Agnes Grainger Gray (1858-1940) became headmistress of Sandecotes School, Parkstone, Dorset; Jessy MacDonald Stewart Wallace (1867-1937) became an Inspector of Workshops in Islington; Charlotte Jane Andrews (1872-1942) became an established artist of the Scottish Colourist school, and painted alongside Samuel Peploe in France and Spain.

Jack Kahane, who knew him, described Gray in his Memoirs of a Booklegger (1939) as "shocked out of a comfortable life by the spectacle of starvation", a "heroic dreamer", and an eccentric who wore a sombrero and had "school-boyish and impracticable" ideas.

[5] Between 1906 and 1910 he achieved a national profile as a political activist and was seldom out of the newspapers for his various campaigns which were reported in detail by The Manchester Guardian and The Times.

[8] Shortly before the start of the First World War, Gray took over 8 Ormonde Terrace in London, a largish house which overlooks Primrose Hill and is immediately to the north of Regent's Park.

[11] John's involvement is confirmed in his letters, where he describes the idea of using 8 Ormonde Terrace as a centre for artists as a "scheme" with a "committee" of which he was asked to be the leader, a position he refused.

[7] The sculptor Jacob Epstein attended life drawing classes there and remembered: "This refuge was without gas or electric light, so that candles were used, and it seldom had water.

Whether Stuart Gray ever received any rent was a question; but the old man, who resembled a Tolstoy gone wrong, would prowl about at night in a godfatherly fashion and look over his young charges.

[15] In an essay published posthumously, Roberts remembered that "At the rear of the house on a level with the first floor landing was a small glass conservatory, that Stuart had filled with hay almost to the roof, on which he slept fully dressed.

[12] Betty May wrote that the First World War broke up the colony[7] but William Roberts remembers a man taking Gray's place and demanding that residents pay rent for the first time, causing at least Bomberg to leave.

Virginia Nicholson writes that after Ormonde Terrace, Gray lived and painted in Kathleen Hale's basement and converted to spiritualism.

[7] According to Jacob Epstein in Let There be Sculpture, under the guidance of Bomberg, Gray "became a painter, gathering his materials where he could and painting on old bits of rag.