- c1807-1886 (Creation)
Level of description
0.30 Linear Feet
Content and Structure
Scope and content
Scrapbook with 218 pages containing works by
- John Wilson Ewbank (1)
- J. Finnie (1)
- Rev. John Thomson of Duddingston (1)
- Archibald Alison (1)
- I.M. Donald (14)
- G. Huntly Gordon (1)
- John Crawford Brown (5)
- Robert Maxwell Cooper (19)
- W. Gordon (2)
- Andrew MacLure (2)
- William D. K. Mason (8)
- and J. Mylne
A list of all entries in the scrapbook, giving the page number:
- Inside cover bookplate's message: Robb, Glasgow J. Mylne
- P.1 (i) Tib M'Cauly's Yae Son by Stumps with illustrations [ink, with decorative sketches]
- P.2 (i-v) Printed etchings, possibly of scenes from novels and decorative vases
- P.3 Two watercolours, unsigned - (i) A street scene - shows ruined houses (ii) Rural scene - two men by a tower
- P.5 Two watercolours, unsigned - (i) A street scene, shows houses (poss. continental) (ii) Coastal scene with sea and sky
- P.7 Two watercolours, unsigned - (i) Rural scene - lane with houses (ii) Maritime scene - fishing boats on beach with hills behind
- P.9 Two watercolours, unsigned - (i) Church/abbey (ii) River valley with fisherman
- P.11 Two watercolours, unsigned - (i) Fishing boat by harbour (poss. Egyptian) (ii) Woodland, name on back -G. Gower/Gowie
- P.12 (i) Print of etching, entitled George Cruickshank (ii) Watercolour of Mediterranean scene (i-iv) Cuttings from papers and magazines
- P.13 (v) Pencil drawing of cottage and ruined tower, signed R. Leslie (vi-vii) Cuttings of etchings
- P.15 (i-iii) Copies of etchings, including animals, a ruined cathedral and the doorway to the Hall of Eltham Palace
- P.17 (i) Watercolour of woodland and castle
- P.19 (i) Ink sketch of three figures, initialed IMD for JMD] (ii) Pencil sketch of buildings & square, initialed WDKM (iii) Pencil sketch of forest and cottage, initialed RMC
- P.20 (i) Watercolour sketch of head, initialed RMC
- P.21 (i) Pencil sketch, with slight watercolour, initialed RMC (ii) Watercolour of seascape (on reverse - pencil drawing of a hand holding a rod)
- P.23 (i) Pencil drawings of figures & heads, given as R.M. Cooper (ii) Watercolour, entitled Lakes of Scotland, signed J. Stenning/ Staining/Sterning [?]
- P.25 (i) Watercolour and pastels of boat on river, with bridge, unsigned
- P.27 (i) Prints of crests and coats of arms, D. Gavin, 18 North Bridge (ii) Print of an engraving of Benjamin Franklin, by T. Wright
- P.29 (i) Pencil sketch of decorative scroll and outline of face (ii) Cuttings from papers and magazines (iii) Print of engraving of Capt. James Cook by T. Wright
- P.31 (i) Print of engraving (ii) Print of engraving/etching of battle preparation (iii) Watercolour of urn initialed RMC [Bob Cooper written beside]
- P.33 Watercolour of woman and child, initialed RMC [Also written - 17 Sannay 18..]
- P.35 (i-v) Prints of engravings and drawings, including stylised figures of animals for scrolls
- P.37 (i) Pencil sketch of landscape (ii-iv) Prints
- P.39 (i) Watercolour of boat at sea, signed H. Brolanski [?] (ii) Print (iii) Pencil sketch, entitled Near Bothwell, unsigned
- P.41 (i-v) Prints (vi) Pencil sketch of river scene, initialed IMD for JMD]
- P.43 (i) Watercolour of a town, signed W. Gordon (ii) Print (iii) Watercolour of an urn, initialed RMC
- P.45 (i) Watercolour of head of a man
- P.47 (i) Print (ii) Watercolour, entitled The Keep, Avon Water, initialed IMD
- P.49 (i) Sketch, with watercolour wash, signed Adamo Sveicart (ii) Pencil sketch, with light watercolour, initialed RMC
- P.51 (i-ii) Prints, (i) -Melrose Abbey (iii) Watercolour of head of a man, initialed IMD
- P.53 (i) Pencil sketch of head of D. White, by RM Cooper [note by side -David White was a Manufacturer, Princes Square, Buchanan St., Glasgow, c.1842] (ii) Pencil sketch Elskie Elshender, the Black Dwarf's Cottage initialed by IMD (iii) Pencil sketch of a river bank, initialed IMD
- P.55 (i) Watercolour head initialed J. ME (ii) Watercolour of a studio/attic. Written underneath is "W. Gordon" and "Probably W.D.K. Mason" (iii) Print
- P.57 (i) Watercolour of two figures, coat of arms and a garden, initialed RMC (ii) Pencil sketch, Near Govan signed J.C. Brown
- P.59 (i) Watercolour and ink sketch of a town on a riverbank, signed Mason [?] (ii) Pencil and Pastel sketch of soldier in a helmet, signed R. Leslie
- P.61 (i) Ink sketch, Trossachs (sic), initialed JC.B. (ii) Pencil sketch of a child, initialed RMC (iii) Pencil sketch of a man, signed A. Maclure [note at side - Andrew Maclure & Maclure & Macdonald] (iv) Pencil and watercolour sketch of male figure holding a book, Hutcheson's Hospital, initialed RMC
- P.62 (i) Pencil sketch of woman, initialed RMC
- P.63 (i) Pencil sketch of woman, initialed RMC (ii) Pencil and ink sketch of woman, initialed RMC [Written in bottom right corner - 1838 & 1835, Neil/Nell McDougall] (iii) Pencil sketch of man in a room, initialed RMC
- P.64 (i) Letter to James Robb, Bank of Scotland, Cross Branch, Glasgow From Daniel Marshall [?], 6 Learmonth Terrace, Edinburgh, 28 February 1880
I have just returned from London where I have been for a few days, else I should have answered your kind letter sooner. I shall be very happy to receive the balance which you tell me is in your hands, of the sum subscribed for the portrait of Bailie Moir [?] which I painted. I know there was some difficulty in getting up the money at last. Horatio McCulloch was my very intimate friend and I knew R.M., Cooper and Bill Mason and I.M. Donald, very well. Mason was a nephew of the Kembles, his mother being a sister of the great Mrs Siddons. He was a grand heavy looking fellow, but unfortunately took to the bottle and went to the D 1. The last time I saw him was in Tottenham Court road standing against a lampost haranguing a lot of little boys who were evidently bent on mischievous fun with the drunk man, but were awed by the grand Caricature [?] like style of poor Bill. I believe he is dead long ago.
I should very much like to see the Scrap books, and also the portrait of Allan Ramsay, is it Ramsay the father -the Pact [?] s Ramsay the son, the portrait painting.
The first time I'm in Glasgow I'll endeavour to let you know, and perhaps you will kindly show them to me.
Believe me, very truly yours...
- P. 65 (i) Pencil and ink sketch, dated 1826, initialed by RMC (ii) Ink sketch of man, signed "Yours Presently WKM" (iii) Ink sketch of a harbour, initialed IMD (iv) Ink sketch of easel, jug and painting, signed "Yours Truly, W Mason"
- P.66 (i) Pencil sketch of a woman, initialed IMD (ii) Ink sketch of a dog and an easel, written on the easel - "A splendid set of pups, mostly black. I would like to see that picture of Duncan's", signed Thomson *P.67 cntd. (iii) Pencil sketch of draped female figure, initialed IMD (iv) Ink sketch of soldier carrying rifle; inset -head of a man, and other inset - landscape, initialed IMD (v) Pencil sketch of man's head, entitled H Lane - Artiste [?], signed IMD
- P.68 (i) Press cutting from 1 Sep 1930 - "A Little Scottish Diary -The Painting Parson": -Describes the life of John Thomson of Duddingston, 1778-1840, a landscape painter
- P.69 (i) Pastel sketch for portrait of a man, initialed IMD (ii) Watercolour of a loch. Written underneath - Mr Thomson, Duddingston
- P.72 (i) Watercolour of Scottish countryside, signed A. Dunn
- P.73 (i) Print (ii) Ink sketch of a river valley, initialed J.C.B. (iii) Pencil sketch of Cadzon Forrest, signed J.C. Brown [Note on page - J.C. Brown of Edinburgh]
- P.77 (i) Watercolour of fisherman, initialed RMC (ii) Print (iii) Pencil sketch of part ruinous building, initialed IM. Noted below - Neidpath Castle (iv) Pencil sketch of 2 men in Scottish costume
- P.79 (i) Print entitled Chateau de Lismore (i) Pencil sketch with flap on front, initialed IMD (ii) Watercolour of mountainous landscape, signed W. Gordon
- P.81 (i-ii) Prints of engravings
- P.83 (i) Print (ii) Pencil sketch of fox and a pheasant, initialed NMG [?] [On reverse - signed James N. Ewen]
- P.85 (i-ii) Prints
- P. 87 (i-ii) Prints
- P.89 (i-ii) Prints
- P.91 (i) Print (ii)Rough pencil sketch of a cottage [loose]
- P.93 (i) Print (ii) Watercolour of a tower
- P.95 (i-ii) Prints
- P.97 (i) Print
- P.99 (i) Print (ii) Pencil sketch of nude [illegible signature]
- P.101 (i-ii) Prints
- P.103 (i & iii) Prints (ii) Watercolour of old man's head
- P.105 (i-ii) Prints (iii) Watercolour portrait, in profile. Inscribed Littlejohn Pirit [?], 1807
- P.107 (i) Watercolour of trees
- P.109 (i-ii) Prints (iii) Pencil diagram of decorative wall panel, with note below: "The above is a slight idea of what I would suggest for the panels. The grey ground just polished and afterwards painted upon. ICH" (iv) Pencil sketch of interior of a room - "Sevastopolis Drawing-room, Bayswater", signed Duncan Murray [loose]. Verso -pencil sketch of panel (v) Pencil sketch of decorative ceiling with doors and chimney noted
- P.111 (i-iii) Prints
- P.113 (i) Ink sketch with watercolour wash of seated woman with two children
- P.115 (i) Pencil sketch of baby sleeping, entitled Mossman Jnr. Note underneath "done in 1840, now John Mossman. Dec 1886 (ii) Watercolour -landscape [possibly Edinburgh], signed, Kelsey [?]
- P.117 (i-ii) Prints (iii) Pastel/crayon sketch of landscape, signed J. Finnik
- P.119 (i & iii) Prints (ii) Pencil sketch of a monument, initialed AMcC [annot. A McClure]
- P.121 (i) Pencil sketch of panels, showing two churches and a donkey (ii) Pencil and crayon sketch of shepherd with sheep
- P.123 (i) Pencil sketch entitled A View from near Utrecht in Holland, early 1820 (ii) Watercolour of a bridge over a gorge, signed Ewbank [annot. - the late John Ewbank, RSA]
- P.125 (i) Pencil sketch of a town, entitles Sketch by the author of Hills of Europe, signed Sir A. Alison (ii) Pencil sketch of factories and workmen [note underneath hartist Meetings, Geo. Forrester]
- P.127 (i) Pencil and pastel sketch of man, entitled Adolphus Keeste by Macpherson
- P.129 (i) Print
- P.131 (i) Pencil sketch of battle scene, signed J. Mason (ii) Print
- P.133 (i) Watercolour of woman's head, initialed RMC (ii) Pencil sketch of column, with male figure (iii) Watercolour of boats on a river, passing under a bridge, signed W. Gordon
- P.135 (i) Pencil sketch of mythical scene
- P.137 (i) Pencil sketch of street scene [noted above - College Open, High St., Glasgow]
- P.139 (i) Print of Robert Bums, d.1859 (ii) Pencil sketch of seated nude male, initialed IMD [?]
- P.141 (i) Pencil sketch of river, with fishermen in foreground
- P.143 (i) Pencil sketch of cottage with cow in foreground, initialed RMC [?]
- P.144 (i) Watercolour entitled Loch Long, signed J.C. Brown
- P.147 (i & ii) Pencil drawings of leaves. Noted underneath freehand "Design, John Milne, St. Enoch's School 1854"
- P.149 (i) Pencil sketch of forest glade, with a deer in centre
- P.151 (i) Watercolour of village with castle
- P.153 (i) Watercolour of ruined tower. Numbered 1322, initialed GG, 1823
- P.155 (i) Watercolour of Loch Tay
- P.157 (i)Watercolour of figures, signed WDK Mason
- P.158 (i) Print
- P.159 (i) Pencil and ink sketch entitled South east side of Dumbarton castle looking up the Clyde, signed RM Cooper
- P.160 (i) Watercolour entitled Castle Carrick, Loch Long, 182..
- P.163 (i) Watercolour of building in forest, entitled at Woodside
- P.165 (i) Print of Sir Robert Peel P.166 P.169
- P.166 (i) Pastel and Pencil sketch of hillside
- P.169 (i)Watercolour/crayon [?] of bridge, initialed GG, 1813. Noted by side - G. Gordon, Partick Bridge, erected by Crawford
- P.171 (i) Pencil sketch of woodland glade, signed RM Cooper
- P.173 (i) Print
- P.177 (i) Print
- P.179 (i) Print (ii) Pencil sketch od a landscape, initialed WDKM
- P.181 (i) Print
- P.182 (i) Pencil sketch of cottage (ii) Print
- P.184 (i) Print
- P.191 (i) Tracing of moulding showing floral and leaf design [loose]
- P.195 (i) Pencil sketch of Egyptian Mummy Case with details of colours, design, etc. [loose]
- P.197 (i) Watercolour of landscape
- P.199 (i-ii) Prints
- P.201 (i) Print
- P.203 (i) Print
- P.205 (i) Pencil sketch of house and gardens entitled Burnside.. Verso ketch of mill [possibly child's drawing] [Loose]
- P.207 (i) Watercolour of flowers. Verson - "JJ Milne from his father, 1852 [Loose]
- P.208 (i) Pencil sketch of man, signed J. Milne, 1833. Also written - Jas. Milne, 1833
- P.209 (i) Pencil sketch (as above), signed John Mylne, 1857
- P.211 (i) Writing Paper from Somerset House, with decorative print of Somerset House, d. 1 June1842 [Loose] (ii) Pencil drawing of flower [tulip?], signed James McLachlan, 1 Mar 1853 [Loose]
- P. 212 (i) Watercolour landscape, entitled 28 Sept, Ochils, 1854 [?]. Written below - G. Gordon
- P.214 (i) Watercolour landscape. Written below - W. Jordon
- Loose at Back - (i) Trace for etching (ii) Pencil sketch of cottages entitled No.5 Free Sketch, signed JH Mylne, 1865 (iii) Pencil and pastel sketch of large building (chateau-like) with statues on roof, signed JH Mylne, 1864
- Back leaf (i) Pencil and crayon drawing of Biblical scene [?], signed Jai/Jas/Jac Pynas/Binas [?]
Appraisal, destruction and scheduling
This material has been appraised in line with Glasgow School of Art Archives and Collections standard procedures.
System of arrangement
The arrangement reflects that in which it was deposited.
Name of creator
Name of creator
Landscape artist John Crawford Brown was born at Glasgow. After travels on the continent - Holland, Flanders and Spain - he stayed in London for a while before returning to Scotland and settling at Vincent Street in Edinburgh. Brown exhibited at the RSA. He was also a painter of genre and historical scenes.
Name of creator
Born Edinburgh, died London. Landscape and figurative painter in oil. After working for a time in Glasgow where he gave lessons, went to London. There he was employed as a scene painter with Grieve and the Wilsons and by Telkin. Exhibited at the RSA throughout the 1840s.
Name of creator
John Wilson Ewbank was a painter. He was a founding member of the Royal Scottish Academy in 1830. He painted historical pieces and marine subjects.
Name of creator
Landscape painter and engraver, son of John Finnie, brassfounder, by his wife Christian Mclndoe, was bom at Aberdeen, where he was baptised in the parish church on 4 May 1829. After serving apprenticeships to a house-painter at Edinburgh and a japanner at Wolverhampton he obtained employment with William Wales, a glass -painter at Newcastle, where he remained five years, attending the school of design under William Bell Scott [q. v.]. In 1853 he went to London, where he studied and taught in the Central School of Design at Marlborough House till, in 1855, he became master of the School of Art, then called the Mechanics' Institution, at Liverpool. In this position he continued forty-one years and six months, retiring at Christmas 1896. He is described as the dominating personality in the art life of Liverpool during that period. He began to send to the Liverpool Academy-exhibitions in 1856, became an associate in 1861, a full member and trustee in 1865, and was president of the academy in 1887-8. He was also president of the Artists' Club and of the Liver Sketching Club. He joined the Royal Cambrian Academy in 1894 and became its treasurer in 1897. His earliest etching, the 'Head of Windermere,' dates from 1864. After some early experiments in etching and engraving Finnie adopted mezzotint as his favourite process in 1886. Though he exhibited pictures at the Royal Academy from 1861 onwards, and also at the British Institution and in Suffolk Street, he was best known in London by his original mezzotint engravings of landscape, exhibited at the Royal Academy and the Royal Society of Painters, Etchers, and Engravers, of which he became an associate on 24 Oct. 1887, and a fellow on 6 April 1895. He sent forty-seven contributions in all to the society's gallery. His etchings and mezzotints, which are represented by specimens in the print-room of the British Museum, aim too much at a full pictorial effect, instead of observing the restrictions of graphic art. As a painter he is represented in the Walker Art Gallery at Liverpool. On retiring from the School of Art, in 1896, Finnie broke up his home in Huskisson Street and settled at Tywyn, near Llandudno, where he spent his life in painting, engraving, and music. He retained full vigour until an attack of influenza injured his heart in 1905. He returned to Liverpool, where he died on 27 Feb. 1907. He was buried at Smithdown Road cemetery beside his wife, Agnes James Ellison, who died on 8 July 1889. One son. Dr. Ellison Finnie, survived him. A memorial exhibition of his art, comprising 438 numbers, was held at the Walker Art Gallery, Liverpool, in 1907.
Name of creator
Painter of landscapes in oil and watercolour. Working in Edinburgh in 1836 when he exhibited "Tower at Craigmillar Castle" at the RA. Latterly at Nairn from where he exhibited at the RSA.
Name of creator
Painter in oil of landscape and topographical subjects. Lived in Edinburgh before moving to Leith, Scotland. Exhibited RSA 1834-1841.
Name of creator
Scottish landscape painter. Moved to London at an early age and stayed there for the rest of his career. Exhibited six works at the Royal Acedemy, all coastal and figurative.
Name of creator
Edinburgh topographical artist who often painted castles. Exhibited RSA (21), including Scene on the Marquis of Lothian's Grounds, Newbattle, 1846.
Name of creator
The Rev John Thomson FRSE RSA (1 September 1778 - 28 October 1840) was a Scottish minister and landscape painter. He was the minister of Duddingston Kirk from 1805 to 1840. The youngest of eight children, Thomson was born in the manse at Dailly, Ayrshire, the fourth son of the local parish minister. From an early age, he displayed an aptitude for drawing and painting and, inspired by the Ayrshire countryside, developed a love for landscape painting. In 1791 he enrolled at Glasgow University to study law and theology, and in 1793 he transferred to Edinburgh University to continue his studies for the ministry. Whilst there, he met many people who were prominent in Edinburgh artistic circles, including Sir Walter Scott, and Alexander Nasmyth, the latter of whom who gave him art lessons. After graduating, Thomson returned to Ayrshire and was licensed as a preacher of the Gospel, and subsequently ordained as minister of Dailly in 1800. He later moved to Duddingston near Edinburgh and became the most famous minister of the local Kirk, holding the post from 1808 to 1840. Whilst at Duddingston a very fine portrait of him was painted by Robert Scott Lauder who married Thomson's daughter Isabella in 1833. Thomson had a studio at the foot of the manse garden on the shore of Duddingston Loch. Later, this was replaced by Duddingston Tower, a structure designed for Duddingston Curling Society in 1825 by William Playfair. The Society used the ground floor as their clubhouse, and Thomson used the upper floor of the tower, known today as "Thomson's Tower", as his studio. The move to Duddingston allowed him to renew his acquaintances with men of influence in artistic circles and develop his art. Like his early teacher, Naysmith, Thomson believed in working outdoors, observing directly from nature. Influenced by the techniques of Rosa, Lorrain, Poussin, Raeburn and renowned English landscape artist Turner, he developed a broad Romantic style, and became a landscape artist with an established reputation. This allowed him to augment his small stipend and become quite wealthy through the sale of his paintings. In addition to Scott, Naysmith and Raeburn, Thomson was friendly with writer and fellow amateur artist, Sir Thomas Dick Lauder, and such was Thomsons reputation that in 1818 he entertained Turner at his studio, who is said to have remarked of the outlook over the Loch: "By God sir, I envy you that piece of water." Thomson went on to collaborate with Turner in producing engravings to illustrate Walter Scott's Provincial Antiquities and Picturesque Scenery of Scotland, published in 1826. Recognising his talent, Thomson's congregation nominated him to become a member of the Association of Artists in Edinburgh. He went on to receive honorary memberships of the Royal Institution for the Encouragement of the Fine Arts in Scotland and the Royal Scottish Academy. Thomson died at Duddingston in 1840, having spent forty-one years in the ministry.
The book appears to have been owned by James Robb of the Royal Bank of Scotland, Glasgow, around February 1880. It seems likely that at some point it was held by the Glasgow Art Club and in turn passed to D P Bliss, Director of the Glasgow School of Art, 1946-64, or it could have come from Archibald Alison or John Mossman, both of whom were earlier Governors of the GSA.
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Language of material
Script of material
Language and script notes
Existence and location of originals
Existence and location of copies
No known copies
Collection Historical Note
This 218 page scrapbook was gathered together in the mid-late nineteenth century, probably by J Mylne, as his bookplate is on the cover and his school drawings of 1854 are included, as are later sketches and watercolours signed by him.
The drawings and paintings are mainly glued into the book, although some are actually drawn directly onto the pages. Some of the works are dated, the earliest being 1807 and the latest 1864 . The letter on pg. 64, dated February 1880, shows that the book had gone into the hands of Mr James Robb of The Royal Bank of Scotland, Glasgow, Scotland, and his bookplate also appears on the inside cover. The letter also makes reference to "scapbooks", suggesting that this was one of a collection.
Not all the pieces are signed, many are initialled at the side of the sketch and there are also annotations obviously added at a later date. The book has work attributed to over 20 artists, as well as many anonymous works. Artists who are attributed work include John Wilson Ewbank (1), J. Finnie (1), Rev. John Thomson of Duddingston (1), Archibald Alison (1), I.M. Donald (14) and G. Huntly Gordon (1), with 2 others attributed. (Numbers in brackets are the number of artworks attributed to that artist.)
Other named artists attributed work in the scrapbook include:
- John Crawford Brown, 1805-1867, born in Glasgow, Scotland, painted rural scenes and incidents. Worked in Holland, Flanders and Spain in the late 1830s. Signs himself JC Brown in the book. (5)
- Robert Maxwell Cooper, c1805-1867, born in Edinburgh, Scotland, died London. A landscape and figurative painter in oil who worked for a time in Glasgow. Exhibited at the Royal Society of Arts throughout the 1840s. Employed as a scene painter with Grieve & Wilsons and by Tellein. His last work was on scenery at the Windsor Castle theatre. Signs himself RMC or RM Cooper in the book. (19)
- William Gordon, fl 1834-1861. Painter in oil of landscape and topographical subjects. Lived in Edinburgh before moving to Leith, Scotland. Exhibited RSA 1834-1841. (4)
- Andrew MacLure, fl 1857-1882, Scottish landscape painter. Moved to London at an early age and stayed there for the rest of his career. Exhibited six works at the Royal Acedemy, all coastal and figurative. (2)
- William D K Mason, fl1835-1855. Edinburgh topographical artist who often painted castles. Exhibited RSA (21), including Scene on the Marquis of Lothian's Grounds, Newbattle, 1846. Signs himself WDKM and WD Mason in book. (8)
For further biographical details see The Dictionary of Scottish Art and Architecture by Peter J.M. McEwan.
People and Organisations
Genre access points
Level of detail
- Fonds level description compiled by Adele Ashley-Smith, Archivist, 2000-2001.
- Updated by David Powell, Hub Project Archivist, 6 September 2001.
- Updated by David Powell, Hub Project Archivist, 14 May 2002.
- Fonds level description imported from the Archives Hub 24 August 2006.
- Archives Hub description updated by Carrie Skinner, Logjam Project Officer, September 2011
- Catalogue imported into Archon software and edited by Michelle Kaye, Archon Project Officer, April 2014.
- Catalogue exported from Archon and imported into AtoM during system migration, 2018-2019.
Finding Aid Authors: The Glasgow School of Art Archives and Collections.
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