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Peploe began to visit the south-west of Scotland during the First War no doubt with the encouragement of his friends Jessie King and EA Taylor who had settled there in 1913. He came to paint but also to get fit; he was not to be deemed fit for War service but was continuously expecting to be called up. There is no precise record of his visits and the dates on the back of some of his panels may well have been written on some years later and are not entirely reliable. One of his most productive locations was on the Solway Firth at Douglas Hall, which overlooks Sandyhills Bay and the land inland towards Laggan Farm. He worked exclusively at this time on panels for which he had a transportable painting box so that he could walk over rough, farming terrain to find his subjects. Trees Douglas Hall, (New Acquisitions, The Scottish Gallery, 2008) will belong to an earlier visit, perhaps of 1915 and is fauvist in character while work made on the next visit, most likely in the summer of 1917, have a more lyrical, naturalistic quality. Cornfield, Douglas Hall and Laggan Farm Buildings, (both Glasgow Museums) are typical. Peploe is now using a gesso ground and thinned paint, with some oil taken out with blotting paper from which is derived a dry surface and an extraordinary almost luminous brightness. Our picture entitled Douglas Hall is in fact Laggan Farm, seen from the back. The landowner was the Haslam family, likely friends of Jessie King who would have welcomed the artist onto their property. Peploe is attracted to the strong architectural lines of the house (he also enjoyed the stolid geometry of Kirkcudbright’s Tolbooth in several works also belonging to 1917) and the light on the whitewashed facade is captured in a white as brilliant as any he painted. At this moment he seems closer to Paul Cézanne than at any other; the attraction to great trees, the rusticity of his subject choices and analysis of form all owe a debt to the master of Aix. But as always with Peploe the sheer virtuosity of painting and originality of his colour transcend any influences. 68
s.J. Peploe (1871–1935) Douglas Hall, c.1917 oil on panel, 33 x 41 cms signed lower right exhibited: aitken Dott & son, the scottish Gallery,1940 s.J. Peploe, Paintings and Drawings, Duncan Miller fine art, london, 1993, (no. 41) 69
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the taste of JW Blyth
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Foreword Michael Portillo I knew my
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elevation plan to Wilby house, 1909
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Collecting Blyth kept a simple reco
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the hawcklymuir factory, Kirkcaldy
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and Explanatory Notes on the Art of
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Peploe in terms of colour: ‘altho
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Blyth’s conversion was certainly
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Trouville Harbour and Deauville (pa
Page 22 and 23: Most contemporary publications, exh
Page 24 and 25: a warning of what we have escaped i
Page 26 and 27: Vale “No plans were ever made for
Page 28 and 29: catalogue Eugène Boudin was born i
Page 30 and 31: “everything that is painted on th
Page 32 and 33: Wintour was born in Edinburgh and a
Page 34 and 35: Two years senior to his great frien
Page 36 and 37: Paintings by William McTaggart, R.S
Page 38 and 39: there are a number of pictures of R
Page 40 and 41: In July 1947 Blyth bought a picture
Page 42 and 43: “The remarkable place which he ho
Page 44 and 45: “To few men has a more beautiful
Page 46 and 47: Wingate’s first arran subject exh
Page 48 and 49: Wingate’s Farm seems close in spi
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Page 70 and 71: s.J. Peploe (1871-1935) Royan, 1910
Page 74 and 75: fergusson held his first one-man-sh
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Page 78 and 79: Grant first visited Cassis in 1927
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Page 82: Walter Richard Sickert was born in
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