All who enter The Royal Scottish Academy of Music and Drama in Glasgow, either as visitor, member of staff, student, or entrant for the triennial Scottish International Piano Competition, cannot fail to notice the treasured bronze bust of Frederic Lamond, one of the city’s celebra ted sons, one who attained world-wide renown as pianist and achieved further distinction, when, like Fritz Kreisler and Ignacy Jan Paderewski, he received the honorary degree of Doctor of Laws at the University of Glasgow. Yet, despite this public esteem, few have ventured to express in print the important and generous work Lamond undertook as piani st and pedagogue during his final years in Scotland. The Memoirs of Frederic Lamond briefly reveal his feeling of ‘isolation’ on hearing of the death of his friend and colleague, Moriz Rosenthal. In September 1946, still nothing about Lamond’s performances or other activities during the 1940 to ‘48 period is recorded. Not until Gwilym Beechey’s excellent three-page piece on the pianist composer, published in 1979, does information on Lamond’s musical endeavors during the 1940’s filter through into academe. Granted, Beechey provides valuable new material, nevertheless major areas of investigation are left unexplo red; compelling evidence for a more informed record of this important chapter of Lamond’s life and a rescue of relevant memorabilia from the mists of time.