tradition that prevented Mary Armour from obtaining the Newbery medal, for the "Most distinguished Student of the session completing the diploma course"; Charles C. Baillie instead being awarded it. However, in 1924 (the year she was granted her diploma) she was successful in winning a maintenance bursary worth £66; one of just 3 Drawing and Painting students to be so recognised. That year only 26 students out of the 33 students who submitted work for the diploma examination were successful. This is despite the assessors' report that was published in the Glasgow School of Art Annual Report, 1924-5, stating that the teaching of drawing and painting in the school was at this time "excellent and inspiring".

After obtaining her diploma from Glasgow School of Art, Mary Armour took a post-diploma year of professional training to become qualified as a Teacher of Drawing under the regulations of the Scottish Education Department. This led her to take up school teaching in the Glasgow area. As was the lot of newly-married women teachers at this date, she was forced to resign upon her marriage to William Armour (whom she met whist at Glasgow School of Art) in 1927. This however, did afford her more time to devote to her painting, and it was in this year that she received the Guthrie Award at the Royal Scottish Academy.

In 1951, Mary Armour returned to Glasgow School of Art to teach still life. It was an association that lasted long after her retirement form teaching in 1962; in 1993 Mary Armour was created (along with David Donaldson) one of the first Honorary fellows of Glasgow School of Art. Mary Armour also served as a governor of the school from 1964-70, and in December 1982 she was elected Honorary President.

The Director of Glasgow School of Art Seona Reid perfectly sums up the contribution Mary Armour made to GSA and to the art world in general; Mary Armour may have been 98 when she died but her spirit was indefatigable. Even when she was well in to her nineties she took a lively and active interest in Glasgow School of Art where she had studied in the 1920's and of which she was Honorary President. She was one of Scotland's most famous women painters at a time when being taken seriously as a painter was already difficult far less as a woman painter. The exuberance of her work - her best known being those wonderfully colourful flower canvases - and the exuberance of her personality brought her through all potential barriers to an appreciative and adoring public.

GSA 1920-1925 (student)

1951-1962 (staff)

1964-1970 (governor)

Armour, William

  • P47
  • Person
  • 1903-1979

Born Paisley, 20 Aug. Painter in oil, watercolour and pastel, also a wood engraver; portraits, landscapes and figurative subjects. Son of Hugh Armour, a designer. Educated first in Paisley and then at Glasgow School of Art (1918-1923) under Maurice Greiffenhagen. Joined the staff of the Glasgow School of Art in 1947 becoming Head of Drawing and Painting in 1955. Retired 1957. The influences which remained with him until the end of his life were, in the field of watercolour, Cotman de Wint, and Turner; in oil it was Velasquez, and in drawing Holbein and Degas. His many pastel portraits were informed by a fine command of draughtsmanship. Married Mary Armour 1927. Elected RSW 1941, ARSA 1958, RSA 1966. Represented in SNGMA, Aberdeen AG, Dundee AG, Glasgow AG, Greenock AG, Lillie AG (Milngavie), Paisley AG, Pert AG, SAC & Belfast AG.

Armstrong, Alan Ronald

  • S628
  • Person

Alan Ronald Armstrong was born on 12th August 1894. He attended The Glasgow School of Art as an evening student from 1912 until 1915, taking classes in modelling and drawing and painting whilst working as a ticket writer and a jeweller's assistant.

Armstrong, Lewis

  • P548
  • Person
  • 1990-

W.O Hutchison purchase prize winner, Architecture, June 2015

Armstrong, Lyz

  • P649
  • Person
  • fl 1970s-

Lyz Armstrong studied Printed Textiles at GSA from 1975 and designed garments for the 1978 fashion show. She then trained in teaching and business management.
In 2011 Lyz became a faculty instructor in Textile Design, at The Academy of Art University in San Francisco. She has also designed and developed products for a wide range of clients.

Arroll, Richard Hubbard

  • P393
  • Person
  • 1879-1917

Richard Aroll was a student at The Glasgow School of Art from 1893-1902. He features on the Roll of Honour in Glasgow's Arlington Baths. The School presents a Richard H Arroll prize in metalwork.

Arthur, Anne Knox

  • P723
  • Person
  • c1872-1949

Glasgow embroiderer and teacher.

GSA student in 1908/9 (age given as 36), 1909/10 and 1911/12, with her occupation given as Teacher.

Member of GSA staff in the Needlecraft and Embroidery departhment from 1912/13 to 1930/31. One of an active group of designers working in Glasgow during the 1920s and 30s. In 1928, she succeeded Ann Macbeth as head of the Embroidery department. Arthur also taught china painting and decorative leatherwork. She relinquished her GSA post in 1931 in order to establish the 'Arthur Studios' at 15 Rose Street.

Author of "An Embroidery Book". GSA Annual Reports record that she died during the 1949/50 academic session.

Arthur, Liz

  • P71
  • Person
  • fl c1970s-

Liz Arthur was the curator of costume and textiles for Glasgow Museums and the Burrell Collection for many years. She is a former Chairman of the Renfrewshire Branch of the Embroiderer's Guild and has worked at the Glasgow School of Art in various capacities. 
She is a researcher, exhibition curator, lecturer and writer. While writing 'Robert Stewart Design : 1946 - 95' she consulted Robert Stewart's family, friends & colleagues and made use of the Glasgow School of Art's Archives and Collections Centre.
She has written a number of other books including, 'Kathleen Whyte : Embroiderer', 'Kathleen Whyte : Design in Embroidery', 'Margaret Swain : Scottish Embroidery', 'Twentieth Century Embroidery in Great Britain', 'Embroidery for Religion and Ceremonial' and 'Embroidered Church Kneelers'.

Artist Teachers' Exhibition Society

  • C31
  • Corporate body
  • fl c1910-1916

The Artist Teachers' Exhibition Society was established c1910-1911 in Glasgow, Scotland, and was open to all who were artist teachers, with its object being to maintain a high standard of personal work on the part of its members. James A Dron acted as Secretary and Treasurer for the Society.
The first exhibition was held in 1911 and the fourth in 1916, an exhibition which gave its proceeds to the Scottish branch of the Red Cross Society and the Soldiers' & Sailors' Families Association. Members included many staff from The Glasgow School of Art, including Fra Newbery, Ann Macbeth and Maurice Greiffenhagen as well as teachers from other institutions in Scotland.

Artot, Paul

  • S57
  • Person
  • 1875-1958

Paul Artot was born in Brussels on the first of February 1875. He studied at the Academie Royal des Beaux Arts de Belgique.

Artot was interviewed by the school's director Francis Newberry in Florence in 1902. In the early twentieth century, Newbery began recruiting for staff elsewhere in Europe under a set of criteria from the government's director for art. These criteria had been drawn up to ensure that The Glasgow School of Art established itself as a leading art school in the UK. The school had previously recruited Jean Delville, another Belgian artist who was educated at the Societe Royal des Beaux Arts de Belgique. Artot was appointed as a result of a second recruitment of staff by Newberry.

Paul Artot taught Drawing and Painting at the school between 1902 and 1912. He was first a professor of antique still life classes before moving on to teach life drawing classes using live animals (1903-1910). He became head of these classes in 1910 before being appointed head of life and costume model (1911-1912).

Artot was heavily inspired by the precise, Neoclassical style of Jean Auguste Dominique Ingres. He brought this inspiration into his drawing classes, encouraging his students to develop a chemical understanding of their pigments and to draw with chalk pencils rather than traditional charcoal. He was also on the staff council between 1908 and 1912.

Artot died in Brussels in 1958. The Glasgow School Of Art Archives and Collections hold several photographs featuring him in the collection. There are also references to him within our Director's Papers for Francis Newbery (GSAA/DIR/5) and our Secretary and Treasurer papers (GSAA/SEC).

Sources used: The Flower and the Green Leaf by Ray Mckenzie, GSA Archives and Collections Annual Reports (GSAA/GOV/1) GSA Archives and Collections Prospectuses (GSAA/REG/1) Website for the Academie Royale Des Beaux-Arts in Brussels: http://www.arba-esa.be/fr/home.php.

Asiedu, Mary

  • P440
  • Person
  • fl c1980s-

Mary graduated with BA (Hons) from Glasgow School of Art in 1987. She has held various positions including opening her own Graphic Design practice and at present is a director of a technology consultancy company in Edinburgh. She is also Stage 2 Lecturer at Edinburgh College of Art.

Assafrey, Alma Fedora Maude

  • S546
  • Person

Miss Alma Fedora Maude Assafrey was born in Glasgow in 1888. Her father was Alexander Thomas Assafrey an immigrant from Russia, and a well-known confectioner in Glasgow. Mr A T Assafrey commissioned John Honeyman & Keppie to design a chimneypiece for his Sauchiehall Street shop in 1893 and he was admitted as a lay member of the Glasgow Art Club in 1895 Miss A F M Assafrey studied drawing and painting at Glasgow School of Art. In 1909 she won the Director's prize for figure competition. She later joined the staff of the GSA as a Wardrobe Mistress (1909/1910). She may have been involved in the creation of four decorative panels for the new Possil Park Library. In 1913, she became engaged to one of her teachers, Alexander J. Musgrove, who had just been chosen as founding principal of the new School of Art in Winnipeg. He took up his position on June 27, 1913. Miss Assafrey joined him in Winnipeg in April or early May 1914. However she decided to return home. She died in the wreck of the Empress of Ireland on May 29 1914. She is buried in the Craigton Cemetery in Glasgow.

Sources:

Atherton, Barry

  • P322
  • Person
  • 1944-

Atherton was a student at Manchester College of Art and Design, Leverhulme Scholar, Royal Academy Schools. He later went on to become a member of staff at the Glasgow School of Art from the 1970s until 2003. He is known for his portraits.

Auld, Alexander C S

  • S151
  • Person

Alexander Cosmo Smith Auld was born in 1888. He studied architecture at The Glasgow School of Art from 1908 to 1913 under Eugene Bourdon. In 1914 he enlisted voluntarily, joining the Gordon Highlanders regiment. He moved to London after the war where he worked as a senior assistant with Sir Herbert Baker until transferring to the Miner's Welfare Commission (MWC). In 1951 he moved to Scotland to work for the Scottish Division of the MWC, where he worked on designs for a number of projects including pithead baths, medical centres, canteens, and recreational centres. He died in Kent in 1969. Auld is listed in the School's World War One Roll of Honour. Please get in touch

If you have any more information.

Sources: http://www.scottisharchitects.org.uk

Avella, Alfredo

  • P709
  • Person
  • 1924-1982

Alfredo Avella, DA AMGP, was born in Cava de Tirreni in Italy in 1924. He studied part time under Hugh Adam Crawford at Glasgow School of Art, attending evening classes between 1946-1948 and the early 1950s. Avella was encouraged by John Duncan Ferguson and exhibited as an independent with the New Scottish Group at McLellan Galleries in 1956. Two early paintings from the period are on permanent view at The Ferguson Gallery in Perth. He studied Stained Glass at the Glasgow School of Art, graduating in 1965. He was made an associate of British Society of Master Glass Painters in 1966. He became a visiting member of staff at Glasgow School of Art in 1968 and was a full time lecturer in the Stained Glass and Murals department between 1969 and 1982.

Continuing to be a painter and stained glass artist in Scotland, Avella was awarded a Scottish Arts Council Visual Art residency in Amsterdam in 1980. He had many one man shows and group exhibitions in Scotland, including; Royal Scottish Academy, Edinburgh and The Talbot Rice Gallery, University of Edinburgh in 1980. He undertook many commissions in stained glass in Scotland including; Drumchapel St Andrews Church, Glasgow, McTaggart Memorial Westpark Church, Denny, Denny Civic Hall, Craiglockhart Parish Church, Edinburgh, St John the Baptist Church, Port Glasgow, St Mark’s Church, Oxgangs, Edinburgh, Joy of Life, Queen Margaret's College, Edinburgh College of Domestic Science, Musselburgh, Glasgow Police Federation in Woodside Place, Glasgow. Avella died in Glasgow in 1982. The Glasgow School of Art Archives and Collections hold photographs, slides and a number of stained glass cartoon drawings of his work in Scotland.

Avella, Vianney

  • S767
  • Person

Vianney Avella was a Textile Design student at GSA from 1974, and designed and modelled garments for the 1976, 1977, 1978 fashion shows.She was also the compere at the GSA Fashion which took place at the Contemporary Arts Centre in Sauchiehall Street. She was awarded the Newbery medal in 1978 and went on to do a postgraduate in Theatre Design at the Slade School of Fine Art, UCL, London. She worked as a costume designer for the BBC in the 1980s and 90s and later as a theatre costume designer in The Netherlands. As of January 2018, she is an independent creative consultant and lives the Netherlands. Her father was Alfredo Avella, who taught stained glass and murals at the Murals and Stained Glass department, Design and Crafts Course at GSA in the 1960s and 70s.Vianney is joint curator of the Alfredo Avella stained glass and paintings collection.

Sources: Information provided by Vianney Avella herself; GSA Annual Report 1977-78 GOV/1/10; LinkedIn http://www.linkedin.com; International Movie Database http://www.imdb.com/name/nm0042880/?ref_=fn_al_nm_1

Ayles, Carrington N

  • S152
  • Person

Carrington N Ayles studied art and design at The Glasgow School of Art from 1894 to 1900, before moving to Ayr. He is listed in the School's World War One Roll of Honour.

If you have any more information, please get in touch.

B G Models Ltd

  • C50
  • Person
  • 1991-

Beginning his career as a Professional Modelmaker in 1977 Brian Gallagher founded B. G. Models Ltd in 1991, originally based in the Templeton Business Centre, Glasgow. Over the years the Company has built a reputation for outstanding quality and creativity, specialising in the construction of high specification Architectural models. In 2001 the Company relocated to a new Studio in the historical country town of Biggar, South Lanarkshire. The Company has continued to perfect the production of hand crafted models.

Baikie, Hamish

  • S1192
  • Person

Born in 1898, Hamish Baikie took evening classes in Drawing and Painting at the Glasgow School of Art between 1918 and 1919. Although originally from Maybole, Ayshire, Baikie lived on Kent Road in Glasgow while studying.

If you have any further information about Hamish Baikie, please get in touch.

Baillie, Alex

  • S153
  • Person

Alex Baillie was born in 1894. He attended The Glasgow School of Art from 1913-1914, during which time he lived in Crosshill and worked as an apprentice architect. He is listed in the School's World War One Roll of Honour.

If you have any more information, please get in touch.

Baillie, Charles Cameron

  • S1197
  • Person
  • 1901-1960

Charles Cameron Baillie began attending Evening Classes in Painting and Drawing in 1918, while working as a Scientific Instrument Maker. He continued attending evening classes until 1922, when it seems he ceased work as a scientific instrument maker, and began attending day classes in drawing and painting for the next three years. During his time at the GSA, Baillie lived on New City Road, and Maryhill Road.

After leaving the GSA, Baillie became successful as both a painter and interior designer. Notable exhibitions include 1931 and 1959 at the Royal Scottish Academy, and 1925, 1927, 1930, and 1931 at the Royal Glasgow Institute. He also worked for shipping companies; hired by Cunard in the 1930's, he was responsible for the interiors of the luxury liner Queen Mary. This, in turn, led him to design the interior for Rogano Restaurant in Glasgow, which still boasts its original interior. Baillie is also quite well known for his painting, particularly his strongly stylised portraits, and studies of life on the South Pacific - examples can be seen in the Hunterian Art Gallery, Glasgow.

If you have any further information, please get in touch.

Sources: Scottish Dictionary of Artists and Architects, RGI Dictionary, RSA Dictionary, roganoglasgow.com

Baillie, Martin

  • P171
  • Person
  • 1920-2012

Born Edinburgh. Painter in oil; genre and urban life art critic and teacher. Educated Royal Highland School and Edinburgh College of Art. During WW2 served with the RAF in Burma and India. Immediately after the war he studied in France, Italy and Spain, having been awarded the Andrew Grant and Andrew Carnegie travelling scholarships. Teacher of drawing, Edinburgh College of Art 1947 and in 1950 became Senior lecturer in painting at Leeds CA before returning to Scotland to take up senior lectureship in art history at Glasgow University, remaining there 1954-1985. Between 1970-1980 art critic of the Glasgow Herald.

Baillie, William

  • S582
  • Person

William Baillie was born on the 18th February 1893 or 1895. Baillie studied at the Glasgow School of Art in 1914 and 1916, where he took evening classes in architecture. He was articled to Lennox & MacMath in 1910, during which time he also studied at the Royal Technical College. On completion of his apprenticeship he spent two years as an architect's assistant with John Hamilton & Son in Bath Street, Glasgow. He passed his qualifying exam in London in 1922. He was admitted ARIBA later that year, his proposers being John Hamilton, Colin Sinclair and Alexander Nisbet Paterson. Thereafter he practised for a time from his home in Scotstoun.

If you have any more information, please get in touch.

Sources: the Dictionary of Scottish Art and Architecture by Peter J M McEwan; Scotland's People: http://www.scotlandspeople.gov.uk.

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