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<strong>the</strong> taste <strong>of</strong><br />
JW Blyth
<strong>The</strong> Taste<br />
<strong>of</strong> JW BLYTH<br />
4 – 28 JULY 2012<br />
CONTENTS<br />
FOREWORD 1<br />
THE taste OF JW BLYTH<br />
Origins and beginnings 2<br />
Collecting 5<br />
<strong>The</strong>mes and motivations 17<br />
Vale 22<br />
CATALOGUE 24<br />
16 Dundas Street, Edinburgh EH3 6HZ<br />
Tel 0131 558 1200 Email mail@scottish-gallery.co.uk<br />
Web www.scottish-gallery.co.uk
Foreword<br />
Michael Portillo<br />
I knew my grandfa<strong>the</strong>r John Waldegrave Blyth only when I was a child, and my only recollections <strong>of</strong> him are childish.<br />
He was fond <strong>of</strong> his grandchildren and he played with us well, especially when we went to <strong>the</strong> linen factory (disused by<br />
<strong>the</strong>n) and he could wheel us around on <strong>the</strong> trolleys that had once moved product.<br />
I have a clearer memory <strong>of</strong> his lifestyle than <strong>of</strong> him. My family’s home was a semi-detached in suburban London,<br />
so my grandparents’ generously proportioned Wilby House in Kirkcaldy seemed to us a mansion, and its gardens a<br />
vast playground. When we descended wearily from <strong>the</strong> overnight train from London, having spent <strong>the</strong> night in its<br />
cheapest seats, a chauffeur in double-breasted coat, peaked cap and massive driving gloves, was <strong>the</strong>re to whisk us in <strong>the</strong><br />
monogrammed Daimler to breakfast. Like o<strong>the</strong>r meals it was announced with a gong, and <strong>the</strong> table was laid with silver<br />
cruets and sugar shakers, and stiff linen napkins.<br />
Even <strong>the</strong>n, <strong>the</strong> paintings were what most drew my naïve attention. I was struck by <strong>the</strong>ir subject matter: intensely<br />
colourful flowers in vases; images that disintegrated as you came too close, but that magically revealed cows, houses and<br />
fields as you withdrew; and children cowering on a beach being battered by wind and surf.<br />
One <strong>of</strong> my ordeals was going to bed, because on <strong>the</strong> stairs hung <strong>the</strong> largest <strong>of</strong> <strong>the</strong> William McTaggarts, with <strong>the</strong><br />
youngsters who were evidently about to perish. More than that, with <strong>the</strong>ir heavy frames <strong>the</strong> pictures were amongst <strong>the</strong><br />
biggest objects I had ever seen, and I feared being crushed if <strong>the</strong>y fell. I had to steel myself and <strong>the</strong>n scamper by.<br />
Luckily, my acquaintance with John Blyth’s collection did not end on <strong>the</strong> sad day that my bro<strong>the</strong>rs and<br />
I accompanied my mo<strong>the</strong>r to clear out Wilby House following his death. My grandmo<strong>the</strong>r Alice May Blyth moved to be<br />
close to us in <strong>the</strong> suburbs, sharing a house <strong>the</strong>re with my aunts. She brought with her some <strong>of</strong> <strong>the</strong> outstanding Peploes,<br />
Fergussons, McTaggarts, Wingates, Sickerts and Boudins. Rarely can such a modest dwelling have sheltered such a fine<br />
and valuable collection. Certainly <strong>the</strong>re was not room <strong>the</strong>re even for <strong>the</strong> small number <strong>of</strong> works that remained with <strong>the</strong><br />
family, and so some superb pieces graced my parents’ walls too.<br />
We were fortunate, too, that a large part <strong>of</strong> <strong>the</strong> collection passed to <strong>the</strong> Kirkcaldy art gallery where my<br />
grandfa<strong>the</strong>r had been curator for 36 years. On many occasions when o<strong>the</strong>r business takes me to Scotland I make <strong>the</strong><br />
detour to re-visit those paintings, and I know that o<strong>the</strong>r family members do <strong>the</strong> same.<br />
It is difficult for me to judge John Blyth’s taste because it has so deeply influenced my own. In my youth art was<br />
what he had collected. Before I went much to galleries I lived amongst outstanding examples <strong>of</strong> <strong>Scottish</strong>, English and<br />
French painting from <strong>the</strong> nineteenth and twentieth centuries.<br />
Reviewing his purchases over many years it is clear that John Blyth had a passionate commitment to <strong>Scottish</strong><br />
artists. He collected <strong>the</strong>m, befriended <strong>the</strong>m and fought for <strong>the</strong>m to be recognised. <strong>The</strong> <strong>Scottish</strong> Colourists, and many<br />
<strong>Scottish</strong> artists who have appeared since, are widely acclaimed today and <strong>the</strong>ir work is instantly recognisable to a broad<br />
discerning public. So it is hard to grasp that during my grandfa<strong>the</strong>r’s lifetime <strong>Scottish</strong> painters struggled to be taken<br />
seriously. I like to think that he made a contribution to <strong>the</strong> radical change <strong>of</strong> perception that has occurred since his death.<br />
Evidently, John Blyth was sometimes in <strong>the</strong> vanguard <strong>of</strong> taste. <strong>The</strong> Peploes that he bought are worth a fortune<br />
now, and <strong>the</strong> Sickerts and Boudins command high prices. But, having enjoyed <strong>the</strong> Wingates, McTaggarts and Alexanders<br />
over half a century, I am sorry that <strong>the</strong>y are today less appreciated. This <strong>exhibition</strong> enables us to consider <strong>the</strong> so-called<br />
lesser works that drew his discerning eye, and perhaps to re-evaluate <strong>the</strong>m free from considerations <strong>of</strong> art fashion.<br />
My family has had <strong>the</strong> extraordinary privilege <strong>of</strong> living with beautiful paintings thanks to John Blyth. <strong>The</strong> joy that<br />
<strong>the</strong>se pictures bring will now pass to o<strong>the</strong>rs, which is a happy thought. My grandfa<strong>the</strong>r’s motives for collecting seem to<br />
have been genuinely selfless. None<strong>the</strong>less I hope that he would be cheered, or at least not annoyed, to know that fifty<br />
years after his death an <strong>exhibition</strong> celebrates his taste and his advocacy <strong>of</strong> <strong>Scottish</strong> painting.<br />
Left: Jack Blyth on board John Nairn’s yacht<br />
1
<strong>The</strong> Taste <strong>of</strong> JW Blyth<br />
Peter Arkell and Guy Peploe<br />
Origins and beginnings<br />
John Waldegrave Blyth (1873–1962) was a Kirkcaldy linen manufacturer with a passion<br />
for art collecting that began in his early thirties. By <strong>the</strong> time <strong>of</strong> his death he owned 237<br />
paintings including 84 by Samuel John Peploe (1871–1935) and 45 by William McTaggart<br />
(1835–1910). <strong>The</strong>re were also 24 works by Walter Richard Sickert (1860–1942),<br />
examples by Jean-Baptiste-Camille Corot (1796–1875), Eugène Boudin (1824–98) and<br />
Édouard Vuillard (1868–1940), an L.S. Lowry (1887–1976), a Mat<strong>the</strong>w Smith (1879–<br />
1959) and many more. <strong>The</strong> first paintings were bought in 1909 and he was still buying six<br />
years before his death. A large part <strong>of</strong> <strong>the</strong> collection is now in <strong>the</strong> Kirkcaldy Art <strong>Gallery</strong>,<br />
but a very significant portion was retained, and <strong>the</strong> <strong>exhibition</strong> which accompanies this<br />
publication represents <strong>the</strong> last works held by <strong>the</strong> family. It is more than fitting that this<br />
<strong>exhibition</strong> takes place at <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> from where so much <strong>of</strong> <strong>the</strong> collection was<br />
bought and with whom Blyth enjoyed such a long and fruitful relationship. His faith in<br />
<strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> over fifty years and four generations <strong>of</strong> senior partners and staff<br />
and <strong>the</strong> access <strong>the</strong> gallery provided to great works <strong>of</strong> art speak <strong>of</strong> an unusually strong<br />
and fruitful relationship between a gallery and a collector. <strong>The</strong> story <strong>of</strong> his collection<br />
and his developing passion for art spans two world wars, <strong>the</strong> Depression and <strong>the</strong> struggle<br />
in Scotland to identify a national school and establish institutions to best represent<br />
<strong>Scottish</strong> art.<br />
<strong>The</strong> family was <strong>of</strong> Fife origin, and his grandfa<strong>the</strong>r, John, moved to Kirkcaldy<br />
in <strong>the</strong> early 1830s and became involved in <strong>the</strong> linen business. Flax was imported from<br />
Germany and <strong>the</strong> Low Countries and improvements to <strong>the</strong> harbour in <strong>the</strong> mid-nineteenth<br />
century greatly enhanced Kirkcaldy’s ability to import jute and flax and export coal and<br />
manufactured products. Linen manufacture had been established in 1672 but was little<br />
more than a cottage industry on <strong>the</strong> outskirts <strong>of</strong> <strong>the</strong> town. By <strong>the</strong> end <strong>of</strong> <strong>the</strong> century John<br />
Blyth’s grandfa<strong>the</strong>r was able to build <strong>the</strong> Hawklymuir Factory on Park Road and was in<br />
charge <strong>of</strong> a substantial, pr<strong>of</strong>itable business.<br />
Blyth’s fa<strong>the</strong>r left <strong>the</strong> firm in <strong>the</strong> 1850s and moved to Lincolnshire to work in a<br />
bakery; bakers were a major market for linen products and this may well have been <strong>the</strong><br />
connection, but for our story most importantly it was here that he met and married<br />
Elizabeth Waldegrave. <strong>The</strong> family returned to Kirkcaldy in <strong>the</strong> 1870s, drawn back into<br />
<strong>the</strong> fold <strong>of</strong> <strong>the</strong> family business, and John, <strong>the</strong> eldest <strong>of</strong> four bro<strong>the</strong>rs and one sister, was<br />
sent to be educated at <strong>the</strong> Kirkcaldy High School. Aged 18, John Waldegrave Blyth left<br />
school and took up a position as a travelling salesman in <strong>the</strong> family firm.<br />
<strong>The</strong>ir firm’s fortunes were based on demand created for linen goods for use in<br />
<strong>the</strong> British military for <strong>the</strong> defence <strong>of</strong> <strong>the</strong> Empire, and procurement contracts for <strong>the</strong><br />
First World War led to a period <strong>of</strong> prosperity which coincided with Blyth’s burgeoning<br />
interest in art. However <strong>the</strong> introduction <strong>of</strong> cotton into Europe, and especially <strong>the</strong><br />
series <strong>of</strong> late-eighteenth-century inventions that enabled it to be spun strongly and<br />
2
elevation plan to<br />
Wilby house, 1909<br />
to be produced cheaply, eventually put an end to <strong>the</strong> mass consumption <strong>of</strong> linen.<br />
from <strong>the</strong> 1930s <strong>the</strong> hawklymuir factory become gradually less pr<strong>of</strong>itable, especially<br />
after <strong>the</strong> arrival <strong>of</strong> man-made fibres, and <strong>the</strong> firm eventually closed down in 1961.<br />
John Blyth, known as ‘Jack’ in adult life, married alice May lowe from<br />
Manchester in 1908 and <strong>the</strong> following year he inherited a plot <strong>of</strong> land from his fa<strong>the</strong>r on<br />
loughborough Road, Kirkcaldy and commissioned an architect to design Wilby house.<br />
<strong>the</strong> house had large windows and high ceilings typical <strong>of</strong> large edwardian homes built in<br />
abundance during this period in edinburgh and Glasgow. <strong>the</strong> marriage was to produce<br />
three daughters: Dorothy, Margery and Cora. Cora, <strong>the</strong> youngest daughter, went on to<br />
marry a refugee from franco’s spain called luis Gabriel Portillo, a Pr<strong>of</strong>essor <strong>of</strong> Civic<br />
law and prominent Republican. <strong>the</strong>y provided several grandsons for John and alice, <strong>the</strong><br />
youngest <strong>of</strong> whom is Michael.<br />
Jack Blyth had no artistic training whatsoever apart from in music. he regularly<br />
played <strong>the</strong> organ in <strong>the</strong> Dysart Parish Church and always had <strong>the</strong> capacity to be<br />
emotionally stirred by music or great art. his parents had no pictures apart from two<br />
lithographs <strong>of</strong> <strong>the</strong>ir own portraits.<br />
although it is not known what sparked <strong>of</strong>f Blyth’s love <strong>of</strong> art, <strong>the</strong>re were plenty<br />
<strong>of</strong> opportunities in early twentieth-century Glasgow and edinburgh for him to form his<br />
tastes; and he was not alone. a number <strong>of</strong> collectors with fortunes made in manufacture<br />
and shipping were beginning <strong>the</strong>ir collections, most notably William Burrell, whose<br />
collection eventually came to be housed in <strong>the</strong> eponymous gallery as part <strong>of</strong> Glasgow<br />
Museums. o<strong>the</strong>rs such as William McInnes, D.W.t. Cargill and leonard Gow were<br />
friends and rivals assembling significant collections <strong>of</strong> British and continental art. John<br />
Nairn was ano<strong>the</strong>r collector from Kirkcaldy whose substantial linoleum manufacturing<br />
business was <strong>the</strong> town’s largest employer. his daughter married Robert Wemyss<br />
honeyman who also became an important collector in his own right and ano<strong>the</strong>r patron<br />
<strong>of</strong> s.J. Peploe as well as a friend <strong>of</strong> Jack Blyth. this market was in part created and<br />
3
serviced by two discerning dealers: Alexander (‘Alex’) Reid, who in 1889 opened his<br />
gallery in Glasgow, La Société des Beaux-Arts; and in Edinburgh <strong>the</strong> firm <strong>of</strong> Aitken<br />
Dott. Reid, who had shared rooms with Vincent van Gogh in Paris when he was learning<br />
<strong>the</strong> trade with Vincent’s bro<strong>the</strong>r <strong>The</strong>o, was a persuasive and charismatic gallerist who<br />
established a family business which eventually left Glasgow to form Reid & Lefèvre in<br />
London, where it trades still today.<br />
Aitken Dott opened his art business in May 1842 in Edinburgh and it was his<br />
son Peter McOmish Dott who developed <strong>the</strong> business as a picture dealer by opening<br />
<strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> in 1896. Blyth formed a stronger relationship with this firm than<br />
with any o<strong>the</strong>r dealer, and <strong>the</strong> majority <strong>of</strong> pictures acquired over his long life were<br />
bought from <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong>. His first major purchase <strong>of</strong> a work by McTaggart, Away<br />
to <strong>the</strong> West, was from an <strong>exhibition</strong> held in <strong>the</strong> Castle Street premises in 1910, <strong>the</strong> year<br />
<strong>of</strong> <strong>the</strong> artist’s death. <strong>The</strong> first work by Peploe, Town in Brittany, was purchased in 1915<br />
from Reid’s gallery in Glasgow. Blyth was able to visit Glasgow and Edinburgh at least<br />
one or two times a week as a travelling salesman for <strong>the</strong> family firm; he visited London<br />
about twice a year. His daughter Margery remembered that ‘he would hardly ever go to<br />
London without returning with a picture or two.’<br />
Describing her fa<strong>the</strong>r as ‘extrovert and popular but contented in his own<br />
home’, Margery remembered his strong and ‘very <strong>Scottish</strong>’ emotions for music and art:<br />
‘He would weep at a touch but also be adamant.’ Lillian Browse, who supplied Blyth with<br />
a number <strong>of</strong> Sickerts in <strong>the</strong> 1940s, also used <strong>the</strong> word ‘adamant’ to describe his character.<br />
She remembered distinctly his ‘Raeburn head’, and spoke <strong>of</strong> his passion for art: ‘He used<br />
to lick his lips in front <strong>of</strong> a painting as if it were a huge feast.’ She talked <strong>of</strong> his great sense<br />
<strong>of</strong> fun and recalled that he was very ‘touchy’ about <strong>the</strong> London dealers’ attitudes to <strong>the</strong><br />
<strong>Scottish</strong> artists. Never an easy client, he was strong minded and liked to haggle over<br />
prices in order to secure bargains. Margery remembered that ‘he used to groan heavily<br />
when he had to write a cheque’.<br />
Blyth never ventured across <strong>the</strong> Channel in pursuit <strong>of</strong> pictures. He would have<br />
seen works by Degas, Manet and Cézanne at Alex Reid’s gallery in Glasgow before<br />
<strong>the</strong> Great War, but at that time was not tempted. He was never able to compete with<br />
collectors such as Burrell, who could afford to spend £6,500 on a Degas in 1926, but nor<br />
was competition with rival collectors his motivation. He had very strong and particular<br />
taste – taste which did develop. For example, he began to collect Sickert in earnest<br />
in <strong>the</strong> 1940s, but not at <strong>the</strong> expense <strong>of</strong> his advocacy for McTaggart; when McTaggart<br />
prices fell in <strong>the</strong> depressed years <strong>of</strong> <strong>the</strong> Second World War, Blyth saw opportunities for<br />
new purchases ra<strong>the</strong>r than bemoaning his lack <strong>of</strong> judgment in paying so much before.<br />
<strong>The</strong> most expensive item Blyth ever purchased was White Surf by McTaggart for £1,050<br />
in 1920 from <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong>. W.J. Macaulay, director <strong>of</strong> <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> in<br />
<strong>the</strong> 1960s, recalled that Blyth actually had to sell his car in order to buy his first work<br />
by McTaggart, although this was a period <strong>of</strong> relative prosperity for Blyth. His love <strong>of</strong> a<br />
bargain may well have been <strong>the</strong> motivation for some <strong>of</strong> his purchases, and <strong>the</strong> works by<br />
Vuillard, Corot and Boudin that were added to his collection at a relatively late stage<br />
were certainly bought advantageously.<br />
As a natural extension to his interest in art he was drawn into public life and<br />
became closely identified with <strong>the</strong> development <strong>of</strong> <strong>the</strong> Kirkcaldy Art <strong>Gallery</strong>. In February<br />
1925 he was appointed <strong>the</strong> <strong>Gallery</strong>’s first convenor, a position which he occupied for <strong>the</strong><br />
rest <strong>of</strong> his life. He was made chairman <strong>of</strong> <strong>the</strong> <strong>Scottish</strong> Modern Arts Association (SMAA),<br />
an organisation set up in 1907 to buy pieces to form <strong>the</strong> nucleus <strong>of</strong> a national collection<br />
<strong>of</strong> modern work. His knowledge and his passion as a collector made him a natural choice<br />
as a trustee <strong>of</strong> <strong>the</strong> National <strong>Gallery</strong> <strong>of</strong> Scotland in 1944.<br />
4
Collecting<br />
Blyth kept a simple record <strong>of</strong> his purchases from 1910 to 1956 in a single ‘address book’.<br />
<strong>the</strong> artists’ names are listed in alphabetical order, with <strong>the</strong> sizes and purchase prices<br />
<strong>of</strong> <strong>the</strong>ir works. he did not record <strong>the</strong> dates <strong>of</strong> any works or <strong>the</strong> dates when <strong>the</strong>y were<br />
purchased. fortunately he also kept a large number <strong>of</strong> purchase receipts and letters from<br />
dealers and <strong>the</strong>se have been an invaluable record <strong>of</strong> <strong>the</strong> range and scale <strong>of</strong> his collecting.<br />
two hundred and ten pictures are documented with purchase dates and purchase receipts.<br />
In December 1909, while still living in Mayview, sinclairtown, Kirkcaldy, his<br />
home before Wilby house was built, Blyth spent almost thirty pounds at James Connell<br />
& sons in Glasgow on a vast collection <strong>of</strong> items. It is probable that Blyth had <strong>the</strong> decoration<br />
<strong>of</strong> his new home in mind when he bought <strong>the</strong>se works, which were never recorded in his<br />
purchase book and <strong>the</strong>refore not considered part <strong>of</strong> <strong>the</strong> collection.<br />
for <strong>the</strong> next ten years Blyth confined his acquisitions almost exclusively to<br />
<strong>the</strong> works <strong>of</strong> James lawton Wingate (1846–1924) and William Mctaggart. <strong>the</strong> level<br />
<strong>of</strong> spending during this period was high: <strong>the</strong> average expenditure up until 1920 on<br />
Mctaggart alone was £550 per year.<br />
Jack and alice Blyth<br />
5
<strong>the</strong> years from 1918 up until <strong>the</strong> early 1920s were a boom period for <strong>the</strong> art<br />
world and prices were considerably higher than <strong>the</strong>y were to be again, relative to inflation,<br />
until after Blyth’s death. Perception <strong>of</strong> value and <strong>the</strong> phases <strong>of</strong> <strong>the</strong> economic cycle would<br />
not be irrelevant to Blyth, but he bought foremost what he loved, at prices which he<br />
could at that moment afford. after 1920 Blyth’s expenditure rarely exceeded £1,000 in<br />
one year and <strong>the</strong> greatest amount he spent on one work was to be £800 paid for La Porte<br />
St Denis by W.R. sickert in 1951.<br />
Wilby house was not large enough to hold his growing collection and as a solution<br />
Blyth lent pictures to <strong>the</strong> Kirkcaldy art <strong>Gallery</strong> which had opened in 1925, <strong>the</strong> costs<br />
funded by John Nairn in memory <strong>of</strong> his son killed in <strong>the</strong> first World War. Margery Blyth<br />
recalled that her fa<strong>the</strong>r thought <strong>of</strong> <strong>the</strong> <strong>Gallery</strong> as ‘a dumping ground <strong>of</strong> representative<br />
pictures from his collection. <strong>the</strong>y had a Boudin already bequea<strong>the</strong>d to <strong>the</strong> <strong>Gallery</strong> and<br />
so he didn’t give <strong>the</strong>m one.’ While <strong>the</strong> handsome rooms <strong>of</strong> <strong>the</strong> first floor did provide<br />
a splendid annexe for his collection, <strong>the</strong>re is no question that <strong>the</strong> health and eventual<br />
fur<strong>the</strong>r endowment <strong>of</strong> <strong>the</strong> <strong>Gallery</strong> was an important part <strong>of</strong> his thinking. Blyth visited <strong>the</strong><br />
<strong>Gallery</strong> at least every Monday morning throughout his life.<br />
<strong>the</strong> second phase began in 1924, <strong>the</strong> year in which Blyth acquired his second<br />
work by s.J. Peploe. <strong>the</strong> majority <strong>of</strong> pictures purchased up until 1939 were by ei<strong>the</strong>r<br />
Mctaggart or Peploe.<br />
6
<strong>the</strong> hawcklymuir factory,<br />
Kirkcaldy<br />
Blyth was a man <strong>of</strong> firm likes and dislikes but he was prepared to take advice from<br />
dealers he trusted. <strong>the</strong> most important figures in this respect were initially alex Reid and<br />
Peter Mcomish Dott. Blyth bought consistently from <strong>the</strong> scottish <strong>Gallery</strong> in edinburgh,<br />
which was run by George Proudfoot after Dott’s retirement during <strong>the</strong> first World War.<br />
Peter Mcomish Dott was a great admirer and collector <strong>of</strong> <strong>the</strong> works <strong>of</strong> three<br />
scottish landscape artists – James lawton Wingate, William Mctaggart and George<br />
Paul Chalmers (1833–78) – and Blyth’s initial choices can be seen as influenced by<br />
<strong>the</strong> advocacy <strong>of</strong> <strong>the</strong> dealer for <strong>the</strong>se painters. this said, it was Dott who was <strong>the</strong> first<br />
champion <strong>of</strong> Peploe, giving his first <strong>exhibition</strong> in 1903 and his second in 1909.<br />
from 1906 onwards <strong>the</strong>re were a number <strong>of</strong> Mctaggart <strong>exhibition</strong>s in both<br />
Glasgow and edinburgh which Blyth would have had <strong>the</strong> opportunity to see. In 1906<br />
<strong>the</strong>re was an <strong>exhibition</strong> <strong>of</strong> pictures and drawings by <strong>the</strong> artist at la société des Beauxarts<br />
in Glasgow, followed a year later by a show <strong>of</strong> his most recent pictures at <strong>the</strong> scottish<br />
<strong>Gallery</strong> in edinburgh. ‘<strong>the</strong> most outstanding and memorable <strong>exhibition</strong>’, according to<br />
sir James Caw, Mctaggart’s biographer and an influential critic, was brought toge<strong>the</strong>r at<br />
<strong>the</strong> scottish National <strong>exhibition</strong> in 1908.<br />
as has been noted, Blyth’s first Mctaggart, Away to <strong>the</strong> West, was bought for £280<br />
from Dott in edinburgh during 1910. It is possible that <strong>the</strong> first business contact between<br />
alex Reid and Blyth is a letter written by Reid on 23rd June 1910. It reads: ‘If you care<br />
to send me a cheque for £350 for <strong>the</strong> picture I will accept for <strong>the</strong> purpose <strong>of</strong> opening<br />
with you.’ <strong>the</strong> transaction was not concluded and we can assume that <strong>the</strong> purchase from<br />
<strong>the</strong> scottish Galley was made in preference.<br />
Blyth had thus made contact with <strong>the</strong> two most influential dealers in scotland,<br />
and was willing to spend relatively large sums on <strong>the</strong> work <strong>of</strong> William Mctaggart.<br />
his confidence can in part be put down to <strong>the</strong> growth in <strong>the</strong> importance <strong>of</strong> <strong>the</strong> dealer as<br />
a necessary link between <strong>the</strong> artist and <strong>the</strong> collector in scotland. <strong>the</strong> increasing wealth<br />
<strong>of</strong> <strong>the</strong> rising mercantile classes had provided a new source <strong>of</strong> patronage for artists, but it<br />
was a patronage <strong>of</strong> a different kind from that which had gone before. <strong>the</strong> old contractual<br />
system between <strong>the</strong> well-educated, well-travelled and leisured man <strong>of</strong> property and <strong>the</strong><br />
artist was becoming less common. <strong>the</strong> new men <strong>of</strong> wealth were middle-class businessmen<br />
like Blyth who responded to <strong>the</strong> service provided by <strong>the</strong> dealers and actively sought <strong>the</strong>ir<br />
advice and expertise in <strong>the</strong> formation <strong>of</strong> <strong>the</strong>ir collections. <strong>the</strong> increase in <strong>the</strong> number<br />
7
<strong>of</strong> enlightened collectors was paralleled by an increase in <strong>the</strong> number <strong>of</strong> artists working<br />
in Scotland and in <strong>the</strong> number <strong>of</strong> works which <strong>the</strong>y produced. It was <strong>the</strong> dealers who<br />
brought <strong>the</strong>se two groups toge<strong>the</strong>r and provided an outlet for <strong>the</strong> artists’ work.<br />
In Glasgow, La Société des Beaux-Arts at 232 West George Street represented<br />
<strong>the</strong> ‘Glasgow Boys’, putting on <strong>exhibition</strong>s for Edward Atkinson Hornel (1864–1933),<br />
George Henry (1858–1943) and Joseph Crawhall (1861–1913), and as early as 1891 an<br />
<strong>exhibition</strong> was held <strong>of</strong> <strong>the</strong> works <strong>of</strong> Degas and o<strong>the</strong>r Post-Impressionists. In 1906 Reid<br />
took up McTaggart and, according to Caw, ‘put up prices at once by trying to secure<br />
almost every fine picture by that painter which “came on <strong>the</strong> market”.’ Two letters, <strong>the</strong><br />
first written on 2nd February 1911 by Reid and <strong>the</strong> second written on 21st February<br />
<strong>the</strong> same year by George Proudfoot, Peter McOmish Dott’s partner in <strong>The</strong> <strong>Scottish</strong><br />
<strong>Gallery</strong>, illustrate <strong>the</strong> different approaches by <strong>the</strong> two dealers and also demonstrate <strong>the</strong><br />
competition for business between <strong>the</strong> two galleries. Both dealers were interested in<br />
selling works by McTaggart entitled Cornfields to Blyth. <strong>The</strong> picture in <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong><br />
is documented as being 52 by 35 inches. <strong>The</strong> picture in Glasgow is referred to in George<br />
Proudfoot’s letter: ‘Mr Reid’s snow picture is 54 by 35 inches and is in a ra<strong>the</strong>r heavier<br />
frame than our picture.’ Reid demands ‘promised payment’ and a picture by George<br />
Houston for his painting: ‘You are remembering you promised me £50 at Martinmas.<br />
Also I would very much like to have <strong>the</strong> Houston now.’ Proudfoot, in contrast, is more<br />
sympa<strong>the</strong>tic to Blyth’s position: ‘You are quite right not to decide about <strong>the</strong> McTaggart<br />
too hurriedly. It is an important purchase and one you should be sure about.’<br />
<strong>The</strong> outcome <strong>of</strong> <strong>the</strong> competition is documented in a purchase receipt <strong>of</strong> 3rd<br />
April 1911, from <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong>: Cornfields Midlothian by McTaggart was sold to<br />
Blyth for £285 along with <strong>the</strong> purchase <strong>of</strong> a landscape by George Houston. <strong>The</strong> difference<br />
between <strong>the</strong> characters <strong>of</strong> <strong>the</strong> dealers is fur<strong>the</strong>r illustrated in a letter dated June 1917,<br />
from Reid to Blyth: ‘If you are serious in thinking about <strong>the</strong> Xmas Morning <strong>the</strong>re is no use<br />
in talking nonsense to us.’<br />
McTaggart was born at Aros, by Machrihanish on <strong>the</strong> Mull <strong>of</strong> Kintyre in 1835<br />
and came to Edinburgh when he was 16. He was one <strong>of</strong> a group <strong>of</strong> students that included<br />
Hugh Cameron, George Reid, George Paul Chalmers and William Quiller Orchardson,<br />
who studied under Robert Scott Lauder between 1852 and 1861. Under Lauder’s tuition,<br />
<strong>the</strong> use <strong>of</strong> colour – particularly <strong>the</strong> use <strong>of</strong> different tones and gradations <strong>of</strong> light and<br />
colour – was given equal emphasis to draughtsmanship.<br />
McTaggart became a ‘<strong>Scottish</strong> Impressionist’, leaving behind <strong>the</strong> typically<br />
Victorian subject matter and finely detailed technique apparent in his production until<br />
<strong>the</strong> 1880s in favour <strong>of</strong> broad application <strong>of</strong> oil paint and sparkling landscapes made en<br />
plein air, as much about light as location. It is not hard to see how <strong>the</strong>se works would<br />
have appealed to Blyth. At <strong>the</strong>ir best his paintings elicit a strong, emotional response akin<br />
to orchestral music, quite apart from <strong>the</strong>ir ‘subject matter’ which became increasingly<br />
irrelevant. Besides Turner <strong>the</strong>re is no o<strong>the</strong>r example <strong>of</strong> a British painter with such<br />
ambition, matched by sheer painterly ability, who is able to express his wonder in front<br />
<strong>of</strong> his landscape subject and invest it with such power and universal relevance.<br />
Stanley Cursiter pays tribute to Peter McOmish Dott, who was senior partner<br />
by <strong>the</strong> time Blyth began to collect. He was a man ‘<strong>of</strong> fine taste, generous and warm<br />
hearted and a real friend to many <strong>of</strong> <strong>the</strong> artists he encouraged and supported’. And this<br />
sympathy must have won <strong>the</strong> trust <strong>of</strong> <strong>the</strong> young enthusiast. Dott was uniquely qualified to<br />
introduce McTaggart, by <strong>the</strong>n <strong>the</strong> grand old man <strong>of</strong> <strong>Scottish</strong> painting. In 1900 he agreed<br />
to purchase 29 works by McTaggart for £5,000 and <strong>the</strong> pictures were subsequently<br />
exhibited in Glasgow, Edinburgh and Dundee. It is doubtful whe<strong>the</strong>r Blyth would have<br />
seen this <strong>exhibition</strong> but Dott later sent Blyth <strong>the</strong> guide he had written, entitled Technical<br />
8
and Explanatory Notes on <strong>the</strong> Art <strong>of</strong> Mr William McTaggart as Displayed in his Exhibition <strong>of</strong> Thirtytwo<br />
Pictures in 1901. <strong>The</strong> overall impression from <strong>the</strong> notes is expressed clearly by Dott<br />
in his statement that ‘In Art, colour and light are certainly measures <strong>of</strong> higher faculties in<br />
<strong>the</strong> artist than form.’ He commends McTaggart’s works to <strong>the</strong> untutored in painting for<br />
<strong>the</strong>ir sheer ‘bonniness’. We cannot censure <strong>the</strong> salesman for his hagiography, but clearly<br />
Dott’s passion for McTaggart was genuine, and such commendations supported Blyth’s<br />
own judgement which was initially based on immediate appeal ra<strong>the</strong>r than analysis.<br />
In 1954 Blyth wrote <strong>the</strong> introduction to an <strong>exhibition</strong> <strong>of</strong> works by McTaggart<br />
at <strong>the</strong> Royal <strong>Scottish</strong> Academy. Blyth selected all <strong>the</strong> works for <strong>the</strong> <strong>exhibition</strong>, and<br />
contributed 23 works from his collection, dating from Dora <strong>of</strong> 1866 to Cornfield, Sandy<br />
Dean <strong>of</strong> 1905. He wrote: ‘McTaggart’s impressionism was inborn and spontaneous.<br />
It was not influenced by any <strong>the</strong>ories or dogmas, and he was unaware <strong>of</strong> <strong>the</strong> movement<br />
in France.’ Blyth also dwells on McTaggart’s background and education: ‘Whence came<br />
that talent is a mystery … this lad from a cr<strong>of</strong>t at <strong>the</strong> extreme corner <strong>of</strong> <strong>the</strong> Mull <strong>of</strong><br />
Kintyre pursued his own course and became <strong>the</strong> first and foremost Impressionist painter<br />
in Scotland.’ Likewise Blyth had no artistic background, and where his fascination for<br />
art came from is equally a mystery. Thus <strong>the</strong>re were close links between <strong>the</strong> artist and<br />
collector which Blyth perhaps was aware <strong>of</strong> and enjoyed.<br />
McTaggart’s most ambitious and monumental works can still be read as genre or<br />
history painting, but his figures are increasingly subsumed into <strong>the</strong> landscape, as Blyth<br />
himself notes:<br />
McTaggart’s use <strong>of</strong> figures in his composition is one <strong>of</strong> <strong>the</strong> most fascinating<br />
features <strong>of</strong> his art. <strong>The</strong>y are always part <strong>of</strong> <strong>the</strong> impression. In some cases<br />
<strong>the</strong> impression is a strong one, in o<strong>the</strong>rs it is more fleeting, or it may be<br />
so slight that <strong>the</strong> figures appear only as notes <strong>of</strong> lovely colour.<br />
<strong>The</strong> handling is vital and <strong>the</strong>re is a great, raw energy perhaps at its most dramatic<br />
when McTaggart paints <strong>the</strong> sea exemplified in Blyth’s most expensive acquisition, White<br />
Surf <strong>of</strong> 1908, purchased in 1920. <strong>The</strong> artist can work as successfully on a heroic or tiny<br />
scale, and <strong>the</strong> subtle play <strong>of</strong> light on broken water is beautifully handled in many small<br />
works such as Sunset at Machrihanish (page 33). Blyth recognised that <strong>the</strong> seascapes were<br />
deemed more successful than <strong>the</strong> landscapes, writing: ‘McTaggart’s pictures <strong>of</strong> <strong>the</strong> sea<br />
are <strong>the</strong> most wonderful ever painted, and his supremacy in this branch <strong>of</strong> art is apt to<br />
minimise <strong>the</strong> interest in his landscapes.’<br />
As well as works by McTaggart, Blyth consistently bought works by James<br />
Lawton Wingate. If McTaggart is a Scots Turner <strong>the</strong>n Wingate has to be considered a petit<br />
maître who owes his vision to Corot and <strong>the</strong> French painters <strong>of</strong> <strong>the</strong> Barbizon School. Blyth<br />
did not include work <strong>of</strong> <strong>the</strong> nineteenth-century Hague School, which was immensely<br />
popular with <strong>Scottish</strong> collectors and influential on <strong>the</strong> landscapes and genre works <strong>of</strong><br />
many senior Academicians such as Robert Macgregor and Robert Gemmell Hutchison.<br />
He was not interested in genre painting per se but more drawn to depictions <strong>of</strong> <strong>the</strong> natural<br />
world, which might contain an element <strong>of</strong> sentimentality, but are essentially truthful to<br />
<strong>the</strong>ir subject. In this sense Wingate’s ability to capture a time <strong>of</strong> day within a season<br />
and (sometimes) to include a working horse or a labourer chimed with his own sense<br />
<strong>of</strong> emotional engagement with <strong>the</strong> <strong>Scottish</strong> landscape. Today perhaps we can see more<br />
clearly how McTaggart was able to tap into universal emotions, while Wingate seems<br />
to belong to an essentially nineteenth-century vision untouched by modernism; but his<br />
ability to render a time and place cannot be dismissed. Typically loyal and consistent,<br />
Blyth certainly thought <strong>of</strong> his Wingate works as amongst his most treasured pictures:<br />
9
at <strong>the</strong> time <strong>of</strong> his death in 1962, six <strong>of</strong> <strong>the</strong>m dominated <strong>the</strong> walls <strong>of</strong> his sitting room at<br />
Wilby House. Ano<strong>the</strong>r early favourite was Edwin Alexander (1870–1926), a naturalist<br />
who worked exclusively in watercolour and gouache; his charming depictions <strong>of</strong> birds<br />
like Blackbird (page 55) and animals and <strong>the</strong> gentle landscape <strong>of</strong> East Lothian might have<br />
spoken to Blyth <strong>of</strong> his own boyhood in Fife and certainly chimed perfectly with his love<br />
<strong>of</strong> nature.<br />
<strong>The</strong>re is no dominant <strong>the</strong>me in <strong>the</strong> collection; indeed with more than a third <strong>of</strong><br />
<strong>the</strong> entire holding being by one artist, S.J. Peploe, <strong>the</strong> idea <strong>of</strong> a <strong>the</strong>me falls away. In this<br />
sense Blyth was modernist as a collector, both trusting his own judgment <strong>of</strong> quality against<br />
a shifting canvas <strong>of</strong> definition and trusting also <strong>the</strong> painter, with whom he shared values.<br />
It is George Proudfoot, who also was a keen collector <strong>of</strong> Peploe and a close friend<br />
<strong>of</strong> Blyth, who can be credited with confirming Blyth on his epic decision to collect <strong>the</strong><br />
artist. <strong>The</strong> two men were <strong>of</strong> an age and temperamentally similar: Peploe was intensely<br />
shy and Blyth respected his natural reticence and unwillingness to represent himself in<br />
<strong>the</strong> public arena.<br />
As has been noted, Peploe had begun to exhibit from 1903 with <strong>The</strong> <strong>Scottish</strong><br />
<strong>Gallery</strong> who had considerable success with <strong>the</strong> early work. <strong>The</strong> artist’s early influences<br />
were <strong>the</strong> Realists and Symbolists <strong>of</strong> <strong>the</strong> late nineteenth century as well as Manet and<br />
<strong>the</strong> Dutch School. His conversion to <strong>the</strong> way <strong>of</strong> colour and his own brand <strong>of</strong> Post-<br />
Impressionism at first alienated Peter McOmish Dott when faced with <strong>the</strong> brilliant<br />
fauvist panels he brought back from France in 1912. During <strong>the</strong> war years, with Peploe<br />
established in a studio in Queen Street and making several extended painting trips to<br />
<strong>the</strong> south-west <strong>of</strong> Scotland (where Jessie M. King and E.A. Taylor, his artist friends from<br />
Paris, had settled in Kirkcudbright), <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> began to take work for sale.<br />
After <strong>the</strong> war Peploe began to paint his distinctive, brilliantly coloured rose and tulip<br />
still-lifes and both Proudfoot and Alex Reid recognised <strong>the</strong> arrival <strong>of</strong> a mature talent<br />
with huge commercial potential. Exhibitions followed apace and Peploe accepted a joint<br />
contract with <strong>the</strong> two galleries.<br />
<strong>The</strong> first documented record <strong>of</strong> a link between <strong>the</strong> works <strong>of</strong> Peploe and Blyth <strong>the</strong><br />
collector is in a letter from Alex Reid to Blyth, dated 8th November 1915. Reid writes:<br />
‘I think you ought to consider <strong>the</strong> Peploes more seriously than you seem to do.’ <strong>The</strong>re<br />
exists a receipt dated 15th November 1915, one week after <strong>the</strong> letter was written, for<br />
a picture called Town in Brittany, bought from Reid’s gallery in Glasgow, for a price <strong>of</strong><br />
£12. This purchase coincides with <strong>the</strong> Peploe <strong>exhibition</strong> at Reid’s gallery in that month.<br />
However <strong>the</strong> first recorded purchase by Blyth <strong>of</strong> a work by Peploe is in January 1924, for<br />
Summer Day, Iona from <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong>.<br />
<strong>The</strong>re are many possible reasons why Blyth did not begin to collect Peploe’s<br />
works in earnest until after 1924. Firstly, we should take into account <strong>the</strong> ra<strong>the</strong>r sharp<br />
tone <strong>of</strong> Reid’s correspondence; Blyth would have been used to this by now. In addition,<br />
<strong>the</strong> fact that Peter McOmish Dott had refused to sell any <strong>of</strong> Peploe’s work after <strong>the</strong><br />
artist’s return from Paris in 1911, referring to him as ‘a lost soul’, is quite likely to have<br />
discouraged Blyth from taking his work seriously in <strong>the</strong>se early years. Besides, before<br />
1920 Blyth’s interests were in large part restricted to landscape, and to McTaggart in<br />
particular. <strong>The</strong> link between McTaggart’s art and <strong>the</strong> work <strong>of</strong> Peploe is <strong>of</strong>ten referred<br />
to, however, and we can see Blyth’s ‘discovery’ <strong>of</strong> Peploe as a natural progression<br />
(although a man with Blyth’s passion could only be an evangelist and his conversion to<br />
Peploe became all-consuming). Stanley Cursiter wrote in his 1947 biography <strong>of</strong> Peploe:<br />
‘<strong>The</strong> richness <strong>of</strong> pigmental content is a quality which <strong>the</strong>y have in common … Peploe<br />
had a high regard for McTaggart and one <strong>of</strong> his greatest regrets was that he never met<br />
this fine artist.’ T.J. Honeyman, in his book Three <strong>Scottish</strong> Colourists, links McTaggart to<br />
10
Peploe in terms <strong>of</strong> colour: ‘although <strong>the</strong>se two painters may, at first glance seem poles<br />
apart, <strong>the</strong>y had <strong>the</strong> same basic appreciation <strong>of</strong> colour and <strong>of</strong> <strong>the</strong> importance <strong>of</strong> colour<br />
context in <strong>the</strong>ir work.’<br />
Blyth’s decision to collect <strong>the</strong> works <strong>of</strong> Peploe would have been streng<strong>the</strong>ned by<br />
<strong>the</strong> success <strong>of</strong> Peploe’s work when it was exhibited alongside that <strong>of</strong> his fellow scottish<br />
Colourists George leslie hunter (1877–1931), francis Campbell Boileau Cadell (1883–<br />
1937) and John Duncan fergusson (1874–1961) at <strong>the</strong> leicester Galleries in london<br />
in January 1925. Peploe was particularly praised by W.R. sickert in <strong>the</strong> preface to <strong>the</strong><br />
<strong>exhibition</strong> <strong>catalogue</strong>:<br />
Mr Peploe has carried a certain kind <strong>of</strong> delicious skill to a pitch <strong>of</strong><br />
virtuosity that might have led to more repetition, and his present<br />
orientation has certainly been a kind <strong>of</strong> rebirth. he has transferred<br />
his unit <strong>of</strong> attention from attenuated and exquisite gradations <strong>of</strong> tone<br />
to no less skilfully related colour. and by relating all his lines with<br />
frankness to <strong>the</strong> 180 degrees <strong>of</strong> two right angles, he is able to capture<br />
and digest a wider field <strong>of</strong> vision than before. and time, as <strong>the</strong> poet sings,<br />
is an important element in <strong>the</strong> ga<strong>the</strong>ring <strong>of</strong> roses. his volte-face has been<br />
an intellectual progress. and it is probably for this reason that, obviously<br />
beautiful as was Mr Peploe’s earlier quality, his present one will establish<br />
itself as <strong>the</strong> more beautiful <strong>of</strong> <strong>the</strong> two.<br />
11
letter from Margaret Peploe to Jack Blyth, post-marked 19th May 1936<br />
12
Blyth’s conversion was certainly complete and in 1928 for <strong>the</strong> ‘Second<br />
Inaugural Exhibition’ organised at <strong>the</strong> Kirkcaldy Art <strong>Gallery</strong> it was<br />
decided to devote one room <strong>of</strong> 25 pictures to Peploe. Stanley Cursiter,<br />
in his biography <strong>of</strong> <strong>the</strong> artist, states that this was ‘in a large measure due<br />
to <strong>the</strong> convener J.W. Blyth and ano<strong>the</strong>r member <strong>of</strong> <strong>the</strong> committee Mr R.<br />
Wemyss Honeyman’. <strong>The</strong> reviews <strong>of</strong> <strong>the</strong> <strong>exhibition</strong> were good, especially<br />
for Peploe.<br />
However, apart from two Iona landscapes and a still-life, Blyth bought very few<br />
pictures between 1926 and 1933 because <strong>of</strong> <strong>the</strong> Depression; if business had been better<br />
(or indeed prices at that time lower) he would undoubtedly have bought more, earlier.<br />
<strong>The</strong> pictures collected by Blyth up to his last purchase in 1956 show Peploe’s range in<br />
still-life, landscapes, seascapes and a few figure subjects. He had ample opportunity to<br />
fill in gaps from <strong>the</strong> periods before he began his purchases <strong>of</strong> new work, particularly<br />
from <strong>the</strong> dealers’ inventories after <strong>the</strong> painter’s early death in 1935. This said, he lent<br />
pictures for <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong>’s 1936 Peploe Memorial Exhibition and contributed<br />
an introduction to its <strong>catalogue</strong>, and it is clear from a letter <strong>of</strong> gratitude written to him<br />
by <strong>the</strong> painter’s widow shortly afterwards that he was already recognised as a significant<br />
collector <strong>of</strong> Peploe’s best work long before <strong>the</strong> artist’s death. Her letter refers to a rare<br />
visit made to see <strong>the</strong> Blyths at Wilby House, and is testament to <strong>the</strong> Peploes’ appreciation<br />
<strong>of</strong> <strong>the</strong> support Blyth’s patronage provided.<br />
An early picture, A Street in Comrie <strong>of</strong> 1902, purchased by Blyth during <strong>the</strong> 1920s,<br />
is a good example <strong>of</strong> <strong>the</strong> influence <strong>of</strong> French Impressionism and Sisley in particular.<br />
<strong>The</strong> Lobster was bought in May 1937 and is a pre-eminent example <strong>of</strong> his early style.<br />
However, <strong>the</strong> period that dominates <strong>the</strong> works by Peploe in Blyth’s collection is <strong>the</strong> last<br />
phase, 1920–35. Once again it is not far-fetched to see in Peploe’s mature work a musical<br />
parallel which would have appealed to Blyth on both an intellectual and emotional level.<br />
In March 1941, in his introduction to <strong>the</strong> <strong>catalogue</strong> for a Peploe restrospective at <strong>the</strong><br />
National <strong>Gallery</strong> <strong>of</strong> Scotland, Stanley Cursiter wrote:<br />
His concentration on still-life arose from <strong>the</strong> desire to have complete<br />
control over conditions and circumstances. He could plan <strong>the</strong> limits <strong>of</strong> his<br />
colour scheme and devise intermediate notes; <strong>the</strong> intensity and direction<br />
<strong>of</strong> light; <strong>the</strong> form and pattern <strong>of</strong> his group. In this way Peploe’s work<br />
became a form <strong>of</strong> visual music in which every note <strong>of</strong> colour took its<br />
place in a melodic scheme, to which <strong>the</strong> setting or background presented<br />
<strong>the</strong> harmony and <strong>the</strong> design pattern stated <strong>the</strong> tempo.<br />
Blyth did not purchase a work by one <strong>of</strong> <strong>the</strong> three o<strong>the</strong>r <strong>Scottish</strong> Colourists until<br />
1939. In total he collected only 11 works by <strong>the</strong>se artists including <strong>the</strong> beautiful Paris-<br />
Plage street scene (page 71) which, though on <strong>the</strong> small-panel pochard scale, is a key work<br />
in J.D. Fergusson’s journey into modernism.<br />
Blyth acquired two works by English painter Philip Wilson Steer (1860–1942)<br />
in 1934: Farm at Long Crendon and Sandy Road. Both were purchased from <strong>the</strong> Barbizon<br />
House, run by <strong>the</strong> influential <strong>Scottish</strong> dealer David Croal Thomson in London. <strong>The</strong>se<br />
are <strong>the</strong> only two major works bought before 1939 which are not by a <strong>Scottish</strong> artist.<br />
In his later biography <strong>of</strong> Steer, D.S. MacColl would link McTaggart to Steer as modern<br />
successors to Constable.<br />
During 1939 and 1940 Blyth spent a lot <strong>of</strong> time in London and certainly visited<br />
Reid & Lefèvre, who continued to represent <strong>the</strong> Peploe estate and where Peploe’s older<br />
13
son Willy was making his career. However it was his relationship with <strong>the</strong> energetic<br />
young dealer Lillian Browse <strong>of</strong> Roland, Browse & Delbanco in Cork Street which was to<br />
have <strong>the</strong> greater impact, in particular nurturing his love <strong>of</strong> Sickert’s work.<br />
Blyth had purchased his first work by Sickert in 1939: Chez Vernet (1920), an<br />
exquisite example <strong>of</strong> his Dieppe period, from <strong>the</strong> fine-art dealers Robertson & Bruce<br />
in Dundee. Paintings by Sickert would have been known in <strong>Scottish</strong> galleries from <strong>the</strong><br />
early 1890s: his association with <strong>the</strong> New English Art Club and with <strong>Scottish</strong> artists such<br />
as Alexander Roche (1861–1921), Sir John Lavery (1856–1941) and Sir James Guthrie<br />
(1859–1930) would have introduced him to dealers north <strong>of</strong> <strong>the</strong> border.<br />
An interesting letter from George Proudfoot to Blyth, dated November 1941,<br />
informs <strong>the</strong> latter <strong>of</strong> six new works by Sickert which would shortly be for sale in <strong>The</strong><br />
<strong>Scottish</strong> <strong>Gallery</strong>. <strong>The</strong> three works purchased by Blyth – Romeo and Juliet at Reculver, Bath<br />
(1937), <strong>The</strong> Doorstep (1941) and Belmont, Bath (1940) – were examples <strong>of</strong> Sickert’s<br />
late style. Between 1930 and his death in 1942, Sickert’s paint texture grew drier, <strong>the</strong><br />
application sparser, and his engagement with his subject less direct: he sometimes painted<br />
from photographs and began to produce his enigmatic re-creations <strong>of</strong> <strong>the</strong> melodramatic<br />
images <strong>of</strong> late Victorian painters and illustrators, his <strong>The</strong> Holocaust (page 79) being a fine<br />
example.<br />
Lillian Browse remembers <strong>the</strong> discussions between herself and Blyth over <strong>the</strong><br />
late Sickerts: ‘He liked <strong>the</strong> late Sickerts too; I didn’t, preferring <strong>the</strong> “rich juicy paint” and<br />
we constantly used to tease and argue.’ Although Browse said that Blyth ‘was a passionate<br />
lover <strong>of</strong> Sickert and always adamant in his choice’, as with his collection <strong>of</strong> Peploe <strong>the</strong>re<br />
is a balance between <strong>the</strong> collector’s personal predilections and <strong>the</strong> desire for a complete<br />
representation <strong>of</strong> <strong>the</strong> artist’s oeuvre.<br />
In 1954 he purchased one <strong>of</strong> <strong>the</strong> few Sickert portraits in <strong>the</strong> collection,<br />
La Giuseppina (1903). It is a portrait pr<strong>of</strong>ile showing head and shoulders. <strong>The</strong> picture is<br />
light in tone, <strong>the</strong> hair forming a dark mass, and <strong>the</strong> handling free. <strong>The</strong> painting would<br />
have made an interesting comparison with Peploe’s depiction <strong>of</strong> his model Peggy Macrae<br />
– Elegance (c.1908) – purchased four years before.<br />
Thirteen <strong>of</strong> Blyth’s 24 works by Sickert were hanging in <strong>the</strong> Wilby House drawing<br />
room in 1962, including <strong>the</strong> last picture he acquired for <strong>the</strong> collection: Reclining Nude<br />
(1904), bought from Roland, Browse & Delbanco in 1956 in exchange for Cliff, Dieppe<br />
– Study in Mauve by <strong>the</strong> same artist (purchased six years before from <strong>the</strong> same gallery)<br />
and £450; even in his eighties, his ability to strike a deal remained undiminished. It is<br />
informative to compare Sickert’s Lobster on a Tray (1919), acquired in 1951, with Peploe’s<br />
Lobster (c.1902) (page 59); he told Lillian Browse, perhaps only partly tongue-in-cheek,<br />
‘that he would have liked to have turned Sickert into a Scot if he could have’.<br />
<strong>The</strong> Sickert paintings dominate <strong>the</strong> English section <strong>of</strong> <strong>the</strong> collection and <strong>the</strong>re is<br />
no question that his regard for <strong>the</strong> artist was as substantial as that for Peploe or McTaggart.<br />
Between 1939 and 1951 Blyth purchased three works by Duncan Grant (1885–1978),<br />
two by Harold Gilman (1876–1919), four by Spencer Gore (1878–1914), three by<br />
P. Wilson Steer and four by William Nicholson (1872–1949). In 1939 he purchased a<br />
Lowry, Old Street, and in 1951 a single work by Mat<strong>the</strong>w Smith, Roses. It is interesting<br />
that <strong>the</strong> only English artists o<strong>the</strong>r than Sickert who were represented in Wilby House<br />
at <strong>the</strong> time <strong>of</strong> Blyth’s death were Wilson Steer (two works) and William Nicholson.<br />
It is fur<strong>the</strong>rmore tempting to speculate that some purchases <strong>of</strong> English and French work<br />
were to make informative contrasting comparisons with his Peploes and o<strong>the</strong>r <strong>Scottish</strong><br />
works.<br />
He purchased a work by Boudin, Les Fourges, in February 1912 but traded it in for<br />
McTaggart’s <strong>The</strong> Emigrants in April 1914. In 1943 he acquired two fur<strong>the</strong>r Boudin works,<br />
14
Trouville Harbour and Deauville (pages 25 and 27), from <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong>. One year<br />
earlier he had bought a work by Corot, Souvenir de La Spezia (Effet du Matin) <strong>of</strong> 1874, also<br />
from <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong>. Works by both <strong>of</strong> <strong>the</strong>se artists had originally been introduced<br />
to Scotland by Alex Reid: between 1900 and 1913 he arranged five <strong>exhibition</strong>s <strong>of</strong> works<br />
by Boudin and in 1920 he leased <strong>the</strong> McLellan Galleries in Glasgow and exhibited 171<br />
works by 29 artists, including 57 by Boudin, 19 by Vuillard and 15 by Fantin-Latour, as<br />
well as works by many <strong>of</strong> <strong>the</strong> Impressionists.<br />
In 1950 Blyth purchased a Vuillard Paysage (1890). Vuillard had studied at <strong>the</strong><br />
Académie Julian where Peploe was later to study. His work <strong>of</strong> 1890, such as Paysage,<br />
utilises simplified design, strong colour and energetic brushwork, and would have<br />
provided an interesting comparison with Peploe’s studies <strong>of</strong> Iona, painted in <strong>the</strong> 1920s.<br />
He would also have been aware that paintings by Boudin had not increased in price over<br />
twenty years: William Burrell paid £250 for <strong>The</strong> Empress Eugénie on <strong>the</strong> Beach at Trouville by<br />
Boudin in 1923, while Blyth paid £280 for Trouville Harbour, a similar painting, in 1943.<br />
<strong>The</strong> works by Vuillard and Corot were hanging in <strong>the</strong> <strong>Gallery</strong> in 1962. <strong>The</strong> only<br />
o<strong>the</strong>r major works by foreign artists are Dolly by Jacques-Émile Blanche (1861–1942),<br />
Flowers by Bernard de Hoog (1867–1943) and Still-Life by Maurice Louvrier (1878–<br />
1954). Blyth may have purchased <strong>the</strong>se paintings as bargains and <strong>the</strong>refore investments,<br />
but also because <strong>the</strong>y gave him <strong>the</strong> opportunity to display a comparison between some<br />
prominent French (and Dutch) artists and <strong>the</strong>ir ‘overlooked’ <strong>Scottish</strong> contemporaries,<br />
especially Peploe and McTaggart. <strong>The</strong> landscape by Boudin, <strong>of</strong> Deauville, hung between<br />
landscapes by Peploe and McTaggart in <strong>the</strong> hall <strong>of</strong> Wilby House in 1962.<br />
15
<strong>The</strong>mes and motivations<br />
As has been noted, Blyth’s possession <strong>of</strong> 84 works by S.J. Peploe ra<strong>the</strong>r undermines <strong>the</strong><br />
idea <strong>of</strong> a <strong>the</strong>me for his collection; but it is worth exploring some commonalities and<br />
speculating about what drove him to make particular choices.<br />
In Blyth’s foreword for <strong>the</strong> Peploe Memorial Exhibition at <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong>,<br />
written in April 1936, he praises Peploe for his ‘masterpieces <strong>of</strong> each period [which] are<br />
eloquent <strong>of</strong> … supreme skill in <strong>the</strong> art <strong>of</strong> picture-making’. <strong>The</strong> mastery <strong>of</strong> design that<br />
Peploe could deploy in still-life composition was recognised by Blyth, who would see no<br />
tired repetition in <strong>the</strong> 30 still-lifes he collected by Peploe; and he would say <strong>the</strong> same<br />
for Sickert.<br />
In his choice <strong>of</strong> work by earlier <strong>Scottish</strong> painters, Blyth seems particularly<br />
interested in <strong>the</strong> representation <strong>of</strong> scenes from <strong>Scottish</strong> rural life. Many suggested a rural<br />
idyll which had been extremely popular since <strong>the</strong> 1880s, with <strong>the</strong> new collectors from<br />
<strong>the</strong> mercantile classes demanding images <strong>of</strong> nostalgia for <strong>the</strong> ‘pastoral’. But for Blyth this<br />
would not be sufficient: he would recognise that such subject matter could produce good<br />
or indifferent pictures.<br />
As part <strong>of</strong> <strong>the</strong> introduction for <strong>the</strong> McTaggart <strong>exhibition</strong> at <strong>the</strong> Royal <strong>Scottish</strong><br />
Academy in 1954, Blyth describes in detail <strong>the</strong> charm <strong>of</strong> <strong>the</strong> narrative in <strong>the</strong> McTaggart<br />
work titled Country Lane:<br />
A beautiful example <strong>of</strong> <strong>the</strong>se differences will be found in ‘A Country Lane’.<br />
Here <strong>the</strong> artist’s attention has been momentarily arrested by a ra<strong>the</strong>r<br />
charming incident. A boy instructing a little girl in <strong>the</strong> manipulation <strong>of</strong> a<br />
penny whistle. How beautifully <strong>the</strong> incident has been portrayed, <strong>the</strong> boy<br />
with his head inclined, intent on his job, <strong>the</strong> girl eagerly extending her hands<br />
for <strong>the</strong> whistle, and all conveyed to <strong>the</strong> canvas by few vital brush strokes.<br />
Blyth lived in an increasingly industrialised town from which he would escape<br />
to Machrihanish, <strong>the</strong> same place to which McTaggart returned many times to paint.<br />
Similarly he collected paintings by Peploe <strong>of</strong> Iona, by Sickert <strong>of</strong> Dieppe, and by Wingate<br />
<strong>of</strong> Gargunnock. Blyth clearly responded to <strong>the</strong> sense <strong>of</strong> place and time and an artist’s<br />
ability to capture <strong>the</strong> beauty <strong>of</strong> <strong>the</strong> natural world.<br />
Throughout his life as a collector, Blyth tried to secure a better position for<br />
<strong>Scottish</strong> art in both England and Scotland. Against <strong>the</strong> background <strong>of</strong> a decline in <strong>the</strong><br />
demand for pictures in Scotland during <strong>the</strong> late 1920s, this proved difficult. Alex Reid,<br />
who had supported <strong>the</strong> Glasgow School in <strong>the</strong> 1890s at home and abroad and had also<br />
given his backing to <strong>the</strong> <strong>Scottish</strong> Colourists, had noticed <strong>the</strong> decline and consequently in<br />
1926 moved his gallery from Glasgow to London, where he combined with <strong>the</strong> Lefèvre<br />
Galeries as Reid & Lefèvre and allowed his son A.J. McNeil Reid to head up <strong>the</strong> business.<br />
In this climate galleries in Glasgow, Dundee and Edinburgh had to close, with<br />
<strong>the</strong> result that <strong>Scottish</strong> art lost some <strong>of</strong> its financial and critical support. Blyth was<br />
determined to revive and sustain <strong>Scottish</strong> artists’ positions in <strong>the</strong> British art world and<br />
make his contribution to a debate that continues to this day. In his W.A. Cargill Lecture<br />
at <strong>the</strong> University <strong>of</strong> Glasgow in 1968, T.J. Honeyman would outline <strong>the</strong> problems which<br />
confronted <strong>Scottish</strong> art during this period:<br />
17
Most contemporary publications, <strong>exhibition</strong>s, talks, and articles carrying<br />
<strong>the</strong> general title <strong>of</strong> British art should be more properly termed english<br />
art because <strong>of</strong> <strong>the</strong> almost complete absence <strong>of</strong> reference to native<br />
resident scottish artists. <strong>the</strong> fault lies in ourselves. It has <strong>of</strong>ten been<br />
said that if scottish art had been entitled to a more prominent place<br />
in <strong>the</strong> histories <strong>of</strong> British art it would have won it without difficulty.<br />
<strong>the</strong> assumption is that fame and distinction are made solely to merit.<br />
this is not so. If <strong>the</strong> arts are to be sustained in a flourishing condition <strong>the</strong>y<br />
must be continuously refreshed in <strong>the</strong> hearts and minds <strong>of</strong> <strong>the</strong> people.<br />
similar objectives were followed by <strong>the</strong> sMaa, <strong>of</strong> which Blyth was Chairman<br />
from 1944 until his death. <strong>the</strong> constitution stresses <strong>the</strong> supportive role played by <strong>the</strong><br />
association in maintaining an interest in, and representation for, scottish artists. Blyth<br />
was fur<strong>the</strong>r able to contribute to <strong>the</strong> position <strong>of</strong> scottish art by his involvement with <strong>the</strong><br />
Kirkcaldy art <strong>Gallery</strong> and with various <strong>exhibition</strong>s held in london.<br />
During and after <strong>the</strong> second World War, Blyth extended his collection <strong>of</strong> works by<br />
scottish artists, purchasing examples <strong>of</strong> alfred edward Borthwick (1871–1955), Robert<br />
Burns (1869–1941), sir David young Cameron (1865–1945), Ka<strong>the</strong>rine Cameron<br />
(1874–1965), sir George Clausen (1852–1944), Joseph Crawhall, stanley Cursiter<br />
(1887–1976), sir James Guthrie, e.a. hornel, George henry, sir John lavery, ernest<br />
stephen lumsden (1883–1948), William Mactaggart (1903–81), James McIntosh<br />
Patrick (1907–98), arthur Melville (1858–1904), John Maclauchlan Milne (1885–<br />
1957), thomas Corsan Morton (1859–1928), James Campbell Noble (1846–1913),<br />
James Paterson (1854–1932), Denis (1914–93) and Willy Peploe (1910–65), sir George<br />
Reid (1841–1913), John Crawford Wintour (1825–82) and Peter Wishart (1846–1932).<br />
<strong>the</strong> largest number <strong>of</strong> works Blyth collected by a scottish artist during this period was<br />
six pieces by William George Gillies (1898–1973) which are now all in <strong>the</strong> Kirkcaldy<br />
art <strong>Gallery</strong>.<br />
Mr and Mrs Blyth with<br />
Robert Wemyss honeyman<br />
and ‘tim’<br />
18
It is tempting to posit that <strong>the</strong> primary reason why Blyth collected so many<br />
pictures by <strong>Scottish</strong> artists after <strong>the</strong> beginning <strong>of</strong> <strong>the</strong> Second World War was <strong>the</strong> very<br />
low prices. He liked a bargain and rarely had to spend more than thirty pounds on a<br />
picture by one <strong>of</strong> <strong>the</strong>se artists. <strong>The</strong> cost <strong>of</strong> all <strong>the</strong> pictures by <strong>the</strong> above-mentioned artists<br />
comes to less than he paid for Venture Fair in 1920 by William McTaggart. But this is not<br />
sufficient: his motivations were complex and varied. He certainly liked to support young<br />
<strong>Scottish</strong> painters (and even <strong>the</strong> galleries, in difficult times) and it is not unreasonable to<br />
describe his pattern <strong>of</strong> purchasing as compulsive. But he did not buy exclusively <strong>Scottish</strong><br />
works (nor limit <strong>the</strong> quantum <strong>of</strong> his spending) and would defend his favourite <strong>Scottish</strong><br />
painters only if he sensed an injustice in how <strong>the</strong>y might be treated by <strong>the</strong> critical and<br />
curatorial establishment.<br />
In 1939 Blyth became involved with an ambitious <strong>exhibition</strong> being organised<br />
by Stanley Cursiter, who was by <strong>the</strong>n Director <strong>of</strong> <strong>the</strong> National <strong>Gallery</strong> <strong>of</strong> Scotland.<br />
<strong>The</strong> ‘<strong>Scottish</strong> Art Exhibition’ took place in Burlington House, <strong>the</strong> home <strong>of</strong> <strong>the</strong> Royal<br />
Academy, and was not a critical success. <strong>The</strong> critics attacked <strong>the</strong> paintings <strong>of</strong> McTaggart<br />
especially, which was galling to Blyth since he had personally selected <strong>the</strong>m from his own<br />
collection. He recounted how:<br />
Whenever <strong>the</strong>se art critics in London know a thing comes from Scotland<br />
it is suspect at once. … We had this McTaggart room which I helped<br />
to choose and one critic wrote that we had done a poor service to<br />
McTaggart by showing a succession <strong>of</strong> seashore pictures round <strong>the</strong> room.<br />
Actually <strong>the</strong>re were more landscapes than seascapes for I had chosen<br />
<strong>the</strong>m myself. I very much doubt it, because <strong>the</strong> pictures were <strong>Scottish</strong>,<br />
<strong>the</strong> critic had never come to see <strong>the</strong>m. And <strong>the</strong>n ano<strong>the</strong>r had written<br />
‘McTaggart piles on <strong>the</strong> paint till he gets his effect!’ I feel that critic wrote<br />
without going to see <strong>the</strong> pictures. He would probably say ‘Oh it’s <strong>Scottish</strong><br />
which is <strong>of</strong> no interest to high-brow people like us.’<br />
Representative <strong>of</strong> <strong>the</strong> ‘more advanced and emphatic phase <strong>of</strong> recent painting in<br />
Scotland’, as <strong>the</strong> <strong>catalogue</strong> introduction defined it, were 21 S.J. Peploes, eight Cadells,<br />
five Hunters, along with two by Walter Grieve (1872–1937) and one each by William<br />
York Macgregor (1855–1923), T. Corsan Morton and William Crozier (1897–1930).<br />
<strong>The</strong> mixed critical reception may well have been a disappointment to <strong>the</strong> curators but<br />
cannot have been altoge<strong>the</strong>r a surprise; with <strong>the</strong> benefit <strong>of</strong> hindsight, <strong>the</strong> selection could<br />
have been balanced with <strong>the</strong> inclusion <strong>of</strong> William Gillies and William MacTaggart to<br />
represent <strong>the</strong> living.<br />
With <strong>the</strong> advent <strong>of</strong> war and <strong>the</strong> evacuation <strong>of</strong> so many pictures into safe storage<br />
from <strong>the</strong> National Galleries, Lillian Browse persuaded <strong>the</strong> Director Kenneth Clark to let<br />
her curate a series <strong>of</strong> shows <strong>of</strong> contemporary work, and from March to <strong>the</strong> end <strong>of</strong> August<br />
1940 she put on ‘British Painting Since Whistler’ which contained no <strong>Scottish</strong> art at all.<br />
As a result Blyth wrote some ‘extremely stormy’ letters to his young friend, demanding<br />
<strong>Scottish</strong> representation in <strong>the</strong> <strong>exhibition</strong>. A <strong>Scottish</strong> room was granted for 15 works, and<br />
pictures by Edwin Alexander, Robert Alexander (1840–1923), S.J. Peploe, McTaggart<br />
and Wingate were sent from <strong>the</strong> Blyth Collection. To <strong>the</strong>se works were added three<br />
from o<strong>the</strong>r sources, including an early Guthrie, Pastoral, Cockburnspath and Orchardson’s<br />
An Enigma.<br />
<strong>The</strong> reviews were again disappointing. D.S. MacColl, Wilson Steer’s biographer,<br />
wrote in a letter to <strong>The</strong> Times:<br />
19
a warning <strong>of</strong> what we have escaped is <strong>the</strong> over-patriotic room <strong>of</strong> scottish<br />
painters, parked by <strong>the</strong>mselves. We have too <strong>of</strong>ten seen Mctaggart in<br />
quantity, admirable though his buffetings <strong>of</strong> sea wea<strong>the</strong>r and strange<br />
bleachings at <strong>the</strong> end <strong>of</strong> light undoubtedly are. a few <strong>of</strong> <strong>the</strong>m and<br />
<strong>of</strong> lawton Wingate’s landscapes would have been more effective if<br />
distributed and <strong>the</strong> later, bold Peploes would be better away.<br />
<strong>the</strong> london <strong>exhibition</strong> was Blyth’s last involvement in a major show south <strong>of</strong> <strong>the</strong><br />
border, but he was nei<strong>the</strong>r embittered nor persuaded to go in a new direction; indeed <strong>the</strong><br />
collection continued to grow with both scottish and english additions.<br />
<strong>the</strong>re is no doubt that Blyth’s loans to <strong>the</strong> Kirkcaldy art <strong>Gallery</strong> allowed him<br />
greater scope as a collector. <strong>the</strong> existence <strong>of</strong> two geographically separate locations for<br />
<strong>the</strong> Blyth Collection raises <strong>the</strong> question as to whe<strong>the</strong>r he saw his collection as a whole or<br />
as two separate entities. ei<strong>the</strong>r way, he could surely never have imagined 84 s.J. Peploes<br />
and 45 Mctaggarts in one building.<br />
he generally acquired good examples <strong>of</strong> a particular phase <strong>of</strong> an artist’s work<br />
which fitted in to <strong>the</strong> collection as a whole; and, while all <strong>the</strong> works were still legally<br />
his, one can speculate that having <strong>the</strong> receptacle <strong>of</strong> <strong>the</strong> <strong>Gallery</strong> to hand gave him full<br />
licence to indulge his passion. ‘once hooked he could not stop collecting,’ recalled his<br />
daughter Margery. for many collectors, possession is secondary to <strong>the</strong> pursuit. <strong>the</strong>re<br />
are numerous instances <strong>of</strong> collectors working closely with a particular institution with<br />
clear objectives, <strong>of</strong>ten <strong>the</strong> perpetuation <strong>of</strong> <strong>the</strong> name and reputation <strong>of</strong> <strong>the</strong> benefactor;<br />
but Blyth did not seem to share this vanity, which is partly why his name is not better<br />
known today. <strong>the</strong> arrangement with <strong>the</strong> <strong>Gallery</strong> allowed not only a sensible management<br />
<strong>of</strong> his obsession, but also, perhaps, a justification: works on public display had a purpose<br />
and could do good. he spoke to local Rotarians in 1954 and was quoted in <strong>the</strong> Fifeshire<br />
Advertiser under <strong>the</strong> headline ‘John Blyth says go and enjoy <strong>the</strong> pictures again’.<br />
Jack Blyth with henry<br />
Willies, curator <strong>of</strong> Kirkcaldy<br />
Museum, discussing a Peploe<br />
still life in <strong>the</strong> harley Bequest<br />
<strong>of</strong> 1950.<br />
20
Very little information is available concerning <strong>the</strong> movement <strong>of</strong> pictures between<br />
<strong>the</strong> Kirkcaldy Art <strong>Gallery</strong> and Wilby House. One document, dated 1962, lists <strong>the</strong><br />
paintings under room headings and shows that <strong>the</strong>y were largely organised as ‘one artist<br />
to one room’. Essentially McTaggarts were hung in <strong>the</strong> dining room, Sickerts in <strong>the</strong><br />
drawing room, Wingates in <strong>the</strong> sitting room, a mix in <strong>the</strong> hall and stair, and Peploes<br />
dominated <strong>the</strong> master bedroom. <strong>The</strong>re were five bedrooms in all: <strong>the</strong> first was entirely<br />
devoted to Peploe, <strong>the</strong> second to McTaggart’s smaller works, and <strong>the</strong> third, fourth and<br />
fifth bedrooms were decorated by a selection <strong>of</strong> works by different artists. Still-lifes were<br />
put next to portraits and landscapes. Little importance was given to <strong>the</strong> dates <strong>of</strong> pictures<br />
in relation to <strong>the</strong> positioning in <strong>the</strong> house; as has been mentioned, Blyth did not keep a<br />
record <strong>of</strong> <strong>the</strong> dates <strong>of</strong> his pictures, and <strong>the</strong>refore we can assume that <strong>the</strong>y were relatively<br />
unimportant to him.<br />
<strong>The</strong> 1962 list indicates that 114 works were hanging in Wilby House and 123<br />
in <strong>the</strong> Kirkcaldy Art <strong>Gallery</strong>. It does not give any indication as to why certain pictures<br />
went to <strong>the</strong> <strong>Gallery</strong>, while o<strong>the</strong>rs remained in Wilby House. It does however show that<br />
<strong>the</strong> <strong>Gallery</strong> was very much representative <strong>of</strong> <strong>the</strong> collection: all <strong>the</strong> phases, developments<br />
and artists represented in Wilby House were also evident to a greater or lesser extent<br />
in <strong>the</strong> <strong>Gallery</strong>, and in no way are <strong>the</strong> works in <strong>the</strong> Kirkcaldy <strong>Gallery</strong> inferior to those<br />
in Wilby House. For example, <strong>The</strong> Waves by McTaggart, Blyth’s favourite picture, was<br />
hanging in <strong>the</strong> <strong>Gallery</strong> at this date. <strong>The</strong> lighting in <strong>the</strong> new <strong>Gallery</strong> was particularly good<br />
and certainly better than at Wilby House: <strong>the</strong> <strong>Gallery</strong> picture rooms were illuminated by<br />
<strong>the</strong> topside lighting principle, a system which reduces reflection to a minimum.<br />
Margery Blyth remembered a constant coming and going <strong>of</strong> pictures between<br />
house and <strong>Gallery</strong>. What is most likely is that, having divided his home up into rooms<br />
representative <strong>of</strong> <strong>the</strong> four major artists in his collection along with o<strong>the</strong>r ‘mixed’ rooms,<br />
Jack Blyth could have kept a flow <strong>of</strong> works, regularly refreshing both <strong>the</strong> <strong>Gallery</strong> and<br />
Wilby House with new examples. Moreover, he felt responsible to keep a representative,<br />
non-repetitive selection for <strong>the</strong> collections in <strong>the</strong> <strong>Gallery</strong> for <strong>the</strong> public eye in order to<br />
maintain <strong>the</strong> status and popularity <strong>of</strong> <strong>the</strong> <strong>Gallery</strong>.<br />
Blyth was always generous about loans to <strong>exhibition</strong>s, not surprisingly taking<br />
<strong>the</strong> view that lending was a duty and <strong>the</strong> availability <strong>of</strong> great art to <strong>the</strong> general public a<br />
public good.<br />
In August 1956 an <strong>exhibition</strong> <strong>of</strong> selected modern <strong>Scottish</strong>, English and French<br />
paintings in <strong>the</strong> Blyth Collection was held by <strong>the</strong> <strong>Scottish</strong> Arts Council at Ro<strong>the</strong>say<br />
Terrace in Edinburgh. <strong>The</strong> display was made up <strong>of</strong> only 25 pictures by 13 different<br />
artists and is <strong>the</strong> only <strong>exhibition</strong> representative <strong>of</strong> <strong>the</strong> Blyth Collection to have been held<br />
until now.<br />
21
Vale<br />
“No plans were ever made for <strong>the</strong> Collection. He didn’t even consider dying.”<br />
Margery Blyth<br />
John Waldegrave Blyth died on 19th March 1962 in his ninetieth year. His estate was<br />
inherited by his three daughters Dorothy, Margery and Cora.<br />
By <strong>the</strong> end <strong>of</strong> September 1963 <strong>the</strong> Kirkcaldy Town Council had decided to accept<br />
an <strong>of</strong>fer from Blyth’s daughters, formalised in a letter from Messrs Gibson & Spears,<br />
Dow & Son dated <strong>the</strong> 12th <strong>of</strong> that month, <strong>of</strong> 128 paintings from <strong>the</strong> Collection for a total<br />
price <strong>of</strong> £9,000.<br />
<strong>The</strong> decision as to which pictures were to be sold to <strong>the</strong> Kirkcaldy Art <strong>Gallery</strong> and<br />
which were to be auctioned at So<strong>the</strong>by’s was made on <strong>the</strong> basis <strong>of</strong> where each picture was<br />
hanging in March 1962. Those in <strong>the</strong> Kirkcaldy Art <strong>Gallery</strong> remained <strong>the</strong>re as part <strong>of</strong> <strong>the</strong><br />
Collection sold to <strong>the</strong> Kirkcaldy Town Council for £9,000, apart from a selection which<br />
<strong>the</strong> legatees wanted to keep for <strong>the</strong>mselves. <strong>The</strong> pictures hanging in Wilby House in 1962<br />
were destined for <strong>the</strong> saleroom, with <strong>the</strong> exception <strong>of</strong> a few that were retained by <strong>the</strong><br />
legatees and three works by William McTaggart: White Surf, Cornfields and Cornfield, Sandy<br />
Dean. <strong>The</strong> latter three pictures were among <strong>the</strong> largest in <strong>the</strong> Collection and important<br />
examples <strong>of</strong> McTaggart’s work. All three had been purchased from Aitken Dott before<br />
1920 and were among <strong>the</strong> most treasured works in <strong>the</strong> Collection. It was <strong>the</strong>refore fitting<br />
that <strong>the</strong>y should remain in Kirkcaldy.<br />
Two So<strong>the</strong>by’s sales took place in 1964, on 15th and 29th April. Among <strong>the</strong> works<br />
sold in <strong>the</strong> first, an auction titled ‘Modern British Drawings, Paintings and Sculpture’,<br />
were six paintings by Sickert, including two fine early examples – La Giuseppina (his<br />
Venetian model) <strong>of</strong> c.1904 and Reclining Nude – Red and Green <strong>of</strong> c.1908 – and two<br />
paintings <strong>of</strong> Dieppe. <strong>The</strong>re were also six pictures by William McTaggart, including a<br />
study for <strong>the</strong> painting <strong>of</strong> <strong>The</strong> Coming <strong>of</strong> St Columba which is in <strong>the</strong> National <strong>Gallery</strong> <strong>of</strong><br />
Scotland, and four pictures by S.J. Peploe.<br />
Two important foreign works were sold in <strong>the</strong> auction on 29th April. Both had<br />
been taken from <strong>the</strong> Collection hanging in <strong>the</strong> Kirkcaldy Art <strong>Gallery</strong> before <strong>the</strong> rest<br />
were sold to <strong>the</strong> Kirkcaldy Town Council, on <strong>the</strong> basis <strong>of</strong> Margery’s assertion that she<br />
felt her fa<strong>the</strong>r had bought <strong>the</strong>m as investments relatively late in <strong>the</strong> development <strong>of</strong> his<br />
Collection. <strong>The</strong> selection in <strong>the</strong> Kirkcaldy Art <strong>Gallery</strong> in 1962 included only four major<br />
works by foreign artists: a Vuillard, a Corot and Dolly by Jacques-Émile Blanche. Blyth<br />
clearly did not intend <strong>the</strong> Collection to be representative <strong>of</strong> foreign schools and <strong>the</strong>refore<br />
<strong>the</strong> sale <strong>of</strong> <strong>the</strong> Corot and Vuillard does not detract from <strong>the</strong> comprehensive nature <strong>of</strong> <strong>the</strong><br />
Collection sold to <strong>the</strong> Kirkcaldy Town Council.<br />
<strong>The</strong> two foreign works were indeed sound investments and without <strong>the</strong>m many<br />
more pictures from <strong>the</strong> Collection would probably have been sold. <strong>The</strong> Corot, titled<br />
Souvenir de La Spezia (Effet du Matin) (1874), had been purchased by Blyth in 1942 for £250<br />
and was sold for £5,800. <strong>The</strong> Vuillard, titled Paysage (1890), was purchased in 1950 for<br />
£180 and sold at this sale 14 years later for £3,200.<br />
<strong>The</strong> last sale was held on 20th April 1966. Ten paintings by William McTaggart,<br />
11 works by S.J. Peploe, two by J.D. Fergusson, six by W.R. Sickert, two by Philip Wilson<br />
Steer, one by W.G. Gillies and a still-life by Bernard de Hoog were sold. All had been<br />
22
hanging in Wilby House in 1962. <strong>The</strong> most important <strong>of</strong> <strong>the</strong>se was Sickert’s Woman in a<br />
Red Dress, bought by Roland, Browse & Delbanco for £1,000; Blyth had acquired it from<br />
<strong>the</strong> same dealer in 1955 for £450. <strong>The</strong> remainder were sold ei<strong>the</strong>r to small galleries or<br />
to larger provincial galleries, for example Aberdeen Art <strong>Gallery</strong> which purchased Steer’s<br />
Sandy Road at Long Clarendon (1925).<br />
Today’s <strong>exhibition</strong> contains many works not seen for two generations and<br />
more. Some are masterpieces and some minor works; all speak <strong>of</strong> <strong>the</strong> taste <strong>of</strong> a great<br />
collector who would today be rightly proud <strong>of</strong> his Collection’s history since his passing.<br />
Kirkcaldy, thanks to his generosity and foresight, is <strong>the</strong> gem in <strong>the</strong> municipal crown <strong>of</strong><br />
<strong>Scottish</strong> museums and de facto <strong>the</strong> centre <strong>of</strong> study for Peploe and McTaggart. O<strong>the</strong>rs<br />
<strong>of</strong> his pictures are in museum collections far and wide, and <strong>the</strong> sensible nurture <strong>of</strong> <strong>the</strong><br />
works retained by <strong>the</strong> family has done much good. Today as <strong>the</strong> final 38 are sold we can<br />
tell his story and invite buyers, readers and lovers <strong>of</strong> fine paintings to wonder at <strong>the</strong> taste<br />
<strong>of</strong> Jack Blyth.<br />
PETER ARKELL AND GUY PEPLOE<br />
23
<strong>catalogue</strong><br />
Eugène Boudin was born in Normandy in 1824. He spent his childhood on <strong>the</strong> sea, working as <strong>the</strong> cabin boy on his<br />
fa<strong>the</strong>r’s cargo ship. This early exposure to <strong>the</strong> sea and skies <strong>of</strong> <strong>the</strong> French Coast was to form his primary focus as a painter<br />
later in life. It was Boudin who would form <strong>the</strong> all important link between traditional French landscape and <strong>the</strong> start <strong>of</strong><br />
<strong>the</strong> Impressionist movement.<br />
His early career consisted predominantly <strong>of</strong> painting outdoor sketches in <strong>the</strong> summer, which he would <strong>the</strong>n<br />
complete in his studio over <strong>the</strong> winter months. During this period he also painted genre scenes and still life but it<br />
was <strong>the</strong> vast skies and seas <strong>of</strong> <strong>the</strong> Normandy Coast that he always returned to. In 1862 he began to paint <strong>the</strong> crowds<br />
<strong>of</strong> fashionable tourists who flocked to <strong>the</strong> coast from Paris on summer weekends. To paint people on a beach, smartly<br />
dressed and enjoying <strong>the</strong>mselves was daringly modern. <strong>The</strong> Impressionists developed this subject in <strong>the</strong> coming decades,<br />
but it marked Boudin out as distinctly avant-garde. By <strong>the</strong> middle <strong>of</strong> <strong>the</strong> 1850s he recognized <strong>the</strong> ‘falseness’ <strong>of</strong> painting<br />
landscapes from memory and bean to paint almost exclusively en plein air a practice that was to be so influential on <strong>the</strong><br />
Impressionists. <strong>The</strong> immediacy <strong>of</strong> <strong>the</strong> work Boudin painted outdoors and <strong>the</strong> attention paid to <strong>the</strong> changing atmosphere<br />
had a particular effect on <strong>the</strong> young Claude Monet, who first worked alongside him in 1856. He said, ‘…it was as if a<br />
veil had been torn from my eyes. I had understood, had grasped what painting could be. Boudin’s absorption <strong>of</strong> his work,<br />
and his independence, were enough to decide <strong>the</strong> entire future and development <strong>of</strong> my painting.’ 1<br />
Although he had been exhibiting at <strong>the</strong> Paris Salon since 1959, he displayed little appetite for increasing his<br />
pr<strong>of</strong>ile and chose not to move to Paris permanently. By <strong>the</strong> late 1860’s he stopped painting <strong>the</strong> scenes <strong>of</strong> stylish figures<br />
on <strong>the</strong> beach, and dedicated himself entirely to his coastal scenes. Despite this, his reputation was such that in 1874 he<br />
was included in <strong>the</strong> first Impressionist <strong>exhibition</strong> and although he chose not to become part <strong>of</strong> <strong>the</strong> notorious group he<br />
still exhibited with many <strong>of</strong> <strong>the</strong> artists.<br />
Our painting depicts <strong>the</strong> mouth <strong>of</strong> <strong>the</strong> river Toques flanked by two jetties which form <strong>the</strong> entrance to Trouville<br />
harbour. It was a favourite subject for Boudin (ano<strong>the</strong>r version is in <strong>the</strong> National <strong>Gallery</strong> collection – <strong>The</strong> Entrance to<br />
Trouville Harbour, 1888 and was <strong>the</strong> first ‘modern’ French work to be acquired for <strong>the</strong> State). Boudin captures his scene<br />
on a blustery summer’s day. <strong>The</strong> tide is far out with <strong>the</strong> break water just visible on <strong>the</strong> horizon. <strong>The</strong> primary focus <strong>of</strong><br />
<strong>the</strong> painting is <strong>the</strong> fishing boat which rests, lazily on a sandbank. <strong>The</strong> immediacy and vibrancy with which he captures<br />
<strong>the</strong> effect <strong>of</strong> bright sunlight on <strong>the</strong> boat’s deck and rigging demonstrate <strong>the</strong> ideals which Impressionism was to take<br />
fur<strong>the</strong>r, all rendered with rapid, short brushstrokes. More boats rest against <strong>the</strong> jetty walls, while a local tries his luck<br />
at fishing on <strong>the</strong> left side <strong>of</strong> <strong>the</strong> river. Tourists with parasols amble on ei<strong>the</strong>r side <strong>of</strong> <strong>the</strong> harbour toward <strong>the</strong> two brilliant<br />
white lighthouses, all captured with quick, measured dabs <strong>of</strong> Boudin’s brush.<br />
Blyth acquired this and <strong>the</strong> following painting from <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> in 1943. Although Alexander Reid had<br />
introduced <strong>the</strong> Boudin to Scotland in <strong>the</strong> 1890s it seems that Blyth asked <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> to acquire <strong>the</strong>se works on<br />
his behalf. In <strong>the</strong> receipt it itemizes ‘packing’ and ‘forwarding’ <strong>of</strong> <strong>the</strong> pictures from London.<br />
1 G. Jean-Aubry & Robert Schmit, Eugène Boudin, (New York Graphic Society, Greenwhich, 1968), p.27<br />
24
eugène Boudin (1824–1898)<br />
Trouville, Les Jetées, 1890<br />
oil on canvas, 40.5 x 55 cms<br />
signed and inscribed with title lower left<br />
exhibited:<br />
adams Bro<strong>the</strong>rs, london, 1943<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1943<br />
A Selection <strong>of</strong> Modern <strong>Scottish</strong>, English and French Paintings, art Council <strong>Gallery</strong>, edinburgh, 1956, (no. 3)<br />
25
“everything that is painted on <strong>the</strong> spot has strength, a power, a vividness <strong>of</strong> touch that one does not find again in<br />
<strong>the</strong> studio.”<br />
eugène Boudin, 1869<br />
this small panel is <strong>of</strong> a three-masted cargo vessel anchored in Deauville harbor. It is early morning, as <strong>the</strong> sun begins<br />
to burn through <strong>the</strong> early haar, a glow reflected on <strong>the</strong> water’s surface. two crew members glide towards <strong>the</strong> shore in<br />
a small rowing boat. <strong>the</strong> day is calm; <strong>the</strong> tricolore ripples lightly in at <strong>the</strong> stern <strong>of</strong> <strong>the</strong> ship rendered with bright jewel<br />
like touches <strong>of</strong> paint. Boudin’s knowledge <strong>of</strong> <strong>the</strong> sea and <strong>of</strong> seafaring enables him to capture <strong>the</strong> complex rigging and<br />
architecture <strong>of</strong> <strong>the</strong> vessel with <strong>the</strong> minimum amount <strong>of</strong> paint. his rapid brushwork suggests movement in <strong>the</strong> boat,<br />
figures and in <strong>the</strong> water’s surface. this painting, like many he made <strong>of</strong> shipping at Deauville is typically concerned with<br />
light, and contains <strong>the</strong> immediacy, vibrancy, and rapid brushwork that demonstrate <strong>the</strong> influence that he had on <strong>the</strong><br />
Impressionists.<br />
26
eugène Boudin (1824–1898)<br />
Deauville, Les Trois Mats<br />
oil on panel, 26.5 x 21 cms<br />
signed lower left<br />
exhibited:<br />
Ralph h. Proud fine art Dealers, Glasgow<br />
adams Bro<strong>the</strong>rs, london, 1943<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1943<br />
27
Wintour was born in Edinburgh and attended <strong>the</strong> Trustees Academy under William Allan. He devoted <strong>the</strong> first half <strong>of</strong><br />
his pr<strong>of</strong>essional life to portrait and genre painting before concentrating on landscape and so follows a similar course<br />
to William McTaggart. His later landscape owes more to <strong>the</strong> romanticism <strong>of</strong> John Thomson <strong>of</strong> Duddingston or John<br />
Constable than to <strong>the</strong> prevailing realism <strong>of</strong> <strong>the</strong> day exemplified in Scotland by Sam Bough and Alexander Fraser.<br />
Caw identifies his best work as being <strong>of</strong> his last years; poetic celebrations <strong>of</strong> nature made by moonlight or in <strong>the</strong><br />
gloaming, <strong>of</strong>ten in front <strong>of</strong> <strong>the</strong> subject so small in scale and at <strong>the</strong>ir best close in spirit to Corot. Sadly his work seemed<br />
out <strong>of</strong> step with <strong>The</strong> Academy in Scotland and as his career declined he turned to drink and fur<strong>the</strong>r alienated his<br />
supporters. He can be seen today as an underrated figure representing <strong>the</strong> ‘romantic’ in <strong>Scottish</strong> art in an era when<br />
realism and naturalism prevailed.<br />
28
John Crawford Wintour (1825–1882)<br />
On <strong>the</strong> Devon<br />
oil on panel, 24 x 36 cms<br />
signed lower right<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1941<br />
29
Two years senior to his great friend William McTaggart, Chalmers was recognized in his lifetime as one <strong>of</strong> Scotland’s<br />
greatest painters. <strong>The</strong>y met as students <strong>of</strong> Robert Scott-Lorimer at <strong>The</strong> Trustees Academy in Edinburgh where <strong>the</strong>y<br />
were schooled well in drawing from <strong>the</strong> antique and life classes as well as painting. Both would move away from genre<br />
and portrait towards ‘pure’ landscape but were temperamentally very different. Chalmers led an irregular life, rising<br />
late and was far from prolific. <strong>The</strong>re is a story <strong>of</strong> how McTaggart and ano<strong>the</strong>r friend visited Chalmers on <strong>the</strong> eve <strong>of</strong><br />
submission day for <strong>the</strong> RSA to assist; <strong>the</strong> friend sat on Chalmers while McTaggart ‘finished’ <strong>the</strong> picture. Chalmers’ life<br />
was cut short when he died from injuries sustained from an assault in Charlotte Square aged only forty-five.<br />
Chalmers merits a whole chapter in Caw’s <strong>Scottish</strong> Painting Past and Present and George Pinnington’s biography<br />
was published in 1896, by T & R Annan. His best work is characterized by a rich chiaroscuro, warm colour and free<br />
handling <strong>of</strong> <strong>the</strong> paint and Sheep in <strong>the</strong> Snow painted in <strong>the</strong> glow <strong>of</strong> evening seems a perfect example <strong>of</strong> a genre to be<br />
popularized by Joseph Farquharson.<br />
30
George Paul Chalmers (1833–1878)<br />
Sheep in <strong>the</strong> Snow<br />
oil on canvas, 23.5 x 33.5 cms<br />
signed lower right<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1937<br />
31
Paintings by William McTaggart, R.S.A.<br />
Selected for <strong>the</strong> <strong>Scottish</strong> Committee <strong>of</strong> <strong>the</strong> Arts Council by J. W. Blyth, Esq.<br />
In his admirable biography <strong>of</strong> <strong>the</strong> artist Sir James L. Caw wrote: “Nobody could have suspected when in 1835 <strong>the</strong> name<br />
<strong>of</strong> William McTaggart was registered amongst <strong>the</strong> births in Campbeltown parish, that <strong>the</strong> name <strong>of</strong> <strong>the</strong> most original and<br />
fascinating painters <strong>of</strong> <strong>the</strong> nineteenth century had been recorded for <strong>the</strong> first time.”<br />
Well it was so, and as <strong>the</strong> years passed and his art progressed we found more and more to excite our wonder<br />
and admiration. We are told in <strong>the</strong> same biography that as a young boy he drew precociously well – whence came that<br />
talent is a mystery – and when after much opposition his wish to study art was conceded, he soon showed that his talent<br />
was outstanding and <strong>of</strong> an original character. When at <strong>the</strong> age <strong>of</strong> sixteen he joined <strong>the</strong> Trustees Academy in Edinburgh,<br />
he came into close contact with many <strong>of</strong> <strong>the</strong> strongest personalities in <strong>Scottish</strong> Art. Orchardson, Pettie, Tom Graham<br />
and George Paul Chalmers were all <strong>the</strong>re, and became his close friends. One would naturally have expected that <strong>the</strong>ir<br />
art would influence his, but no, this lad from a cr<strong>of</strong>t at <strong>the</strong> extreme corner <strong>of</strong> <strong>the</strong> Mull at Kintyre pursued his own<br />
course and became <strong>the</strong> first and foremost impressionist painter in Scotland. McTaggart’s impressionism was inborn and<br />
spontaneous. It was not influenced by any <strong>the</strong>ories or dogmas, and he was unaware <strong>of</strong> <strong>the</strong> movement in France. On a<br />
varnishing day at <strong>the</strong> Royal <strong>Scottish</strong> Academy he took Wingate aside and asked: “What is this impressionism <strong>the</strong>y are<br />
all talking about?” Wingate’s naïve reply was: “I fancy it is just what you and I have been doing for a good many years.”<br />
It is highly probable that McTaggart’s impressionism may one day be acclaimed <strong>the</strong> most completely satisfying <strong>of</strong><br />
all in this lovely art phase. His impressionism embraces every aspect <strong>of</strong> his pictures, notably in his use <strong>of</strong> figures, so <strong>of</strong>ten<br />
misunderstood. We frequently hear, as a complaint, that McTaggart’s children are always <strong>the</strong> same, but this Exhibition<br />
should quickly dispel that erroneous notion. McTaggart’s use <strong>of</strong> figures in his composition is one <strong>of</strong> <strong>the</strong> most fascinating<br />
features in his art. <strong>The</strong>y are always part <strong>of</strong> <strong>the</strong> impression. In some cases <strong>the</strong> impression was a strong one, in o<strong>the</strong>rs it is<br />
more fleeting, or it may be so light that <strong>the</strong> figures appear only as notes <strong>of</strong> lovely colour. A beautiful example <strong>of</strong> <strong>the</strong>se<br />
differences will be found in “A Country Lane,” No. 37 in <strong>the</strong> <strong>catalogue</strong>. Here <strong>the</strong> artist’s attention has been momentarily<br />
arrested by a ra<strong>the</strong>r charming incident. A boy is instructing a little girl in <strong>the</strong> manipulation <strong>of</strong> a penny whistle.<br />
How beautifully <strong>the</strong> incident has been portrayed, <strong>the</strong> boy with head inclined, intent on his job, <strong>the</strong> girl eagerly extending<br />
her hands for <strong>the</strong> whistle, and all conveyed to <strong>the</strong> canvas by a few vital brush strokes. And how perfectly <strong>the</strong> incident<br />
takes its place in <strong>the</strong> composition with ano<strong>the</strong>r group treated quite differently – its impressionism no <strong>the</strong> artist being so<br />
slight – but conveying that impressionism just as convincingly and just as happily placed.<br />
McTaggart’s pictures <strong>of</strong> <strong>the</strong> sea are <strong>the</strong> most wonderful ever painted, and his supremacy in this branch <strong>of</strong> his art<br />
is apt to minimize <strong>the</strong> interest in his landscapes. In this Exhibition <strong>the</strong> landscapes have been given <strong>the</strong>ir due prominence,<br />
and it must be apparent that it is simply a change <strong>of</strong> subject, and that all <strong>the</strong> excellencies <strong>of</strong> <strong>the</strong> sea pictures are here<br />
also. In fact, it may well be that some <strong>of</strong> <strong>the</strong> landscapes provide even more scope for his exquisite sense <strong>of</strong> colour, his<br />
resourceful technique and lightness <strong>of</strong> touch.<br />
McTaggart loved all nature, land, sea, sky, air, and his fellow men. This Love radiates from his pictures.<br />
We finish as we begin, with a quotation. In an able article on McTaggart’s art <strong>the</strong> late P. McOmish Dott wrote:<br />
“Whe<strong>the</strong>r we delight in McTaggart’s pictures for <strong>the</strong>ir simple natural beauty, or <strong>the</strong> art faculties which <strong>the</strong>y reveal, or<br />
<strong>the</strong> faith, courage and joy in living which inspire <strong>the</strong>m, it is beyond question that <strong>the</strong>y contain <strong>the</strong> blossom and fruit <strong>of</strong><br />
great natural gifts, illuminated by a powerful intelligence and consecrated by earnest endeavor.”<br />
J. W. B.<br />
1954<br />
32
Mctaggart was born into a cr<strong>of</strong>ting family (both parents were Gaelic speakers) at aros farm near Machrihanish in<br />
1835. although he lived most <strong>of</strong> his working life in edinburgh and after 1889 at lasswade he returned nearly every<br />
year to Kintyre to paint and sketch and <strong>the</strong>re is a clutch <strong>of</strong> paintings he produced including <strong>the</strong> monumental Rainy Day,<br />
Machrihanish and a number <strong>of</strong> small sunset works <strong>of</strong> which this is one. <strong>the</strong> effect <strong>of</strong> <strong>the</strong> dying sun casting a fiery glow<br />
across <strong>the</strong> sky and sea is captured with marks <strong>of</strong> intense, broken colour while children float in a rowing boat, fishing in<br />
<strong>the</strong> shallows.<br />
William Mctaggart (1835–1910)<br />
Sunset at Machrihanish, 1882<br />
oil on panel, 15 x 20 cms<br />
signed and dated lower right<br />
Provenance:<br />
Miss Greenlees, edinburgh.<br />
33
<strong>the</strong>re are a number <strong>of</strong> pictures <strong>of</strong> Roslin Castle and Rosslyn Glen recorded as having been painted in 1895 and we can<br />
surmise that A Spate on <strong>the</strong> Esk is in <strong>the</strong> glen and so on <strong>the</strong> North esk. <strong>the</strong> location is a few miles from <strong>the</strong> convergence<br />
<strong>of</strong> <strong>the</strong> North and south rivers at Dalkeith and seven miles before <strong>the</strong> esk disgorges into <strong>the</strong> forth at Musselburgh.<br />
Mctaggart captures <strong>the</strong> river in full flood, <strong>the</strong> river bank bursting with autumn rain. a dreich grey sky hangs over <strong>the</strong><br />
painting ominously, while a burst <strong>of</strong> sunshine highlights <strong>the</strong> curve <strong>of</strong> <strong>the</strong> river bend. Mctaggart captures <strong>the</strong> movement<br />
<strong>of</strong> <strong>the</strong> tempestuous waters with strokes <strong>of</strong> blue, red and white.<br />
William Mctaggart (1835–1910)<br />
A Spate on <strong>the</strong> Esk, 1895<br />
oil on canvas, 58.5 x 76 cms<br />
signed and dated lower left<br />
Provenance:<br />
Mr. W. h. Wood, slough<br />
exhibited:<br />
Whitechapel art <strong>Gallery</strong>, 1903<br />
W Mctaggart Collection in Dundee, 1928<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1933<br />
William McTaggart Exhibition, City <strong>of</strong> Manchester art <strong>Gallery</strong>, 1937, (no. 6814)<br />
Exhibition <strong>of</strong> <strong>Scottish</strong> Art, Royal academy <strong>of</strong> arts, london, 1939<br />
McTaggart Centenary Exhibition, <strong>the</strong> tate <strong>Gallery</strong>, london, 1955<br />
34
this charming panel dating from 1890 was completed <strong>the</strong> year after <strong>the</strong> artist had moved to Broomieknowe on <strong>the</strong><br />
outskirts <strong>of</strong> edinburgh where many <strong>of</strong> his later landscapes were painted, looking out over <strong>the</strong> farmland to <strong>the</strong> back <strong>of</strong><br />
his garden. James Caw records that our picture is a smaller version <strong>of</strong> Autumn Sunshine in Sandy Dean, exhibited in <strong>the</strong><br />
Rsa in 1891. <strong>the</strong> figures are almost subsumed within <strong>the</strong>ir rural setting to <strong>the</strong> point where <strong>the</strong>y come to be part <strong>of</strong> <strong>the</strong><br />
landscape itself: <strong>the</strong>ir presence vivifying <strong>the</strong> landscape and suggesting movement. While <strong>the</strong> presence <strong>of</strong> figures provides<br />
a narrative element, Mctaggart’s real concern is with light. <strong>the</strong> sun casts varying shades <strong>of</strong> shadow across <strong>the</strong> eldin Dean<br />
road (<strong>the</strong> ‘sandy Dean’ <strong>of</strong> his title) and a field <strong>of</strong> stooks in <strong>the</strong> middle ground is captured in <strong>the</strong> autumnal sunshine with<br />
highlights <strong>of</strong> pure white and yellow.<br />
William Mctaggart (1835–1910)<br />
Dappled Sunlight, Sandy Dean, 1890<br />
oil on panel, 18 x 25.5 cms<br />
exhibited:<br />
John N Kyd sale at Dowell’s, edinburgh, 1932<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1945<br />
Paintings by William McTaggart RSA, Royal scottish academy, edinburgh, 1954, (no.13)<br />
35
In July 1947 Blyth bought a picture he recorded as A Summer Day in his notebook from <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> while <strong>the</strong><br />
transaction in <strong>the</strong> company’s books refers to Summertime. It must be same picture and <strong>the</strong> likely explanation <strong>of</strong> <strong>the</strong><br />
changed title lies in Blyth’s McTaggart scholarship: he will have researched his new purchase back to Caw’s list and<br />
identified it as that painted in 1898, previously in <strong>the</strong> collection <strong>of</strong> John Duncan Jr. <strong>of</strong> Edinburgh (who had a substantial<br />
collection <strong>of</strong> <strong>the</strong> artists’ work), a smaller version <strong>of</strong> A Summer Day, Machrihanish in <strong>the</strong> collection <strong>of</strong> TGS Roberts.<br />
It is as fresh and direct as any Machrihanish painting he ever made. As usual he was <strong>the</strong>re in June and we can almost smell<br />
<strong>the</strong> ozone in <strong>the</strong> air as children play in a break in <strong>the</strong> dunes, <strong>the</strong> bay hinted at beyond.<br />
36
William Mctaggart (1835–1910)<br />
Summertime, 1898<br />
oil on panel, 20.5 x 30.5 cms<br />
signed lower right<br />
Provenance:<br />
John Duncan Jr, edinburgh<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1947<br />
Paintings by William McTaggart RSA, Royal scottish academy, edinburgh, 1954, (no.50)<br />
37
“<strong>The</strong> remarkable place which he holds in <strong>the</strong> history <strong>of</strong> nineteenth-century painting is little realised. What McTaggart<br />
accomplished can be stated in a very few words. As early as 1875 he had invented a system <strong>of</strong> Impressionist painting<br />
different from, but comparable with, that <strong>of</strong> Sisley, Monet or Renoir. This fact takes on greater importance when it<br />
is recollected that <strong>the</strong> first Impressionist Exhibition held in Paris was in 1874, and that so far as can be ascertained<br />
McTaggart saw his first Monet in <strong>the</strong> nineties.<br />
“From his own observation it seems that he evolved <strong>the</strong>ories relating to light and movement, in many ways<br />
similar to those which are more familiarly associated with <strong>the</strong> French Impressionists; and apart from Turner <strong>the</strong>re is<br />
probably no British painter who has succeeded so well in evoking beauty <strong>of</strong> sunshine and wind and sea.”<br />
This extract from David Fincham’s introduction to <strong>the</strong> Tate <strong>Gallery</strong>’s Centenary Exhibition <strong>of</strong> <strong>the</strong> artist in 1935<br />
puts McTaggart’s extraordinary contribution to <strong>Scottish</strong> and British art in context. Blyth lent eleven paintings to <strong>the</strong><br />
<strong>exhibition</strong> and would eventually own forty-five. Sunset was bought from <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> in 1938. McTaggart did<br />
not travel this year but did paint Fishers Landing, Carnoustie and our picture may also be inspired by <strong>the</strong> North Sea<br />
at Carnoustie. It is an example <strong>of</strong> pure, ecstatic landscape painting typical <strong>of</strong> his last period: vivid and painted with<br />
great freedom.<br />
38
William Mctaggart (1835–1910)<br />
Sunset, 1905<br />
oil on canvas, 39 x 68.5 cms<br />
signed and dated lower left<br />
Provenance:<br />
R.h. Brechin, Glasgow<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1933<br />
39
“To few men has a more beautiful vision <strong>of</strong> <strong>the</strong> world been granted than that revealed in his pictures. His landscapes bring<br />
us close in touch with that poetry <strong>of</strong> earth which Keats assures us is never dead, and, if one loves nature well, <strong>the</strong>y must<br />
assuredly awaken a responsive thrill. <strong>The</strong>y are reminiscent <strong>of</strong> all times and seasons, but most <strong>of</strong> hours when winds are<br />
s<strong>of</strong>t and Nature smiles. <strong>The</strong>y brea<strong>the</strong> <strong>of</strong> country lanes and sunlit fields, <strong>of</strong> dewy pastures, <strong>of</strong> quivering leaves and hay or<br />
hawthorn-scented breezes. To <strong>the</strong> majority <strong>of</strong> men, consigned by fate to toil in stony cities, communion with Nature<br />
and <strong>the</strong> content and joy it brings is granted seldom, but, if <strong>the</strong>y may not meet her face to face, pictures such as <strong>the</strong>se,<br />
drenched in her spirit, bring her very near.”<br />
James Caw, <strong>Scottish</strong> Painting, (T.C. and E.C. Jack, London, 1908), p.320<br />
Wingate was born at Kelvinheugh near Glasgow and came late to art enrolling in <strong>the</strong> Trustees Academy aged 26,<br />
encouraged by his friend WD Mackay. He lived from 1881 in Muthill in Perthshire and his paintings <strong>of</strong> rural life depict a<br />
disappearing world. He <strong>the</strong>n moved to Colinton in Edinburgh and became increasingly a painter <strong>of</strong> atmospheric effects.<br />
He was a very successful and prolific painter exhibiting 225 pictures in <strong>the</strong> RSA in his lifetime and showing four times<br />
with <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> from 1900 where his Memorial show was mounted in 1924.<br />
40
sir James lawton Wingate (1846–1924)<br />
Gargunnock<br />
oil on canvas, 25.5 x 35.5 cms<br />
signed lower left<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1941<br />
41
Wingate’s first arran subject exhibited in <strong>the</strong> Rsa was in 1882 and Glen Sannox will also be an early picture. It depicts a<br />
rainy day at <strong>the</strong> start <strong>of</strong> a classic walk in to <strong>the</strong> arran mountains.<br />
sir James lawton Wingate (1846–1924)<br />
Old Bridge, Glen Sannox, c.1885<br />
oil on canvas, 41 x 51 cms<br />
signed lower right<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1941<br />
42
Wingate was frequent visitor to arran and was celebrated as a master <strong>of</strong> <strong>the</strong> sunset. In 1919 he succeeded Guthrie as<br />
President <strong>of</strong> <strong>the</strong> Rsa by which time his landscape vision concentrate on effects <strong>of</strong> sunset, storm and summer skies.<br />
sir James lawton Wingate (1846–1924)<br />
Sunset, Arran<br />
oil on canvas, 26 x 36 cms<br />
signed lower right<br />
exhibited:<br />
George Davidson ltd, Glasgow, 1916<br />
43
Wingate’s Farm seems close in spirit to Glasgow school landscapes which seem to have been a strong influence.<br />
<strong>the</strong> lonely farmstead, handsome trees and turbulent summer sky would have been painted by Walton in suffolk<br />
or Galloway.<br />
sir James lawton Wingate (1846–1924)<br />
Farm<br />
oil on canvas, 28 x 35.5 cms<br />
signed lower right<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1918<br />
44
Gargunnock lies a few miles west <strong>of</strong> stirling on <strong>the</strong> south side <strong>of</strong> <strong>the</strong> forth valley, in <strong>the</strong> heart <strong>of</strong> scotland. It still has an<br />
annual agricultural show and an active cricket club. Wingate takes his view north towards <strong>the</strong> Bens <strong>of</strong> Perthshire and<br />
depicts <strong>the</strong> timeless rural scene <strong>of</strong> <strong>the</strong> labourer’s return from work.<br />
sir James lawton Wingate (1846–1924)<br />
Returning from Work, Gargunnock, c.1890<br />
oil on canvas, 41 x 51 cms<br />
signed lower left<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1924<br />
loan <strong>exhibition</strong>, Kirkcaldy art <strong>Gallery</strong> and Museum, 1928<br />
Exhibition <strong>of</strong> <strong>Scottish</strong> Art, Royal academy <strong>of</strong> arts, london, 1939<br />
45
Alexander was born in Edinburgh, son <strong>of</strong> <strong>the</strong> painter Robert Alexander (1840–1923) from whom he learned much.<br />
He visited Tangier with his fa<strong>the</strong>r and Joseph Crawhall, nine years his senior, in <strong>the</strong> winter <strong>of</strong> 1887–88 which sparked<br />
a lifelong fascination for <strong>the</strong> desert and <strong>the</strong> Arab world. He did study in Edinburgh and Paris with his friend Robert<br />
Burns (1861–1941) but was drawn back to North Africa and was based in Egypt, living on a houseboat on <strong>the</strong> Nile<br />
from 1892–1896. James Caw writing in his book <strong>Scottish</strong> Painting Past and Present (TC and EC Jack, Edinburgh, 1908)<br />
notes ‘… that this young painter dwelt among <strong>the</strong> Arabs, living <strong>the</strong>ir simple life in <strong>the</strong> tents and sharing <strong>the</strong>ir daily lives.’<br />
His depictions <strong>of</strong> camels and donkeys and <strong>the</strong> s<strong>of</strong>t, varied, fawn coloured landscape with warm sunlight and purple<br />
shadow are observed as an intimate not a tourist.<br />
Caw ascribes a similar charm to Alexander’s home landscape. ‘Low-horizoned ploughed lands with birds on<br />
wing on <strong>the</strong> high airy sky; long ebb-tide sands glimmering in <strong>the</strong> deepening twilight; and bare uplands with nibbling<br />
sheep seen in <strong>the</strong> delicate harmony wrought by a grey spring day – <strong>the</strong>se and such-like are <strong>the</strong> <strong>the</strong>mes he loves.<br />
It is as a painter <strong>of</strong> birds and <strong>the</strong> natural world for which he is rightly celebrated. <strong>The</strong> Fine art Society mounted an<br />
<strong>exhibition</strong> for <strong>The</strong> Edinburgh Festival in 1985 called Camels, Cobwebs and Honeysuckles featuring Alexander and Crawhall<br />
and <strong>the</strong>y stand out as two <strong>of</strong> <strong>the</strong> most brilliant draftsmen <strong>of</strong> <strong>the</strong>ir generation whose particular, quiet vision has <strong>of</strong>ten<br />
been drowned out – by noisier more self-conscious art. Caw was hugely tempted to include Crawhall in his history but<br />
as a strict nationalist <strong>the</strong> painter’s Northumbrian origin ruled him out. Alexander he praises for his delicacy <strong>of</strong> drawing,<br />
his colour: ‘fastidious and harmonious’ and his rare regard for decorative placing. His love <strong>of</strong> birds is clear in so many<br />
delicate, perfect representations <strong>of</strong> birds and he kept owls and peacocks at his home in Musselburgh.<br />
Alexander had <strong>the</strong> first <strong>of</strong> four one-man shows with <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> in 1901 and <strong>the</strong> following year was<br />
made an associate <strong>of</strong> <strong>The</strong> RSA. In 1904 he married into <strong>the</strong> Dott family and settled in Edinburgh. Sadly he had a stroke<br />
in 1917 and died aged only fifty-six. His memorial <strong>exhibition</strong> was held at <strong>The</strong> <strong>Gallery</strong>.<br />
46
edwin alexander (1870–1926)<br />
A Syrian Camp<br />
Watercolour, 26 x 47 cms<br />
signed lower left<br />
47
edwin alexander (1870–1926)<br />
Moorland<br />
Watercolour, 19 x 33 cms<br />
signed with initials lower right<br />
48
edwin alexander (1870–1926)<br />
Mule, 1894<br />
Watercolour, 27 x 23 cms<br />
signed and dated lower left<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1941<br />
49
edwin alexander (1870–1926)<br />
Doves and Apple Blossom, 1897<br />
Watercolour on linen, 48 x 38 cms<br />
signed and dated lower right<br />
exhibited:<br />
Doig Wilson Wheatley, edinburgh, 1939<br />
Exhibition <strong>of</strong> <strong>Scottish</strong> Art, Royal academy <strong>of</strong> arts, london, 1939<br />
Exhibition <strong>of</strong> 20th Century British Paintings, National <strong>Gallery</strong>, london, 1940<br />
50
edwin alexander (1870–1926)<br />
Dead Birds, Great Tit and Blue Tit, 1901<br />
Watercolour on linen, 14 x 21 cms<br />
signed and dated lower left<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1942<br />
51
edwin alexander (1870–1926)<br />
Gullane<br />
Watercolour, 19 x 34 cms<br />
signed with initials lower right<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1913<br />
52
edwin alexander (1870–1926)<br />
Corn Spurry<br />
Watercolour, 31 x 17 cms<br />
signed with initials lower right<br />
53
edwin alexander (1870–1926)<br />
Storehouses<br />
Watercolour, 45 x 20.5 cms<br />
signed with initials upper left<br />
exhibited:<br />
Empire Exhibition, scotland, 1938<br />
Exhibition <strong>of</strong> 20th Century British Paintings, National <strong>Gallery</strong>, london, 1940<br />
54
edwin alexander (1870–1926)<br />
Blackbird, 1900<br />
Watercolour on linen, 52 x 42 cms<br />
signed and dated lower left<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1945<br />
55
s.J. Peploe (1871–1935)<br />
<strong>The</strong> Lobster, c. 1901<br />
oil on canvas, 41 x 51 cms<br />
signed vertically upper right<br />
Provenance:<br />
J.J. Cowan; William home Cook<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1903<br />
Loan Exhibition, Kirkcaldy Museum and art <strong>Gallery</strong>, 1928<br />
S.J. Peploe Memorial Exhibition, aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1936, (no. 39)<br />
S.J. Peploe Memorial Exhibition, Mclellan Galleries, Glasgow, 1937, (no. 64)<br />
Empire Exhibition, scotland, 1938<br />
Exhibition <strong>of</strong> <strong>Scottish</strong> Art, Royal academy <strong>of</strong> arts. london, 1939<br />
S.J. Peploe, National <strong>Gallery</strong> <strong>of</strong> scotland, 1941, (no. 6)<br />
British Council and Fine Arts Department Exhibition, Cairo & algiers, 1944<br />
<strong>The</strong> <strong>Scottish</strong> Colourists, ewan Mundy fine art, Glasgow, 1989, (no. 1)<br />
s.J. Peploe, Paintings and Drawings, Duncan Miller fine art, london, 1993, (no. 2)<br />
<strong>The</strong> <strong>Scottish</strong> Colourists, Royal academy <strong>of</strong> arts, 2000, (no. 59)<br />
Illustrated:<br />
stanley Cursiter, Peploe, (thomas Nelson and sons ltd, edinburgh, 1947) Plate 5<br />
Guy Peploe, S.J. Peploe, (Mainstream, edinburgh, 2000) Plate 11<br />
and to be included in <strong>the</strong> second edition to be published in october 2012 by lund humphries<br />
57
By <strong>the</strong> time <strong>of</strong> <strong>the</strong> artist’s death in 1935 James Caw had come to recognise Peploe as one <strong>of</strong> Scotland’s greatest painters.<br />
Caw was <strong>the</strong> biographer <strong>of</strong> his fa<strong>the</strong>r-in-law William McTaggart and wrote a History <strong>of</strong> <strong>Scottish</strong> Art, published in 1908.<br />
He became <strong>the</strong> director <strong>of</strong> <strong>the</strong> <strong>Scottish</strong> National <strong>Gallery</strong> and <strong>the</strong> <strong>Scottish</strong> National Portrait <strong>Gallery</strong> from 1907–1930.<br />
When he reviewed Peploe’s first <strong>exhibition</strong> in 1903 his praise was heavily qualified; he identified a ‘perverse taste for<br />
<strong>the</strong> ugly or <strong>the</strong> bizarre in figure and landscape’ 1 and a lack <strong>of</strong> subtlety <strong>of</strong> vision. Certainly Peploe’s early work is bold<br />
and his subjects not chosen for <strong>the</strong>ir inherent beauty; even <strong>The</strong> Lobster (which Caw singles out for particular praise) is a<br />
difficult subject; an admirable lunch and a complex, fascinating creature but certainly a challenge to <strong>the</strong> painter. Peploe<br />
has made out <strong>of</strong> it one <strong>of</strong> his masterpieces.<br />
Peploe admired seventeenth century Dutch painting and had made a study trip to Holland in <strong>the</strong> mid-1890s 2<br />
and that still life tradition, which includes specialist painters <strong>of</strong> <strong>the</strong> pr<strong>of</strong>usion <strong>of</strong> <strong>the</strong> fishmonger’s table, is acknowledged.<br />
His composition however is uncluttered, much closer in spirit to Chardin or Manet. This was Peploe’s first <strong>exhibition</strong><br />
and <strong>the</strong> obsessive care he took in <strong>the</strong> preparations (including painting and repainting a frieze in one <strong>of</strong> <strong>the</strong> rooms)<br />
indicates a personality trait and a recognition after many years <strong>of</strong> study and preparation that at <strong>the</strong> age <strong>of</strong> thirty-three<br />
this <strong>exhibition</strong> would launch his career as an exhibiting artist.<br />
Peploe’s skill was in perfect balance with his confidence: <strong>the</strong> bone handle <strong>of</strong> <strong>the</strong> knife is made up <strong>of</strong> three<br />
brushstrokes and every mark is assured and perfectly placed. <strong>The</strong> beautifully graded tones <strong>of</strong> <strong>the</strong> table-top merge into<br />
background: olive to a black enriched with burnt-sienna. <strong>The</strong> harmony <strong>of</strong> his arrangement, a loose rhombus made <strong>of</strong><br />
lobster, knife, plate and lemon is perfectly lit to allow a maximum impact <strong>of</strong> colour and tonal contrast. <strong>The</strong> vertically<br />
placed signature in lobster-colour seems a self-consciously stylish touch: like a piece <strong>of</strong> oriental calligraphy – but it is<br />
also an essential part <strong>of</strong> his composition.<br />
1 Sir James Caw, ‘Studio Talk – Edinburgh’, <strong>The</strong> Studio (Vol XXX, 1904), p.161<br />
2 Guy Peploe, S.J. Peploe, (Mainstream, Edinburgh, 2000), p.16<br />
58
Peploe is strongly associated with Iona where he visited annually from 1919 until 1934 but he did visit o<strong>the</strong>r islands<br />
in <strong>the</strong> hebrides, most significantly Barra. <strong>the</strong> first visit was in 1894 when he and his older bro<strong>the</strong>r Willie sailed with<br />
<strong>the</strong>ir friend <strong>the</strong> painter RC Robertson in his ketch Nell. It was on this trip that he met his future wife Margaret Mackay.<br />
she was from loch Boisdale in s. Uist but was working in <strong>the</strong> Post <strong>of</strong>fice in Castlebay, Barra. <strong>the</strong>y began a correspondence<br />
and she eventually followed her heart to edinburgh, courtesy <strong>of</strong> a transfer to <strong>the</strong> post <strong>of</strong>fice in frederick street!<br />
<strong>the</strong>re is a reference in a letter to ano<strong>the</strong>r visit in 1903 so that is <strong>the</strong> date attributed to most <strong>of</strong> <strong>the</strong> known<br />
paintings. he might well have visited again between times and <strong>the</strong>re is significant stylistic variety within <strong>the</strong> Barra<br />
pictures which could indicate earlier and later visits. he painted on smaller panels, for which he used a ‘pochard’<br />
painting box which allowed him freedom to roam <strong>the</strong> island to find his subjects. Castlebay itself provided several<br />
subjects, sometimes observed from <strong>the</strong> rampart <strong>of</strong> Kisimul Castle in <strong>the</strong> bay, <strong>the</strong> ancestral stronghold <strong>of</strong> <strong>the</strong> MacNeils<br />
<strong>of</strong> Barra, but Peploe also ventures to <strong>the</strong> north <strong>of</strong> <strong>the</strong> island where great, sweeping beaches extend below machair and<br />
rocky escarpments. today <strong>the</strong> airplane lands at low tide on traigh Mhor which is <strong>the</strong> likely subject <strong>of</strong> Barra landscape.<br />
Peploe uses a creamy vehicle for his pigment and works with swift, long brushstrokes which enables him to capture <strong>the</strong><br />
fleeting in his subject; to paint wea<strong>the</strong>r as much as landscape.<br />
60
s.J. Peploe (1871–1935)<br />
Barra Landscape, c.1903<br />
oil on panel, 15.5 x 23.5 cms<br />
signed lower right<br />
exhibited:<br />
alex Reid and lefèvre, london, 1946<br />
61
Comrie is a village on <strong>the</strong> River earn with a fine church and <strong>the</strong> highlands rising to <strong>the</strong> North. It was accessible by train<br />
from 1894 and around 1900 Peploe’s sister and bro<strong>the</strong>r-in-law had come to live, Dr fred Porter taking up a position as<br />
village doctor. a number <strong>of</strong> small, atmospheric panels are inscribed with Comrie titles, Comrie, Perthshire being a good<br />
example. In type <strong>the</strong>y are reminiscent <strong>of</strong> Constable’s ‘wea<strong>the</strong>r’ studies: swift, on <strong>the</strong> spot records <strong>of</strong> clouds over a dark<br />
landscape. Peploe went on to paint a few more ambitious, Impressionist pictures <strong>of</strong> <strong>the</strong> village itself but we can imagine<br />
him going for long walks, inspired by being on <strong>the</strong> edge <strong>of</strong> a highland wilderness, his lightweight painting-box always<br />
in his pocket.<br />
62
s.J. Peploe (1871–1935)<br />
Comrie, c.1900<br />
oil on panel, 12.5 x 21.5 cms<br />
signed verso<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1940<br />
63
s.J. Peploe (1871–1935)<br />
Paris Plage, c.1907<br />
oil on canvas board, 19 x 24 cms<br />
signed verso<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1946<br />
s.J. Peploe, Paintings and Drawings, Duncan Miller fine art, london, 1993, (no. 7)<br />
64
Le Touquet Paris-Plage is a resort on <strong>the</strong> Normandy coast which has endured as a tourist destination since it was founded<br />
in 1876 by Hippolyte de Villemessant <strong>the</strong> owner <strong>of</strong> Le Figaro. <strong>The</strong> land was bought by an Englishman in 1903 and it became<br />
as fashionable in London as it did in Paris with golf courses and a racecourse being added to <strong>the</strong> splendid architecture<br />
which characterizes <strong>the</strong> seafront. At <strong>the</strong> nor<strong>the</strong>rn end <strong>the</strong> River Canche disgorges into <strong>the</strong> Channel and from <strong>the</strong>re miles<br />
<strong>of</strong> beach stretch to <strong>the</strong> south. <strong>The</strong>re is an immense tidal reach and so huge capacity for <strong>the</strong> holidaymaker to sit, exercise<br />
or ba<strong>the</strong>. Peploe began to visit in <strong>the</strong> early years <strong>of</strong> <strong>the</strong> century, <strong>of</strong>ten with his friend John Duncan Fergusson. <strong>The</strong>y both<br />
painted a variety <strong>of</strong> subjects including <strong>the</strong> view across <strong>the</strong> sand towards <strong>the</strong> sea and a horizon <strong>of</strong>ten lost in haze so that<br />
<strong>the</strong> subject, devoid <strong>of</strong> its holidaymakers as dawn or dusk, could be almost abstract and without features. Through one<br />
hundred and eighty degrees <strong>the</strong> view could not be in more contrast; <strong>the</strong> traffic <strong>of</strong> <strong>the</strong> streets, colourful bathing tents<br />
and fashionable denizens <strong>of</strong> <strong>the</strong> grand hotels and casinos taking <strong>the</strong>ir afternoon promenade are described in flurries <strong>of</strong><br />
paint. By 1907 Peploe was approaching <strong>the</strong> limit <strong>of</strong> his engagement with Impressionism and <strong>the</strong> freedom and fluidity<br />
<strong>of</strong> his marks are astonishing and indeed in great contrast to <strong>the</strong> short ‘touche’ deployed by Sisley or Monet. But it is<br />
Impressionism; as much about light and atmosphere as figure and landscape, always made en plein air.<br />
65
s.J. Peploe (1871–1935)<br />
Royan, 1910<br />
oil on panel, 27 x 35 cms<br />
signed verso<br />
Painted on Paris-american art Company board<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1940<br />
Peploe, Cadell, Hunter, Royal scottish academy festival <strong>exhibition</strong>, 1949<br />
A Selection <strong>of</strong> Modern <strong>Scottish</strong>, English and French Paintings, art Council <strong>Gallery</strong>, edinburgh, 1956, (no. 20)<br />
s.J. Peploe, Paintings and Drawings, Duncan Miller fine art, london, 1993, (no. 15)<br />
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Peploe married Margaret Mackay on April <strong>the</strong> fifth 1910 at <strong>the</strong> Morningside Registry Office. <strong>The</strong>y had decided to<br />
move to Paris and would break <strong>the</strong> journey at Broadway in <strong>the</strong> Cotswolds. He had written a month before: ‘I see <strong>the</strong><br />
train leaves at 10.15. That is <strong>the</strong> only morning train and <strong>the</strong> next is 2.00 o’clock which is too late. Shall we need to get<br />
married at 8.00 o’clock in <strong>the</strong> morning; why not? Before breakfast.’ <strong>The</strong> move had long been urged by John Duncan<br />
Fergusson, already living in Montparnasse, but <strong>the</strong> immediate spur was Margaret’spregnancy. <strong>The</strong>y set up home in a tiny<br />
studio apartment at 278 Boulevard Raspail but by August had joined Fergusson and Anne Estelle Rice in Royan in <strong>the</strong><br />
Charante. Royan was fashionable resort with a fine Casino on <strong>the</strong> promenade, beaches and a busy marina. Willy was<br />
born on August 29th. <strong>The</strong> work Peploe made here can now be seen as thoroughly modernist: <strong>the</strong> palette is bold and like<br />
<strong>the</strong> Fauves at Collioure four years before he moves away from naturalism to push colour as a direct, emotional tool no<br />
doubt reflecting <strong>the</strong> freedom and excitement he felt as his life moved into a new sphere.<br />
<strong>The</strong> Royan pictures <strong>of</strong> <strong>the</strong> harbour and streets <strong>of</strong> villas behind <strong>the</strong> front, <strong>of</strong> <strong>the</strong> Paris parks, and those made<br />
in Brittany <strong>the</strong> following summer can be seen toge<strong>the</strong>r as one <strong>of</strong> <strong>the</strong> great engagements made by a British artist<br />
with French modernism. Light is no longer dissolving form and instead a new structure is sought; natural forms are<br />
simplified and non-naturalistic colour preferred. <strong>The</strong>se were <strong>the</strong> works that would be initially rejected by <strong>the</strong> dealers and<br />
collectors who had been his patrons but Peploe was not for turning and <strong>the</strong> balance <strong>of</strong> his life as a painter looks forward,<br />
never back.<br />
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Peploe began to visit <strong>the</strong> south-west <strong>of</strong> Scotland during <strong>the</strong> First War no doubt with <strong>the</strong> encouragement <strong>of</strong> his friends<br />
Jessie King and EA Taylor who had settled <strong>the</strong>re in 1913. He came to paint but also to get fit; he was not to be deemed<br />
fit for War service but was continuously expecting to be called up. <strong>The</strong>re is no precise record <strong>of</strong> his visits and <strong>the</strong> dates<br />
on <strong>the</strong> back <strong>of</strong> some <strong>of</strong> his panels may well have been written on some years later and are not entirely reliable. One<br />
<strong>of</strong> his most productive locations was on <strong>the</strong> Solway Firth at Douglas Hall, which overlooks Sandyhills Bay and <strong>the</strong> land<br />
inland towards Laggan Farm.<br />
He worked exclusively at this time on panels for which he had a transportable painting box so that he could<br />
walk over rough, farming terrain to find his subjects. Trees Douglas Hall, (New Acquisitions, <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong>, 2008)<br />
will belong to an earlier visit, perhaps <strong>of</strong> 1915 and is fauvist in character while work made on <strong>the</strong> next visit, most likely<br />
in <strong>the</strong> summer <strong>of</strong> 1917, have a more lyrical, naturalistic quality. Cornfield, Douglas Hall and Laggan Farm Buildings, (both<br />
Glasgow Museums) are typical. Peploe is now using a gesso ground and thinned paint, with some oil taken out with<br />
blotting paper from which is derived a dry surface and an extraordinary almost luminous brightness.<br />
Our picture entitled Douglas Hall is in fact Laggan Farm, seen from <strong>the</strong> back. <strong>The</strong> landowner was <strong>the</strong> Haslam<br />
family, likely friends <strong>of</strong> Jessie King who would have welcomed <strong>the</strong> artist onto <strong>the</strong>ir property. Peploe is attracted to <strong>the</strong><br />
strong architectural lines <strong>of</strong> <strong>the</strong> house (he also enjoyed <strong>the</strong> stolid geometry <strong>of</strong> Kirkcudbright’s Tolbooth in several works<br />
also belonging to 1917) and <strong>the</strong> light on <strong>the</strong> whitewashed facade is captured in a white as brilliant as any he painted.<br />
At this moment he seems closer to Paul Cézanne than at any o<strong>the</strong>r; <strong>the</strong> attraction to great trees, <strong>the</strong> rusticity <strong>of</strong> his<br />
subject choices and analysis <strong>of</strong> form all owe a debt to <strong>the</strong> master <strong>of</strong> Aix. But as always with Peploe <strong>the</strong> sheer virtuosity<br />
<strong>of</strong> painting and originality <strong>of</strong> his colour transcend any influences.<br />
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s.J. Peploe (1871–1935)<br />
Douglas Hall, c.1917<br />
oil on panel, 33 x 41 cms<br />
signed lower right<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>,1940<br />
s.J. Peploe, Paintings and Drawings, Duncan Miller fine art, london, 1993, (no. 41)<br />
69
fergusson held his first one-man-show with <strong>the</strong> Baillie Galleries in london in 1905 and <strong>of</strong> <strong>the</strong> fifty-six works exhibited,<br />
sixteen were paintings <strong>of</strong> Paris Plage. In <strong>the</strong> <strong>catalogue</strong> was reproduced what would today be called an artist statement:<br />
“he (<strong>the</strong> artist) is trying for truth, for reality through light. that to <strong>the</strong> realist in painting, light is <strong>the</strong> mystery; for form<br />
and colour which are <strong>the</strong> painter’s only means <strong>of</strong> representing life, exist only on account <strong>of</strong> light.” <strong>the</strong> success <strong>of</strong> this<br />
<strong>exhibition</strong> and excellent critical appraisal, not least from haldane Mcfall in <strong>The</strong> Studio, gave him <strong>the</strong> impetus to plan a<br />
permanent move to france. his fa<strong>the</strong>r died <strong>the</strong> next year and despite a small inheritance he was, in addition, obliged to<br />
sell his gold watch, a complete set <strong>of</strong> Beardsley’s <strong>The</strong> Yellow Book and some furniture. fergusson was ideally placed to take<br />
advantage <strong>of</strong> <strong>the</strong> opportunities that a move to Paris would present: he was independent, confident, rebellious and firmly<br />
focused on his own artistic agenda. But at <strong>the</strong> same time he was quite open to change, to new ideas and experiences.<br />
<strong>the</strong> date for our picture is 1904, and it could well have been in <strong>the</strong> <strong>exhibition</strong> <strong>the</strong> following year (Blyth acquired<br />
it from <strong>the</strong> scottish <strong>Gallery</strong> in 1949). <strong>the</strong> edwardian resort <strong>of</strong> Paris Plage (see note on page 65) provided a range <strong>of</strong><br />
subject matter for both Peploe and fergusson and <strong>the</strong> bustle <strong>of</strong> <strong>the</strong> streets behind was a favourite. Both painters would<br />
wait a year or two before using a palette which would ally <strong>the</strong>m with european fauvism but already <strong>the</strong> freedom <strong>of</strong><br />
application, with strong colour notes – a sort <strong>of</strong> Whistlerian Impressionism – makes <strong>the</strong>se exciting small panels unique<br />
in British painting.<br />
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JD fergusson (1874–1961)<br />
Paris Plage, 1904<br />
oil on panel, 19 x 24 cms<br />
signed verso<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1949 (no.23)<br />
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Blyth bought three hunters <strong>the</strong> o<strong>the</strong>r two being still lifes now in <strong>the</strong> Kirkcaldy Museum collection. this small, beautifully<br />
painted oil is unusual in hunter’s oeuvre for its subject. <strong>The</strong> Showcase is to be illustrated in William smith’s forthcoming<br />
biography <strong>of</strong> hunter where he writes: “silhouetting form against a light background and displaying an almost oriental<br />
sense <strong>of</strong> decoration is evident in <strong>The</strong> Showcase. <strong>the</strong> vases, jars and bowl are arranged by shape – long, short or squat – on<br />
<strong>the</strong> various levels <strong>of</strong> <strong>the</strong> sideboard. <strong>the</strong>n to enliven a potentially static display, hunter adorns <strong>the</strong> largest vase with a<br />
magnificent display <strong>of</strong> foliage and picks out accents <strong>of</strong> bright colour in <strong>the</strong> o<strong>the</strong>r vases. <strong>the</strong> piece <strong>of</strong> furniture is still in<br />
<strong>the</strong> possession <strong>of</strong> hunter’s family.”<br />
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George leslie hunter (1877–1931)<br />
<strong>The</strong> Showcase, c. 1921<br />
oil on panel, 30.5 x 23 cms<br />
signed upper right<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1953<br />
A Selection <strong>of</strong> Modern <strong>Scottish</strong>, English and French Paintings,<br />
art Council <strong>Gallery</strong>, edinburgh, 1956, (no. 13)<br />
73
Grant first visited Cassis in 1927 and returned most summers until <strong>the</strong> outbreak <strong>of</strong> war. He was accompanied by his<br />
partner Vanessa Bell and <strong>the</strong> presence each summer <strong>of</strong> many <strong>of</strong> <strong>the</strong>ir friends, including Virginia and Leonard Woolf,<br />
staying at La Bergère, a substantial cottage in <strong>the</strong> grounds <strong>of</strong> a château a mile or so inland, led to <strong>the</strong> town being known<br />
as Bloomsbury-by-Sea. Samuel John Peploe was <strong>the</strong>re also in 1924, ’28 and ’30 but it is not known whe<strong>the</strong>r <strong>the</strong>y met.<br />
<strong>The</strong> Tate <strong>Gallery</strong> holds an archive <strong>of</strong> photographs <strong>of</strong> Grant working on canvases in <strong>the</strong> ground <strong>of</strong> <strong>the</strong> house<br />
and our picture is without doubt a view across <strong>the</strong> fields towards <strong>the</strong> Château with <strong>the</strong> high escarpment rising in <strong>the</strong><br />
distance. In his portraits, Omega designs and murals Grant seems a modernist and he is present in all <strong>the</strong> survey shows<br />
and ‘movements’ which shape our understanding <strong>of</strong> <strong>the</strong> development <strong>of</strong> British modernism. In front <strong>of</strong> <strong>the</strong> landscape he<br />
is essentially an impressionist and Cassis is a perfect example; fresh, direct; true to place and to <strong>the</strong> day it was painted.<br />
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Duncan Grant (1885–1978)<br />
Cassis<br />
oil on canvas, 46 x 65 cms<br />
signed lower right<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, edinburgh, 1945<br />
A Selection <strong>of</strong> Modern <strong>Scottish</strong>, English and French Paintings, art Council <strong>Gallery</strong>, edinburgh, 1956, (no. 10)<br />
75
Lily McDougall was born in Glasgow but was trained in Edinburgh, followed by fur<strong>the</strong>r studies at <strong>The</strong> Hague, Antwerp<br />
and <strong>the</strong>n Paris where she worked from 1904–06. Her primary subject matter was still life and flower scenes, painted in<br />
oil as well as watercolour. She lived in Edinburgh for most <strong>of</strong> her life, first exhibiting at <strong>the</strong> Royal <strong>Scottish</strong> Academy in<br />
1900. She was a founding member <strong>of</strong> <strong>the</strong> Society <strong>of</strong> <strong>Scottish</strong> Women Artists, which was reformed as Visual Arts Scotland<br />
in 1999. An award in her name and to her fellow member Anne Redpath is still given every year in recognition <strong>of</strong> both<br />
artists. She had two solo <strong>exhibition</strong>s at <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> during her lifetime. This charming oil was purchased from<br />
<strong>the</strong> <strong>Gallery</strong> at her second show in 1955.<br />
76
lily McDougall (1875–1958)<br />
<strong>The</strong> Little Posy<br />
oil on panel, 26 x 18 cms<br />
exhibited:<br />
Lily McDougall Retrospective Exhibition, <strong>the</strong> scottish <strong>Gallery</strong>, 1955, (no.14)<br />
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Walter Richard Sickert was born in Germany in 1860 and can be seen as one <strong>of</strong> <strong>the</strong> most influential British artists <strong>of</strong><br />
<strong>the</strong> 20th century. Sickert’s adoption <strong>of</strong> new and daring subject matter, twinned with a loose, suggestive handling <strong>of</strong><br />
paint directly influenced <strong>the</strong> Camden Town Group and <strong>the</strong> Euston Road School, as well as heralding many international<br />
developments <strong>of</strong> <strong>the</strong> 20th century. His subject matter included depictions <strong>of</strong> ordinary people in urban environments,<br />
music hall, <strong>the</strong>atre and <strong>the</strong> demi-monde <strong>the</strong>mes much influenced by his mentor Degas, who he had first met in Paris in<br />
1883. His adoption <strong>of</strong> social realistic subject matter, <strong>of</strong>ten with sexual undertones, had not been seen before in British<br />
art and was considered deeply shocking at <strong>the</strong> time.<br />
Sickert exhibited a series <strong>of</strong> paintings in <strong>the</strong> Leicester Galleries in 1937, based on 19th century illustrative<br />
engravings published in popular magazines, <strong>the</strong> sources <strong>of</strong> <strong>the</strong> painting <strong>of</strong>ten inscribed in <strong>the</strong> lower corner – as we see in<br />
this example <strong>The</strong> Holocaust, after Mary Ellen Edwards. <strong>The</strong>se ‘English Echoes’ as <strong>the</strong>y came to be known appeared to have<br />
little or no link with his earlier work. Some admirers <strong>of</strong> Sickert <strong>of</strong> were alarmed by <strong>the</strong>se seemingly static scenes and<br />
regarded <strong>the</strong>m as a decline in <strong>the</strong> painter’s artistic ability. However <strong>the</strong>y did enjoy success, examples being purchased by<br />
<strong>the</strong> Louvre and <strong>the</strong> National <strong>Gallery</strong>. By appropriating images from popular culture Sickert prefigures Pop Art by twenty<br />
years and emphasizes <strong>the</strong> ambiguity <strong>of</strong> <strong>the</strong> relationship between subject and viewer.<br />
Between 1930 and his death in 1942, Sickert’s paint texture grew drier, <strong>the</strong> application <strong>of</strong> it sparser and his<br />
engagement with his subject less direct, painting more and more from photographs. Lillian Browse, from whom Blyth<br />
bought several Sickerts from during <strong>the</strong> 1940s, did not like <strong>the</strong> later work; she remembers arguing with Blyth about <strong>the</strong><br />
matter. She recalled, “He liked <strong>the</strong> late Sickerts too; I didn’t, preferring <strong>the</strong> ‘rich juicy paint’ and we constantly used to<br />
tease and argue.” Although Miss Browse acknowledged that Blyth “was a passionate lover <strong>of</strong> Sickert and always adamant<br />
in his choice.”<br />
Walter Richard Sickert (1860–1942)<br />
<strong>The</strong> Holocaust after Mary Ellen Edwards, c.1937<br />
Oil on canvas, 71 x 46 cms<br />
Signed lower right and inscribed with title lower left<br />
Exhibited:<br />
Leicester Galleries, London, 1937<br />
Aitken Dott & Son, <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong>, Edinburgh, 1942<br />
Literature:<br />
Wendy Baron, Sickert Paintings and Drawings, (Yale University Press,<br />
New Haven and London, 2006) p. 515, no. 659<br />
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In 1934 sickert was elected a Royal academician, it was <strong>the</strong> same year a subscription amongst his friends and followers<br />
was made to enable him to work without financial anxiety – he had been perilously close to bankruptcy. In late November<br />
he signed a three year lease on a house in Broadstairs, st. Peters-in-thanet near Margate. sickert’s art was becoming<br />
more and more photo-based; his subject matter was not conditioned by his geographical location. It was at this time he<br />
did a series <strong>of</strong> pictures based on photographs <strong>of</strong> real life events, including <strong>the</strong> Grand National, a celebrity wedding and<br />
two full length portraits <strong>of</strong> King edward VIII around <strong>the</strong> time <strong>of</strong> his abdication. this landscape <strong>of</strong> Broadstairs, looking<br />
diagonally across a garden fence toward a row <strong>of</strong> trees with a town behind is characteristic <strong>of</strong> <strong>the</strong> work he produced at<br />
this time. <strong>the</strong> subject matter is uncluttered, with an emphasis on <strong>the</strong> contrast between light and shadow empahsised by<br />
<strong>the</strong> dry, thin application <strong>of</strong> paint. this painting will have been made from a photograph and not from direct observation.<br />
By alienating himself from <strong>the</strong> subject (to escape from what Degas referred to as “<strong>the</strong> tyranny <strong>of</strong> nature”) sickert is free<br />
to focus on <strong>the</strong> careful tonal relationships, and <strong>the</strong> application <strong>of</strong> paint on canvas. <strong>the</strong> chalky texture <strong>of</strong> <strong>the</strong> picture,<br />
scrubbed dry onto a coarse surface was typical <strong>of</strong> o<strong>the</strong>r paintings depicting Bath made in <strong>the</strong> late 1930s. <strong>the</strong> colour<br />
palette is cool and controlled, and suggests summer heat. <strong>the</strong> choice <strong>of</strong> such an uncompromising view is testament to<br />
sickert’s artistic drive to find beauty in <strong>the</strong> urban mundane.<br />
a picture <strong>of</strong> <strong>the</strong> same title was thought to have been recently destroyed in <strong>the</strong> search <strong>of</strong> traces <strong>of</strong> sickert’s DNa<br />
by Patricia Cornell – <strong>the</strong> american author who believes Walter sickert to be <strong>the</strong> infamous murderer Jack <strong>the</strong> Ripper.<br />
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Walter Richard sickert (1860–1942)<br />
Broadstairs, 1940<br />
oil on canvas, 61.5 x 51 cms<br />
signed lower right<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1943<br />
81
Lumsden was born in London but came to study in Edinburgh where, with his wife <strong>the</strong> printmaker Mable Royds, he<br />
became associated with much avant-garde practice between <strong>the</strong> Wars. He was an accomplished printmaker also and his<br />
book on etching, <strong>The</strong> Art <strong>of</strong> Etching, is still a standard text. Toge<strong>the</strong>r he and Royds travelled twice to India so that Street<br />
in Jaipur will have been painted on one <strong>the</strong>se visits during <strong>the</strong> Great War. In oil and watercolour he is close to John<br />
Lavery and both painters’ landscapes are characterized by thin washes <strong>of</strong> paint, a limited palette and exquisite drawing<br />
with <strong>the</strong> brush.<br />
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ernest stephen lumsden (1883–1948)<br />
A Street in Jaipur<br />
oil on board, 23 x 32 cms<br />
signed lower right<br />
exhibited:<br />
aitken Dott & son, <strong>the</strong> scottish <strong>Gallery</strong>, 1940<br />
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McBey was born into rural poverty in Aberdeenshire and died with homes in America, London and Tangier. He began<br />
work in a bank in Aberdeen aged 15 but was inspired to teach himself etching from a library book and by 1911 was<br />
able to exhibit his <strong>Scottish</strong> and Dutch etchings at <strong>the</strong> Goupil <strong>Gallery</strong> in London. He made some powerful images on <strong>the</strong><br />
Western Front and <strong>the</strong>n became an <strong>of</strong>ficial war artist attached to <strong>the</strong> Palestine Expeditionary Force making some <strong>of</strong> his<br />
most celebrated etched images including Dawn Patrol. He visited Venice first in 1925 and over <strong>the</strong> next five years made<br />
a series <strong>of</strong> etchings culminating in <strong>the</strong> extraordinary Venetian Night <strong>of</strong> 1930. He worked directly in front <strong>of</strong> <strong>the</strong> subject,<br />
using a motorbike mirror so <strong>the</strong>y would print in <strong>the</strong> right direction. He also painted several beautiful, Impressionist<br />
views <strong>of</strong> Venice from <strong>the</strong> Lagoon with a sailing boat. Our picture relates to an etching <strong>of</strong> <strong>the</strong> next year which is equally<br />
freely rendered.<br />
84
James McBey (1883–1959)<br />
Venice Grand Canal, 1925<br />
oil on canvas, 59 x 100 cms<br />
signed and dated lower right<br />
exhibited:<br />
la société des Beaux-arts, Glasgow, 1926<br />
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Published by <strong>The</strong> <strong>Scottish</strong> <strong>Gallery</strong> to coincide with <strong>the</strong> <strong>exhibition</strong><br />
<strong>the</strong> taste <strong>of</strong> jw blyth<br />
4 - 28 July 2012<br />
Exhibition can be viewed online at www.scottish-gallery.co.uk/jwblyth<br />
ISBN 978-1-905146-67-3<br />
Designed by www.kennethgray.co.uk<br />
Photography by William Van Esland Photography<br />
Printed by J Thomson Colour Printers<br />
We are grateful to Peter Arkell for unrestricted access to his<br />
1987 St Andrews undergraduate <strong>the</strong>sis: <strong>The</strong> John W Blyth Collection.<br />
We also give thanks to <strong>the</strong> Portillo family.<br />
All rights reserved. No part <strong>of</strong> this <strong>catalogue</strong> may be reproduced<br />
in any form by print, photocopy or by any o<strong>the</strong>r means, without<br />
<strong>the</strong> permission <strong>of</strong> <strong>the</strong> copyright holders and <strong>of</strong> <strong>the</strong> publishers.<br />
16 Dundas Street, Edinburgh EH3 6HZ<br />
Tel 0131 558 1200 Email mail@scottish-gallery.co.uk<br />
Web www.scottish-gallery.co.uk<br />
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