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In The Artists' Footsteps

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Nan S Fergusson (Mrs James Henderson) 1910 - 1984


Archie Sutter Watt


Christian Jane (Chris) Fergusson


Edward Arthur Walton


James Paterson


E. A. Hornel


Jankel Adler


Francis Campbell Boileau Cadell


William Hanna Clarke


William Daniell


George Wright


James Faed (Senior)


James Faed Junior


John Faed


Susan Bell Faed


The Faeds


David Gauld


The Glasgow Girls


Tom Gourdie


The Glasgow Boys


Francis Grose


George Henry


Anna and Isobel Hotchkis


James G (Tim) Jeffs


Jessie M King


Oskar Kokoschka


William Miles Johnston


John Maxwell


Henry Joseph Moule


William Mouncey


William Stewart MacGeorge


Charles Oppenheimer


Samuel John Peploe


William Bruce Ellis Ranken


William Robson


Charles William Stewart


Jim Sturgeon


Alick Riddell Sturrock


E A Taylor


JMW Turner


Jemima Wedderburn


Christopher Whall


The Dumfries and Galloway Fine Art Society


David Gauld

David Gauld (1865-1936) is one of the most interesting of the Glasgow Boys.



Involved in a major stained glass project at the end of the Nineteenth century his Music and St Agnes show a Japanese and Pre Raphaelite influence. A close friend of Charles Rennie Macintosh, Gauld’s work bridges the gap between the Boys and Art Nouveau. As well as painting extensively in France Gauld had a very close connection with Kirkcudbright, where he shared a studio for a time at Castlemains with W S MacGeorge. In the late twenties he is also recorded as having a studio in Milburn Street. His fine Kirkcudbright Harbour is to be found at the Dick Institute, Kilmarnock and was used on the cover of Kirkcudbright 100 years of an Artists’ Colony (edited by Patrick Bourne).



It was here in Kirkcudbright that Gauld perfected his studies of cattle, particularly calves, frequent examples of which appear in our major art sales. It is said that he painted mostly at Cannee and Low Boreland farms on the outskirts of Kirkcudbright. Such indeed was Gauld’s enthusiasm for this subject matter that fellow artists penned the following ditty:



There was a wee man named Gauld,
Who painted three calves in a fauld,
He’s paintin’ the noo, a big Ayrshire coo,
He’ll maybe pent bulls when he’s auld.



Gauld’s best studies of cattle are his freely painted earlier works. His later, more formulaic works lack the interest of his colourful earlier pieces.

Summer in Galloway

Summer in Galloway

Kirkcudbright

Kirkcudbright

Kirkcudbright Castle

Kirkcudbright Castle

A Galloway Farm

A Galloway Farm