In 1911, from the 2nd May to the 4th November, the Scottish Exhibition of History, Art and Industry was held in Kelvingrove, Glasgow. The exhibition was formally opened on the 3rd May by the Duke of Connaught (brother of the late King Edward VII) and his wife. It was not on the same scale as the exhibitions of 1888 and 1901 however over its course it attracted 9.4 million visitors. Its central point was the Stuart Memorial in Kelvingrove Park surrounded by a number of palaces, the principal one being the Palace of History which was modelled on Falkland Palace. It was divided into four galleries, one of which, the West Gallery, dealt with the historical ties between Sweden and Scotland.
One of the exhibition’s key objectives was to fund the creation of a Chair of Scottish History and Literature at Glasgow University, which was achieved, the Chair being founded in 1913. , 
Between 1909 and 1911 a number of visits between the two countries had been made to determine what the Swedish/Scottish exhibition should contain. The Swedish committees were led by Professor Oscar Montelius, of Uppsala University, a noted pre-historian and archeologist, and Dr. E.E. Etzel of Stockholm and Uppsala University. The convener of the Scottish committee was John S. Samuel. , 
The agreed Swedish exhibits included the following items:
from Professor Montelius, prehistoric artefacts from graves and tombs in Sweden, similar to objects found in Scotland
a collection of medals struck in honour of celebrated Scotsmen, from the Swedish Academy of Science
pistols, guns and daggers made in Scotland and taken to Sweden by Scottish soldiers of fortune, loaned by the Royal Armoury in Stockholm
heraldic shields of Swedish Nobles of Scottish extraction. These were replicas of the originals and they were to be used again at the ‘Scots in Sweden ‘exhibition held in the Royal Scottish Museum in Edinburgh in 1962.
genealogical documentation of Scots who had lived and stayed in Sweden. This information was eventually published in The Scottish Historical Review in 1912, taken from work carried out by Dr. Etzel and given to the magazine by John Samuel.
portraits of Swedish and Scottish Royalty which included two copies of portraits from the Royal Gallery in Gripsholm Castle, being the work of Swedish artist John Osterlund (1875-1953), completed between 1900 and 1910. These were the paintings eventually gifted to Glasgow at the end of the exhibition by Dr. Etzel.
The first portrait was that of ‘Mary Queen of Scots as a Child’, which had been discovered during a Scottish deputation to Sweden in 1909. The catalogue of the exhibition described it as ‘a unique and valuable portrait of Mary Stuart… its existence had not previously been recorded by any historian of the period of history to which it belongs.’ The original artist was unknown and the date attributed to the painting was 1577.
The other was a portrait of King Gustavus Adolphus II. Again the original artist was unknown although it had been annotated with the initials ‘G.T.’ and dated 1630.
The entry in the exhibition catalogue regarding Gustavus Adolphus is interesting in that he is described as the ‘Lion of the North and Bulwark of the Protestant religion, the hero of the 30 years war, that awful period of bloodshed, rapine and robbery that devastated Germany in the early part of the 17th century.’ It also added that his victorious armies included 13,106 Scotsmen.
In an attempt to find out more about the original paintings I contacted the National Museum of Sweden. The initial response from the Museum confirmed there was a painting of ‘MariaStuart’ in the Royal Gallery collection; inventory number NMGrh 1142, artist unknown. In a very comprehensive second reply I was informed that the museum did not now consider it to be a portrait of Mary Stuart and that it depicted an unknown girl. The inscription on the painting they believe to be later, the date of 1577 questionable and that the girl does not resemble Mary. They now list the painting as ‘possibly 16th century, or a later copy after a painting from the 16th century – Unknown child’.
With reference to the painting of Gustavus Adolphus, there are a number of such paintings in museum collections in Sweden, none of which seemed to be the original we were looking for. It was suggested that as Osterlund had spent most of his life in Uppsala it may be that the original lay there, possibly within the University. I contacted Uppsala University who were able to confirm that they had a portrait, very similar to the Osterlund copy, which had been painted in the 17th century. It did not however give an exact date, and the artist is recorded as ‘The Monogramist P.G.’ who, it was thought, may be Pieter de Grebber.
In appearance this painting fits the bill very well, and it’s possible, maybe probable that it is the one Osterlund copied, although the copy is darker in some areas., 
In a letter to the Lord Provost of Glasgow, Sir Archibald McInnes Shaw, dated 20th November 1911 Dr. Erik Erikson Etzel formally gifted the two Osterlund copies to Glasgow.
Little is known about Dr. Etzel except that he was a D.Ph. probably from Uppsala University. He was born in 1868 in Karlskoga, Sweden. In 1902 he lived in Stockholm which is where died in 1964. , 
John Smith Samuel was the private secretary to Lord Provost McInnes Shaw, and had held that position for 10 years serving others in that office. He was elected to the Royal Society of Edinburgh in 1902, held various other civic positions and was a member of the Glasgow Art Club. He was appointed Knight of the Royal Order of Vasa by Professor Montelius on behalf of King Gustav V of Sweden in 1910., 
Professor Oscar Montelius, was born in Stockholm in 1843. He studied history and Scandinavian languages at Uppsala University between 1861 and 1869. He was attached to the Museum of National Antiquities, Stockholm, from 1863 and was appointed professor in 1888. He was the Museum’s director from 1907 to 1913. Still controversial is his theory, the “Swedish typology,” suggesting that material culture and biological life develop through essentially the same kind of evolutionary process. In 1911 he was Director General of the Swedish Board of National Antiquities. He died in Stockholm in 1921., 
John Osterlund was born in 1875 in Stockholm and was mainly known as a landscape artist and conservator of paintings, particularly church paintings. He died in 1953. 
In 1913 the artist Thomas Hunt donated to Glasgow Museums a painting, Patchwork, accession number 1325, by his late wife Helen Russell Salmon. This report contains biographical notes on both artists.
Thomas Hunt was born in Skipton, Yorkshire in 1854 , the sixth child of ten, , of John Hunt and his wife Betty (nee Wood) who married in 1848 . John’s main occupation was as a limestone merchant and canal carrier, and he had also been an inspector of tolls. In 1877 he stood for election as a Liberal candidate in the South Ward of Leeds, duly winning by 34 votes. He remained as a councillor until 1892 when he retired from politics. He died in 1900, age 81, leaving an estate valued at £1034 7s 3d, probate being granted to his sons Richard and Henry.
Thomas initially started out as commercial clerk  probably working for his father, however by the age of 21 he had become a full-time artist having been inspired to do so after attending an International Art Exhibition in Leeds at the age of 15. There is reference in a Scottish Art Dictionary to him studying in Paris under Raphael Collins, receiving an honorable mention at the Paris Salon in 1905, and attending the Glasgow School of Art and the Leeds equivalent. However there is no record of him attending the Glasgow school  nor has any better source been identified which confirms his connection with the Leeds School or Paris. By 1879 he was living at 113 West Regent Street in Glasgow, that address consisting of a number of offices, housing professional people such as architects, writers and accountants, and six artist studios, one of which he occupied. In 1884 another studio at that address was occupied by the artist Helen Russell Salmon, whom he eventually married a few years later.
Helen, born in 1855 in Glasgow, was the daughter of the architect James Salmon, whose company James Salmon and Son, between 1862 and 1903, was involved with the building of a number of public and professional structures in Glasgow and elsewhere, including schools, churches, banks and hospitals. He first made his name with the building of St. Matthew’s Church in Bath Street and building, for Archibald McLennan, an art warehouse in Miller Street. In 1854 Salmon was commissioned by Alexander Dennistoun to design the new east end suburb of Dennistoun, a design not fully realized, where, by 1871 the Salmon family was resident at 3 Broompark Circus. They were however unsuccessful participants in the competition for the City Chambers in George Square in 1880, and also for alterations to the Virginia Street side of the Trades House in 1882. James was the co-founder of the Glasgow Architectural Society in 1858 and was a Baillie of Glasgow between 1864 and 1872.  His wife was Helen Russell whom he married in 1837 in Edinburgh.
In the census of 1871 daughter Helen Russell Salmon is recorded as a scholar living in the family home. In 1874 she is listed in the Glasgow School of Art student catalogue, during which year she won a local competition, ‘Stage 6b, figure shaded from flat, book prize.’ Where she was resident at that time is not listed in the school records however by 1881 she is living with her sister Margaret and her husband David Miller in Bridge of Allan and is described as an artist. Her father, now a widower, her mother having died in January 1881, continued to live at Broompark Circus with two of Helen’s siblings. Her usual residence for the next few years is unclear, however from 1882 to 1883 she had a studio at 101 St Vincent before moving to 113 St Vincent Street in 1884, at which address she painted from until 1888. It’s quite possible that she also lived at these addresses at varying times however when she married Thomas Hunt on 27th October 1887, her usual residence was given as 3 Broompark Circus which is where her marriage took place.
In 1891 Tom and Helen were living In Garelochhead,  where she died in August of that year having been ill with phthisis (tuberculosis) for two years. In the 1891 census her occupation is not recorded which perhaps suggests she had ceased to paint some time before then due to her illness. Patchwork, which was painted in 1888, and was exhibited at the Royal Glasgow Institutes of the Fine Arts in 1889  was one of her last works.
In a letter dated 29th January 1948 to John Fleming, Deputy Director of Kelvingrove Art Gallery, from Robert Lillie, founder of the Lillie Gallery in Milngavie,  the subject of the painting is identified as Miss Annie Elizabeth Nisbet, the adopted daughter of John Nisbet, church officer of St John’s Church in George Street, Glasgow, and his wife Agnes. In the letter, which tells of her death, she is described as the ‘Belle of St John’s’. In 1900 she married Robert Arbuckle Mackie, her adoptive parents being deceased by then. She died, aged 80 in January 1948.
Helen had 23 paintings exhibited by the Glasgow Institute between 1882 and 1891, the last of which were painted in 1889, and two, Madge and Wallflowers which were completed at her home in Garelochhead, in 1891.She also had her work exhibited by the Royal and Royal Scottish Academies between 1884 and 1890.
In 1935 the Catalogue of the Pictures in the Glasgow Museums and Art Galleries, page 205, carried a short biography of Helen in which it stated she had trained in Paris. Also included were details of her painting Patchwork.
In 1982 an exhibition in the Collins Exhibition Hall of Strathclyde University was held to celebrate the 100th anniversary of the Glasgow Society of Lady Artists. The catalogue of the exhibition, which also took place at the Fine Art Society premises in Edinburgh later that year, included on page 23 a black and white illustration of one of Helen’s paintings.
Tom eventually moved back to Glasgow and by 1895 was living at 219 West George Street. Between then and his death he stayed at various Glasgow addresses including Holland Street, Bath Street, and finally Hill Street in Garnethill.
He was elected a member of the Glasgow Art Club in 1879, became vice president in 1883 and was club president in 1906-1907.
He exhibited at the club and elsewhere including the Burns Exhibition of 1896 in Glasgow where his paintings A Winter’s Night and AllowayKirk were shown, the annual RSW shows, and also several times from 1881 at the Royal Academy in London and the Royal Scottish Academy. He also exhibited at the Royal Glasgow Institutes of the Fine Arts yearly between 1879 and 1929 with a total of 138 paintings being shown during this period, the last three of which were posthumous.
The prices of his paintings during these exhibitions were anywhere between £30 and £300. His wife Helen’s were typically priced at under £30.
He was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW) in 1885  and was made an Associate of the Royal Scottish Academy (ASRA) in 1929.
He is represented in the museums of Sheffield, Leeds, Perth and Kinross, Paisley, Inverclyde, South Ayrshire and the Hunterian in Glasgow. There are three of his paintings in Glasgow Museums: Corner of Hope Street and Sauchiehall Street, Glasgow, gifted 1917, accession number 1444, A Few Remarks’ gifted 1939, accession number 2124, and November, Braes of Balquidder purchased 1914, accession number 1343.
He died of pnuemonia on the 13th March 1929 in the Glasgow Royal Infirmary, his usual residence being given as 156 Hill Street. His death was registered by E.E. Smith his niece from Leeds. His estate was valued at £1889 12s 3d and on the 15th August his fellow artists Joseph Morris Henderson and Archibald Kay, were confirmed as his executors.
 Births (PR) England. Skipton, Yorkshire. 1st Qtr 1854. HUNT, Thomas. England & Wales Births 1837-2006 Transcriptions. www.findmypast.co.uk:
 McEwan, Peter J M (1994). Dictionary of Scottish Art and Architecture. Woodbridge, Suffolk: Antique Collectors Club. Mitchell Library reference: f.709.411. MCE
 Grant, Jocelyn. (2015) Thomas Hunt and Helen Russell Salmon. E-mail to George Manzor, 30 November 2015. email@example.com:
 Billcliffe, Roger (1991). The Royal Glasgow Institute of the Fine Arts 1861-1998: A Dictionary of Exhibitors at the Annual Exhibitions. Vol. 2. Mitchell Library (Glasgow) reference: f.709.411.074 Roy.
 Billcliffe, Roger (1992). The Royal Glasgow Institute of the Fine Arts 1861-1998: A Dictionary of Exhibitors at the Annual Exhibitions. Vol. 4. Mitchell Library (Glasgow) reference: f.709.411.074 Roy.
 Billcliffe, Roger (1992). The Royal Glasgow Institute of the Fine Arts 1861-1998: A Dictionary of Exhibitors at the Annual Exhibitions. Vol. 4. Mitchell Library (Glasgow) reference: f.709.411.074 Roy.
 Marriages (CR) Scotland. Dennistoun, Lanark. 27 October 1887. HUNT, Thomas and SALMON, Helen Russell. GROS Data 644/03 0383. www.scotlandspeople.gov.uk
 Census 1891 Scotland. Row, Garelochhead. GROS Data 503/00 013/00 009.
 Billcliffe, Roger (1992). The Royal Glasgow Institute of the Fine Arts 1861-1998: A Dictionary of Exhibitors at the Annual Exhibitions. Vol. 4. Mitchell Library reference: (Glasgow) f.709.411.074 Roy.
 Billcliffe, Roger (1992). The Royal Glasgow Institute of the Fine Arts 1861-1998: A Dictionary of Exhibitors at the Annual Exhibitions. Vol. 4. Mitchell Library reference (Glasgow): f.709.411.074 Roy.
 McEwan, Peter J M (1994). Dictionary of Scottish Art and Architecture. Woodbridge, Suffolk: Antique Collectors Club. Mitchell Library reference: f.709.411. MCE
 McEwan, Peter J M (1994). Dictionary of Scottish Art and Architecture. Woodbridge, Suffolk: Antique Collectors Club. Mitchell Library reference: f.709.411. MCE
 Billcliffe, Roger (1991). The Royal Glasgow Institute of the Fine Arts 1861-1998: A Dictionary of Exhibitors at the Annual Exhibitions. Vol. 2. Mitchell Library reference (Glasgow): f.709.411.074 Roy.
 Billcliffe, Roger (1992). The Royal Glasgow Institute of the Fine Arts 1861-1998: A Dictionary of Exhibitors at the Annual Exhibitions. Vol. 4. Mitchell Library reference (Glasgow): f.709.411.074 Roy.
In 1944 ship owner, Sir William Burrell donated to Glasgow his collection of paintings, Japanese and Chinese ceramics, tapestries, sculpture, stained glass and many other artefacts, totalling some 6000 items. By the time of his death in 1958 the donation had grown to over 8000 items, probably one of the greatest collections ever amassed by an individual. The collection is housed in a dedicated building in Pollok Park and has a world-wide reputation for its range and quality.
Earlier that year, on the 19th March, another ship owner, William McInnes, died at his home in Mariscat Road, Glasgow. In his will he bequeathed his collection, some 700 items including over 70 paintings, to Glasgow. Compared to Burrell, McInnes is much less well known to the Glasgow public, however his French paintings, which include works by Degas, Renoir, and Matisse are amongst the finest in any European Municipal collection.
Undoubtedly McInnes is, correctly, overshadowed by Burrell. The following however is an attempt to appropriately redress the balance between the two men. Whilst there can be no doubt that Burrell’s gift is and will remain unsurpassed, McInnes’s significant contribution to Glasgow’s cultural life deserves broader acknowledgement than it has received so far.
William McInnes’s paternal family originated in Crieff, Perthshire. His grandparents William and Janet married in 1825  and had eleven children, not all of whom survived childhood. William’s father John was the oldest child, born in Crieff at the end of December 1825. Seven of the children were born in Crieff or Comrie, the others in Glasgow after the family moved there sometime between 1841 and 1851. Grandfather William, John and his brother Alexander were all working on the railways by 1851, William as a labourer, John as an engine man and Alexander as a fireman.
Ten years later the family home was at 6 Salisbury Street in the Gorbals where John and his siblings lived with their parents. The three men continued to work on the railways, William now being a timekeeper. John’s three sisters, Jessie, Jeanie and Mary were milliners.
In 1867 John McInnes married Margaret McFadyen from Neilston on 28th June. At the time of his marriage he was working as a railway engine driver. They lived at 6 Cavendish Street where their four children were born: son William on 13th September 1868, to be followed by Finlay (1870), Thomas (1872) and Ann (1876).
Tragically, at the early age of 33, Margaret, died of plithisis (tuberculosis) in 1879  which resulted in John and the four children, who were aged between 3 and 11 years, moving to 6 Salisbury Street to live with his brother Andrew and sisters Jessie and Mary; where Jessie acted as housekeeper and surrogate mother to the children. This manifestation of strong family ties working to bring some good out of a bad and difficult situation I’m sure had a lasting impression on William. His friendships, particularly with the artist George Leslie Hunter and his support of family members in later life, provide evidence of that.
It’s not clear where William received his schooling although one source has suggested that he attended Hutcheson Grammar at the same time as the author John Buchan. Having talked to the administration staff at the school this has not been confirmed.
In 1882 John’s sister Mary married Gavin Shearer in Glasgow. Gavin aged 44 was an Insurance Broker working for the Glasgow Salvage Company Ltd. whose business was marine salvage. The marriage was childless and short lived as he died in 1887 from tuberculosis. At the time of his death he was secretary of the salvage company.
William was aged 19 at this time and probably had been in employment for some time. Was Gavin Shearer his entrée to the world of insurance when he was old enough? Considering how the family stuck together and supported each other it’s not unreasonable to think that his uncle helped him to get work, especially in an industry where he would have some influence. This is clearly conjecture as it’s not known what employment, if any, he was in at the time of his uncle’s death, however by 1891 he was working as a marine insurance clerk for P.H.Dixon and Harrison.
Four years later the company merged with Allan C. Gow to form Gow, Harrison and Company. Allan Carswell Gow had established his shipping company in the early 1850s. In 1853 he was joined in the business by his brother Leonard who on Allan’s death in 1859 became head of the firm. His younger son, also Leonard, in due course joined the business which by this time had offices in London as well as Glasgow. Senior partners in the new company which was located at 45 Renfield Street were the young Leonard Gow and John Robinson Harrison; McInnes continued to be employed as a marine insurance clerk. In 1899 the Glasgow Ship Owners and Ship Brokers Benevolent Association was formed, which Gow, Harrison and McInnes joined in its inaugural year. Another well-known Glasgow shipping name also joined later that year, George Burrell of William Burrell and Son, brother to the future Sir William Burrell. McInnes possibly became a partner in the business in 1907, the first year he appeared in the Glasgow Post Office Directory, however it’s more likely to have been 1922 when John Harrison retired from the business and his son Ion joined it. In 1929 William became godfather to Ion’s son Iain Vittorio Robinson Harrison.
Between 1899 and 1907 William’s brothers and sister married. Thomas married Jessie McEwan in 1899 at the Grand Hotel, Glasgow, there were no children of the marriage; Finlay married Agnes Hamilton at 95 Renfield Street on 15th February 1907, they had one son who was born on 8th December of the same year; Ann married William Sinclair on 27th February 1907 at 22 Princes Street, which was where the McInnes family then stayed. Shortly afterwards Ann and William emigrated to the United States and settled in Maine where their three sons William (1908), John (1912) and Andrew (1916) were born.
William McInnes never married although according to one source he was close to it. Lord McFarlane of Bearsden relates the story that his wife’s aunt and McInnes planned to marry but her father forbade it because he ‘didn’t have enough siller’.
McInnes moved to 4 Mariscat Road, Pollokshields in 1909 and lived there for the rest of his life with his elderly father and his uncle Andrew and aunt Mary.
It’s not clear when he started his collection, however it’s likely that his collecting activity would be prompted, certainly influenced by his relationship with Gow who became a renowned collector in his own right, particularly of paintings and Chinese porcelain. You can also envisage that Gow was the means by which McInnes met Alexander Reid and hence Leslie Hunter. What is known is that he bought his first painting, ‘Autumn’ by George Henry from Alexander Reid in 1910. His final purchase was ‘The Star Ridge with the King’s Peak’ (near Gardanne) by Cezanne, in 1942, from Reid and Lefevre, London. This painting eventually came into his sister-in-law Jessie’s (widow of brother Thomas) possession. In between those purchases he bought a number of significant paintings ranging from French Impressionists to Scottish Colourists. He bought works by Degas, Renoir, Picasso, and Matisse and was the first Scottish collector to buy a van Gogh, (The Blute Fin Windmill, Montmatre) bought in 1921 for £550.
He also purchased, glassware, ceramics and silver which in due course, along with his paintings, formed the basis of his eventual bequest to Glasgow.
In a Kelvingrove museum publication of 1987 the then Fine Art keeper Ann Donald commented as follows: ‘The most important individual 20th Century benefactor to date has been William McInnes (1868-1944), a Glasgow ship owner who left to his native city his entire collection of over 70 paintings as well as prints, drawings, silver, ceramics and glass. The bequest included 33 French works (many of them bought from Alexander Reid) by key artists such as Monet, Degas, Renoir, van Gogh, Cezanne and Picasso, whilst the British pictures were mostly by the Glasgow Boys and the Scottish Colourists, of whom he was a regular patron. This donation firmly established the international importance of Glasgow’s French collection.’
McInnes is described by those who knew him as a modest, unassuming individual who did not seek attention or the limelight. and may have found these comments not particularly welcome, despite them being highly complimentary. McInnes valued his friendships and his family, which is evident from the support he gave, and his ability to listen to the advice he was given. He was able to take the artistic guidance given him by the likes of Leslie Hunter, Tom Honeyman and others, and act on it if he thought it appropriate to do so, which wasn’t always. He bought paintings it’s said not only for his own pleasure but for that of his friends. He gave unstinting support to family and friends, particularly Leslie Hunter and his closest family members.
As stated earlier, William lived with his father, and aunt and uncle, for a number of years at Mariscot Road, incidentally where most of his paintings were housed. His father died in 1911, aged 85, cause of death being senile decay and pneumonia. His uncle Andrew, aged 81, died in April 1930 from senility and glycosuria (untreated diabetes); his aunt Mary, aged 83, also died in 1930 (August) from glycosuria. Both died at home.
These are very distressing and difficult conditions, not only for the sufferers, but for those who have to care for them. When it is considered that he had a senior position in a significant shipping business, that he was a member and leader of a number of industry organisations and also of the Ship Owners Benevolent Association, in addition to whatever he had to do at home, it’s clear that William had a strong sense of service and duty, perhaps inculcated by his early family experiences. It seems reasonable to presume he found this to be more intrinsically rewarding than anything else. When his support of Leslie Hunter is taken into account, then that presumption gains credence.
The artist must have seemed to McInnes to be a vulnerable, possibly unstable individual, whose life style could be fraught and chaotic at times. This must have resonated with McInnes’s home life in that here was another person who needed care and support. This may be more fanciful than factual, however there does seem to be this pattern to how William lived his life.
Hunter and McInnes met before 1914 and are known to have been in Paris pre WW One along with John Tattersall, the trip expenses, according to Hunter, being paid for by his two friends. There are examples of how Hunter was helped and encouraged by McInnes and others in Tom Honeyman’s biography of him. The most tangible evidence of McInnes’s support is, I suppose, the fact that his collection contains 23 paintings by Hunter. There was one occasion apparently when McInnes commissioned a portrait of himself because the artist needed the money. The friendship between the two men was not a one-way street however. McInnes was in many respects helped and guided by Hunter in his artistic education; however the better part of the bargain must have what McInnes gave to Hunter in encouragement, friendship, and in helping to sustain his motivation and confidence. McInnes has been described as Hunter’s most important patron; that is true in a way that goes well beyond the expected understanding of the phrase.
After Hunter’s death in 1931  McInnes continued to promote him by persuading Tom Honeyman to write his biography of the artist and along with Honeyman and William McNair, by organizing a memorial exhibition of his work, which was held in Reid and Lefevre’s gallery in West George Street during February 1932. Mrs Jessie McFarlane, the painter’s sister, asked the group to decide which paintings to keep and which to destroy.
McInnes and Honeyman met around the time Honeyman gave up medicine and moved into art dealership, probably through Leslie Hunter. It developed into a well bonded relationship, not only when Hunter was a common link between them but also after his death. Probably Honeyman is the only person to have recorded in any detail McInnes’s personality and interests which he did in his autobiography ‘Art andAudacity’. He is described as having a keen interest in classical music in which he indulged through his gramophone records and pianola, and his attendance at the Scottish National Orchestra’s Saturday evening concerts. He is said to have played the church organ in his younger days. Art and learning about paintings and artists was also a primary interest. It’s perhaps a moot point as to which he preferred. He also enjoyed travelling to the continent, during which time visits to the various museums and galleries would further develop his knowledge of art, art styles and artists, particularly when in the company of Hunter. Honeyman describes visits to the McInnes home as always stimulating and interesting.
In many respects because of his interest in painting in particular, McInnes was fertile ground for Honeyman in his quest to interest industrialists of the day in fine art and bring them to the idea of donating to municipal collections. I don’t believe this was a ‘corruption’ of their friendship but a celebration of its strength and depth. Between 1921 and 1943 he donated works by Hunter, Peploe and Fergusson and in 1940 William presented Matisse’s ‘Woman in Oriental Dress’ to Kelvingrove to commemorate Honeyman’s appointment as Museum Director.
In 1931 McInnes was nominated for the vice-presidency of the Ship Owners Benevolent Association and was duly elected. The rules of the Association meant that he would become president in 1932. However at the last board meeting of the year it was agreed that ‘having regard to the very serious time through which the country was passing the directors felt that the president and vice president should carry on for another year, especially as the honour to Mr McInnes was only deferred.’ In 1933 McInnes duly became president.
It’s clear from the minutes of the meetings held during his tenure that he played a full and influential part in the decision making process of the Association. On his retiral from the post he donated £100 to the association funds, equivalent to £5000 in today’s money.
William McInnes died at home on 19th March 1944 from a heart attack. He was senior partner in Gow, Harrison and Co. at the time of his death, taking over from Leonard Gow on his death in 1936. In his will he left in excess of 700 items, including 70 paintings, to Glasgow. His bequest was made free of any legacy duty or any other expenses, his only stipulation was that his paintings would go on show at Kelvingrove. The same day his bequest came before a special meeting of Glasgow Corporation’s committee on Art Galleries and Museums it was accepted with ‘high appreciation’ following a report on the collection by Tom Honeyman, the Director of Art Galleries.
His obituary in the Glasgow Herald stated: ‘McInnes was a man of cultured taste, he was keenly interested in music and art. He had brought together in his home a collection of pictures which was notable for its quality and catholicity.’ It adds finally “He was an intimate friend and patron of the late Leslie Hunter with whom he made several visits to the continent.’
In a sense William’s contribution didn’t stop there. In 1951 his sister-in-law Jessie donated Cezanne’s ‘The Star Ridge with the Kings Peak’ to Kelvingrove. In 1985 a portrait of McInnes by Leslie Hunter was sold to Kelvingrove by his sister Ann’s son Andrew McInnes Sinclair of Massachusetts, USA. The painting was handed over in person by Andrew and his cousin John McInnes, the son of William’s brother Finlay, on 9th July. The portrait had been commissioned by William for his sister to take back to America following a visit to Scotland in 1930
 Marriages (OPR) Scotland. Crieff, Perthshire, 342/00. 1 May 1825. McINNES, William and McDONALD, Janet. GROS Data 342/00 0020 0113. http://www.scotlandspeople.gov.uk: accessed June 2011.
 Births. Scotland. Tradeston, Glasgow City, 644/09. 1 May 1870 McINNES, Finlay. GROS Data 644/09 0689. Births. Scotland. Tradeston, Glasgow City, 644/09. 2 June 1872 McINNES, Thomas GROS Data 644/09 0989.
Births. Scotland. Gorbals, Lanarkshire, 644/12. 22 October 1876, McINNES, Ann GROS Data 644/12 1367.
How does it come about that an English spinster lady, of no note whatsoever as was typical of most of her class at the time, donates a painting to Glasgow? The answer lies not with her father William Miller Coultate who was born in England but with her maternal great uncle James whose life, friendships and achievements were typical of the men who made the Industrial Revolution.
On the 13th November 1912 Miss Amy Esther Coultate of Colwyn Bay wrote to James Paton the Superintendent of Glasgow Corporation Art Galleries offering to Glasgow a portrait of the Scottish poet Thomas Campbell by the artist James Lonsdale. In a second letter to James Paton Miss Coultate stated that she had always understood the portrait had been painted at the request of her maternal great uncle James Thomson who paid the artist 500 guineas, and had been done at Primrose House, Clitheroe, the home of her great uncle, where the poet sometime stayed.
Miss Coultate was the middle child of three and was born in 1852 to William Miller Coultate and Eliza Jane Thomson, James Thomson’s niece, and was baptized at Holy Trinity Church in Habergham Eaves, a suburb of Burnley in Lancashire. Her elder sister Marion Elizabeth and younger brother Arthur William were born in 1850 and 1856 respectively.
Her father, born in Clitheroe, Lancashire in 1813, was a surgeon and a Fellow of the Royal College of Surgeons in England. He had been in practice in Burnley since 1836 after completing his studies in Dublin. He was also vice president of the British Medical Association in Lancashire and Cheshire and had at one time been surgeon of the Fifth Royal Lancashire Militia.
His wife Eliza Jane Thomson was born in 1821, the daughter of William Thomson, the brother of James, both of whom were calico printers. They married in 1849 and lived at 1 to 3 Yorke Street in Burnley for most of their married life and where William also had his practice.
Amy’s mother died at a relatively young age in 1871. As was typical for wives of the time perhaps she left very little, her ‘effects’ being valued at less than £20.
The family continued to live in Yorke Street and in the 1881 census, no occupation for any of the children is given despite them being well into their twenties. In subsequent censuses the sisters are recorded as living on private means, and Arthur is described as a gentleman when he marries in 1883.
Amy’s father died in 1882 from an apoplectic seizure. He left an estate valued at £4583 11s 11d, probate being granted to a fellow surgeon, Joseph Anningson, and Amy’s sister Marion Elizabeth.
The two sisters, who never married, by 1901 were living together at Cae Gwyn, Colwyn Bay. Marion died in 1902, leaving an estate valued at £3757 17s 2d, probate being granted to Amy.
Both sisters clearly led very uneventful, unremarkable lives essentially living on their inheritances from their father. Amy’s one departure from the ordinary appears to have been a trip she made on the SS Hildebrand in 1920. Its departure port was Manaos, Brazil. Her port of embarkation was Lisbon, arriving in Liverpool on 25th March. At this time she was living in Southport. She died on 29th October 1930 at the Barna Private Hotel, Hindhead, Surrey. She left an estate valued at £4155 0s 6d.
If Amy’s life was that of a typical Victorian spinster, her great uncle James’s life was that of an educated, entrepreneurial, enlightened male of the Industrial Revolution. He was born in 1779 in Blackburn to John Thomson, (a “Scotch” gentleman), and his wife Elizabeth. His father was an iron-liquor merchant, a fixing chemical used in the calico dyeing industry.
In 1793 he attended Glasgow University befriending Gregory Watt, the son of James Watt and the poet Thomas Campbell. At the age of sixteen he joined the calico printing company of Joseph Peel & Co in London remaining there for six years developing his knowledge and understanding of the chemical technology involved in the industry through study and friendships with scientists including Sir Humphrey Davy and William Hyde Wollaston.
Joseph Peel was an uncle of Sir Robert Peel, 1st Baronet, and there is a suggestion, not proven, that James Thomson’s mother Elizabeth was a sister of Sir Robert. If true, that plus the fact of his father’s involvement in the calico industry would certainly have aided his employment with Joseph Peel.
He subsequently managed the company’s works near Accrington until 1810 at which time he set up his own calico printing company in partnership with John Chippendale of Blackburn, the new company eventually being established at Primrose near Clitheroe. He travelled extensively in Europe to further his business, his fundamental drive being to identify and implement scientific improvement to his printing processes. In 1821 he was elected a fellow of the Royal Society. He supported schools of design and the extension of copyright periods for dress patterns as he believed this would establish and enhance standards for the industry as a whole. His skill as a chemist and his process improvements in design and printing led to him being referred to as the ‘Duke of Wellington’ of calico printing.
He married Cecilia Starkie in 1806 and had four sons and three daughters, which raises the question of how the painting came into Miss Coultate’s possession. With so many children the expectation would have been that one of his offspring would inherit. Unfortunately, this research has not established how it came to her; via her mother seeming the most likely route.
James was mayor of Clitheroe in 1836-1837 and became a JP in 1840. He died at home on 17 September 1850 whilst preparing for the Great Exhibition of 1851. He is buried in the graveyard of St Mary’s Church, Clitheroe.
The artist James Lonsdale was a friend of Thomson’s and was a frequent visitor to his home. He was a popular portrait painter of the day and painted many eminent individuals including British and foreign royalty. His portrait of Thomson is in the Salford Museum and Art Gallery.
 Object Files at Glasgow Museum Resource Centre (GMRC), Nitshill.
 Baptisms (PR) England. Clitheroe, Lancashire. 8 August 1821. THOMSON, Eliza Jane. Register; Baptisms 1813-1829, Page 93, Entry 741. LDS Film 1278857. Lancashire Online Parish Clerk Project. http://www.lan-opc.org.uk/Search/indexp.html
 Marriages (PR) England. Habergham Eaves, Burnley, Lancashire. 20 February 1849. COULTATE, William Miller and THOMSON, Eliza Jane. Collection: Lancashire, England Marriages and Banns 1754-1936. Reference Pr 3098/1/13. http://ancestry.co.uk:
 Testamentary records. England. 8 February 1872. COULTATE, Eliza Jane. Principal Probate Registry, Calendar of the Grants of Probate. p. 293. Collection: England and Wales National Probate Calendar 1858-1966. http://ancestry.co.uk
 Marriages (PR) England. Burnley, Lancashire. 6 January 1883. COULTATE, Arthur William and BRIDGES, Mary Jane. Lancashire, England Church of England Marriages and Banns, 1754-1936http://ancestry.co.uk
 Testamentary records. England. 20 May 1882. COULTATE, William Miller. Principal Probate Registry, Calendar of the Grants of Probate. p. 338. Collection: England and Wales National Probate Calendar 1858-1966. http://ancestry.co.uk
 Census. 1901. Wales. Llandrillo yn Rhos, Colwyn Bay, Caernarvonshire. RG13, Piece:5290; Folio:10; Page:11. http://ancestry.co.uk:
 Testamentary records. England. 19 December 1902. COULTATE, Marian, Elizabeth. Principal Probate Registry, Calendar of the Grants of Probate. p. 169. Collection: England and Wales National Probate Calendar 1858-1966. http://ancestry.co.uk:
 Passenger List for S.S. Hildebrand arriving Liverpool. COULTATE, Amy Esther. 25 March 1920. Collection: UK Incoming Passenger Lists, 1870-1960. http://ancestry.co.uk
 Testamentary records. England. 3 January 1931. COULTATE, Amy Esther. Principal Probate Registry, Calendar of the Grants of Probate. p.791. Collection: England and Wales National Probate Calendar 1858-1966. http://ancestry.co.uk:
 Aspin, Christopher. (2004) Thomson, James (1779-1850). In Oxford Dictionary of National Biography. Oxford: Oxford University Press. http://www.oxforddnb.com
 Marriages (PR) England. Blackburn, Lancashire. 18 March 1806. THOMSON, James and STARKIE, Cecilia. Register; Marriages 1801-1809, Page 357, Entry 1419. LDS Film 1278807. Lancashire Online Parish Clerk Project. http://www.lan-opc.org.uk/Search/indexp.html
Mrs. A.B. Clements donated two paintings by George Leslie Hunter in September 1940
Her address was given as 186 Woodville Street, Govan, Glasgow. This was the address of the Scottish Machine Tool Corporation at the time of the donation. That, plus the lack of a residential address and first names for the lady meant that initial research focused on the history of the company. As my researches progressed it became clear that Mrs. Clements husband was the originator of the donation (he gave seven paintings in total between 1940 and 1945) which he chose to make in his wife’s name. For that reason, whilst I have biographies of them both, Mr. Clements is more detailed and extensive.
The late Mrs. Jane Pelosi (granddaughter) provided me with a good deal of information about her grandfather and allowed me to take photographs of the several family items which illustrate this article.
Albion Works at 186 Woodville Street was the place of business of G. and A. Harvey who were engineers and machine tool makers. The company was founded in 1857 (Woodville Street being its original place of business) and remained independent until 1937 when along with four other Scottish engineering and machine tool makers (James Allan Senior & Sons, Loudon Bros., James Bennie & Sons, Craig & Donald) it became part of the Scottish Machine Tool Corporation. The new company prospectus dated 18 March 1937 identified Alexander Blair Clements as joint managing director of Harvey’s.
His wife Margaret was the ostensible donor of the George Leslie Hunter paintings.
Alexander Blair Clements was born in Shanghai China on 3rd March 1884. His father Ebenezer Wyse Clements (1850 – 1928) worked as a ship’s engineer with Alan C. Gow and Company (known informally as the Glen Line at that time), sailing on the company’s Far East routes. At the time of Ebenezer’s marriage in 1877 to Jeanie Ramsey Blair (1848 – 1919) he was an engineer on board the SS Glenroy sailing to Penang, Singapore and China. His first son (also Ebenezer Wyse Clements) was born in Glasgow on 10th June 1878 and the 1881 census shows that Jeanie and her son were staying with her mother in Glasgow. It’s safe to assume therefore that sometime between 1881 and Alexander’s birth the family moved to Shanghai where Ebenezer presumably pursued an on-shore engineering career possibly with the Shanghai Dock and Engineering Company. Alexander’s younger brother Edward Joshua Wyse Clements (1886 – 1958) was also born in Shanghai.
Alexander’s schooling was initially in China where he attended the Shanghai Public school. His secondary education was completed back in Glasgow where he was a pupil at Allan Glen’s Grammar school.
On his return to China he served an engineering apprenticeship with the Shanghai Dock and Engineering Company. During his apprenticeship he attended evening classes and in 1905 distinguished himself by winning the prize for ‘Best Paper Submitted by a Student at the Evening Classes’ presented by the Shanghai Society of Engineers and Architects.
The prize consisted of three technical publications: ‘The Construction of Locomotives’, ‘Marine Propellers’, and ‘Petrol Motors and Motor Cars’. He also subsequently gained an Extra First-Class Board of Trade certificate. He was subsequently employed as a third, then a second engineer with the China Merchants Shipping Company from 1906 to 1908.
What he did in the years immediately after 1908 is not particularly clear however he and other members of his family travelled to the USA and Australia, New South Wales. In 1908 Alexander sailed from Yokohama to Seattle on the SS Minnesota arriving on 13th May. The passenger list details his destination as London and his next of kin as his father at Nayside Road, Shanghai. What he did there and when he returned to China has not been established. In 1910 his brother Edward and his father and mother travelled from Sydney, Australia to St. Albans, Vermont via Canada on the SS Manuka. The passenger list indicates that both men had no employment and that Alexander had remained in Shanghai. Alexander was again travelling in May 1911 when he sailed from Kobe to Sydney on the SS Empire. He subsequently ended up in New Zealand but returned to New South Wales that year on board the SS Maheno sailing from Auckland to Sydney arriving on 4th August. It could be concluded perhaps that the family were looking to leave China maybe to improve their situation or simply to seek employment. Another consideration perhaps was the fact that China was in turmoil at the time which resulted in the overthrow of the Qing dynasty and the establishment of the Republic of China in 1912, headed by Sun Yet Sen.
What Alexander did in New South Wales is not known but in due course he met his wife to be Margaret Fraser Harvey of Blackburn, Yass.
Margaret was the daughter of Robert Harvey (1853 – 1921) and Margaret Adair (1852 – 1931) both originally born in Scotland and married there in 1884. Margaret was born in Shelby Springs, Birmingham, Alabama on the 2nd August 1890. She may have been born there due to her grandfather Thomas Harvey being a ship’s master. It’s possible that her parents sailed with Robert’s father hence her birth place.
She was the third of four children, one (a son) was stillborn in Cumberland in 1885, the second (a girl) also born in Alabama died at one year in 1889.
The youngest, Thomas, (born 1893 in Alabama) reached adulthood only to be killed in action in Gaza, Palestine in 1917. At some point the family ended up in Yass, New South Wales where Robert became a sheep farmer.
The family had a connection with Yass through Margaret Adair’s mother Jane Kirkland Blair (1830 – 1914) who married George Weir (1833 – 1909) after her first husband George Frederick Adolphus Augustus Adair died in Calcutta in 1856. Sometime after 1895 the Weirs moved to Yass where they lived until their deaths.
An interesting aside is that George along with his brother James (1843 – 1920) formed in 1872 the engineering company G & J Weirs (Weirs of Cathcart). In 1887 or thereabouts Weir’s design for a horizontal boring mill was built by G and A Harvey. After the business became a limited company in 1895 James bought out his brother (he was apparently annoyed at George casting church bells in the company forge for free) who shortly afterwards moved to Australia with his wife.
The Weir’s mother Jane Bishop (1811 – 1899) was a granddaughter of Robert Burns. Her mother was Elizabeth Burns (1785 – 1817) the illegitimate daughter of Burns and Elizabeth Paton (b.1760).
Alexander married Margaret on the 4th June 1912 at St Andrews Church, Yass with both sets of parents present. Shortly afterwards Alexander, Margaret, and his parents set sail for London on the T.S.S. Themistocles arriving there on the 15th August. A small painting of the ship executed by Alexander during the voyage was autographed by several passengers and crew. One of the signatories was Robert Baden Powell.
By 1913 Alexander and Margaret were living in Glasgow at 79 Fotheringay Road, with Alexander being employed by G and A Harvey, as was his father and his brother Edward who lived at 12 Kelbourne Street. How this came about is not known; were Margaret’s family connected to G and A Harvey in some way? Did the Weir connection play a part? At any rate all three were to remain in employment there for some time.
In 1913 and 1918 respectively their daughter Margaret Jean and their son Eben Harvey were born in Glasgow. By this time, they were living at 6 Larch Road Dumbreck. Around 1923 Ebenezer moved in with the family subsequently dying there in 1928.
Alexander and Edward remained with Harvey’s until 1947 by which time it had become part of the Scottish Machine Tool Corporation. In the new company’s 1937 prospectus it was stated that Harvey’s held 50% of the new company equity. As joint managing director Alexander was clearly a senior employee and probably had shares in the new company. Additionally, he jointly with the company in 1943 and 1944 was granted patents in the UK and Canada, relating to the manufacture of briquetting machines and lathes respectively. The new company traded from 1937 (having become an associate of a forge equipment manufacturer in the 1960s) until 1982 when it went into liquidation.
For a period after 1947 Alexander was chairman of C. and A. Stewart Ltd, located at Spiersbridge Industrial Estate Glasgow.
Alexander had a number of interests and it has been established that he was a reasonably serious collector of paintings albeit with no obvious theme in mind. At some point he became friends with Tom Honeyman (prior to Honeyman’s appointment to Kelvingrove) and was proposed as a member of the Glasgow Art Club by him in 1941. He was seconded by the famous Glasgow photographer James Craig Annan. He remained a member of the club until resigning in October 1948.
Amongst his collection were works by J. Pettie (‘The Step’), S.J. Peploe (‘Roses’), D.Y. Cameron (various), Leon L’Hermitte (‘Figures in Field’) and George Leslie Hunter. He donated a total of seven paintings to Kelvingrove from 1940 to 1945. This was confirmed in a letter to his son in 1990 from Anne Donald who was Keeper of the Fine Art Department of Kelvingrove at that time. As it happens one of these paintings (a Leslie Hunter) was gifted to the Brest Museum in France, the museum being destroyed during the war. The letter is shown below – Figure 10.
It may be that his donations (and his purchases) were inspired by Tom Honeyman, which would certainly fit with Honeyman’s modus operandi of seeking to influence industrialists of the day towards purchasing paintings. Where and when he bought is generally not known however he did buy the Pettie in 1947 for £150 from W.B. Simpson of St. Vincent Street and gave it to his son Eben.
He was also something of an amateur artist, his favourite subject being ships. Some of these drawings are in a sketch book in the possession of his granddaughter Mrs. Jane Cossar Pelosi.
He had a keen interest in music and the theatre. He had an eclectic taste in music ranging from classical (Aida, La Boheme) through cinema (Dianna Durban, Paul Robeson) to music hall (Will Fyfe, Harry Lauder). His record collection was large and meticulously recorded in a notebook currently in Mrs. Pelosi’s possession. He was a life member of the Glasgow Citizens Theatre society – possibly another Honeymoon influence at work?
He was also a keen stamp collector being President of the Caledonian Philatelic Society in 1920-21 and again in 1956, its golden jubilee year. Incidentally an exhibition of the society’s collections was held in Kelvingrove from the 27th February to the 11th March of that year to celebrate the occasion.
Alexander and his wife Margaret lived at a number of addresses in Glasgow finally resident at 69 St. Andrews Drive where he died on the 20th April 1966 from cancer of the oesophagus. His wife died on the 21st October 1980.
Alexander’s collection of paintings in due course passed to his son Eben and daughter Margaret. Margaret married Douglas Alexander Wright in 1939 and had two sons who inherited their mothers share of the collection on her death in 1994. I understand these paintings remain in the family.
Eben married Jane Brown Cossar of the Cossar publishing family in 1941and had a daughter Jane (Mrs. Jane Cossar Pelosi). In 1969 he had his paintings assessed for insurance purposes by Tom Honeyman who valued them at £5615.
On his death in 1982 his paintings passed to his wife who subsequently bequeathed them to the National Trust for Scotland on her death in 2004.
‘The Step’ by Pettie has recently been seen by the author on display in ‘Greek’ Thomson’s Holmwood House in Cathcart.
 Passenger List for S.S. Minnesota departing Yokohama. CLEMENTS, Alexander Blair. 1 May 1908. Collection: Washington, Passenger and Crew Lists, 1882-1965. http://ancestry.co.uk
 Passenger List for S.S. Manuka departing Sydney. CLEMENTS, Ebenezer Wyse, wife Jeanie and son Edward Joshua. 9 May 1910. Collection: Washington, Passenger and Crew Lists, 1882-1965. http://ancestry.co.uk
 Passenger List for S.S. Empire departing Kobe. CLEMENTS, Alexander Blair. 24 May 1911. Collection: New South Wales, Australia, Unassisted Immigrant Passenger Lists, 1826-1922.http://ancestry.co.uk
 Passenger List for S.S. Maheno departing Auckland. CLEMENTS, Alexander Blair. August 1911.
Collection: New South Wales, Australia, Unassisted Immigrant Passenger Lists, 1826-1922.http://ancestry.co.uk
 Marriages Australia. Yass, New South Wales. 4 June 1912. CLEMENTS, Alexander Blair and HARVEY, Margaret Fraser. Certificate of Marriage in the possession of Mrs. Jane Pelosi. Minister’s register number 31, registration number 55883.
 Passenger List for T.S.S. Themistocles departing Sydney. CLEMENTS, Alexander Blair.1912.
In 1945 Ernest Charteris Holford Wolff of Fair Oak Lodge, near Eastleigh, Hants, donated an oil painting, ‘Portrait of William Johnstone of Glenorchard’ by Sir Daniel Macnee, to Glasgow Museums.
The Wolff family originally came from Hamburg, Germany, Ernest’s paternal grandfather Arnold Julius Wolff being born there in 1798. He was the son of Carl Heinrich Wolff and his wife Maria Carolina Anna and was born at Ritzebuttel a town on the Elbe belonging to Hamburg where his father had been a protestant clergyman for over thirty years. He came to England in 1828 and subsequently married Lucy Taylor on 23 June 1831 in Manchester Cathedral (Church of St. Mary, St. Denys and St. George). She was a minor (age 17) and required her father’s consent to the marriage. Arnold was a merchant, both he and the Taylor family living in the township of Chorlton Row which was part of the parish of Manchester.
Arnold was employed by the cotton trading firm of James Holford & Co., who were the largest British exporters into Russia having branches in Russia, Britain, Germany (Hamburg) and the United States. It may well be that Arnold had been employed by the company in Hamburg and had transferred to their offices in Manchester, however whilst likely, there is only circumstantial evidence to support that.
He became a naturalized British citizen in 1840, having become a partner in the Holford business some time before that. However the business had been experiencing liquidity issues which resulted in some of its branches being taken over by its employees or partners. In Manchester the business, operating as Holford, Sauer & Co., was dissolved in January 1840 and taken over by Wollf and another employee to become Wolff, Hasche & Co. It became a member of the Manchester Royal Exchange and continued to trade at least until 1853 and probably beyond that date.
Arnold and Lucy continued to live in Chorlton in the Greenheys area after their marriage and by 1841 had four children, two girls and two boys, a third boy being born later that year. Incidentally Thomas de Quincey lived in Greenheys as a youth, his father building the area in 1791.
The eldest of the three boys was Arnold Holford Wolff. He was born on the 8th December, 1834 and baptised on the 18th May 1835. By 1861 he along with his brother Ernest Julius were living in the family home at Greenhays and were in their father’s employ as clerks, presumably in his export business. He was still living there with his mother and sister Lucy Catherine in 1871, his father Arnold Julius having died in 1866. Probate was granted to his three sons, the estate being valued at “under £60,000”.
Arnold Holford Wolff, described as a ‘Russian merchant’, married Jane Johnstone Crawford on the 13th November 1872 in Edinburgh. It was through his wife they ultimately came to possess the painting of William Johnston of Glenorchard, he being the brother of Jane’s mother Mary Johnstone.
The Johnstone family originated in the parish of Baldernock, then in Stirlingshire, where Thomas Johnstone and Mary Baird were married in 1803. They had six children all born in Baldernock including the aforementioned William (b.1805) and Mary (b.1812).
William married Agnes Ewing in 1846 at Dunoon Parish Church. He was a banker and had been an agent of the Commercial Bank of Scotland since 1845. In 1848 he and his wife were living in the Barony Parish of Glasgow at 5 Newton Place, staying there until 1858-59. They became tenants of Glenorchard House around 1855 but did not permanently reside there until 1859. He subsequently became the owner of the estate sometime between 1858 and 1861, living there, still with the Commercial Bank, until he died.
He died in 1864, not at Glenorchard, but at 200 Bath Street, Glasgow, the home of James Campbell jnr. of J & W Campbell & Co., Warehousemen. The cause of death was recorded as apoplexy.
He left estate valued at just over £27,100 and had set up a Trust Disposition and Settlement early in 1863 which essentially took care of his widow, his siblings where they survived, and their children, there being no children of his own marriage. In particular his niece Jane (Johnstone) Crawford, the daughter of his sister Mary who had died in 1855, and who lived with William and his wife Agnes following her father John Crawford’s death in 1861, received initially £150 per quarter. On Agnes’s death he stipulated that Jane was to receive £3,000.
Jane was born on the 5th February 1849, the last of four children. Her parents had married in 1842, John being a grocer and spirit merchant in Shettleston. She continued to live with her aunt Agnes following her uncle’s death, remaining with her at Glenorchard. Sometime after 1871 Agnes and Jane moved to Edinburgh living at 32 Moray Place which is where Jane’s marriage to Arnold Holford Wolff took place.
Her aunt died on the 15th March 1873 leaving Jane £5,000 and some personal items. Although the Macnee painting is not specifically mentioned it is clear it came into Jane’s possession either when she married or as a bequest.
Jane and Arnold had two boys, Arnold Johnstone Wolff (b.1873) and Ernest Charteris Holford Wolff who was born on the 3rd July 1875. In late 1880 Jane was widowed when Arnold senior died at the age of 46 leaving her to bring up her two young sons.
By 1891, at the age of 17, Arnold jnr. was attending the Royal Military Academy, subsequently joining the Royal Engineers as a Lieutenant. He served in the Boer Wars between 1899 – 1902 gaining the Queen’s South Africa medal with clasps for the Orange Free State, Cape Colony and the Transvaal. He was also awarded the King’s South Africa medal with clasps for 1901 and 1902.
He saw further service during WW1 gaining promotion eventually to Lieutenant Colonel. He was awarded the Distinguished Service Order in February 1916 at which time he was at his final rank on a temporary basis. He retired from the army sometime after 1922 and by 1939 he and his wife Nora Gladys Platt, whom he married in 1905, were living in Southampton. He died there in 1941 leaving an estate valued at just under £27,500.
In 1891 Ernest was living with his mother in Edinburgh, still at school, subsequently going to Oxford where he graduated BA in 1897. He joined the colonial civil service that year with the Pahang Government, travelling in November to take up his post on the SS Himalaya to Colombo, Ceylon, then on the SS Thames for Malaysia.
Pahang was part of the Federated Malay States (FMS) which also included Selangor, Perak and Negri Sembilan. Between 1897 and 1908 he held a variety of positions within FMS becoming secretary to the British Resident of Negri Sembilan in 1901, taking on additional roles in 1904 (Sanitary Board chairman, Seremban) and 1905 (District Treasurer of Telek Anson). By 1908 he was the secretary to the Resident General of the colony. In 1923 he was appointed by the King as an Official Member of the Legislative Council of the Straits Settlements.
He was also a very keen sportsman being on the committees of the Selangor Polo and Golf clubs in 1909, and was captain of the golf club from 1907 to 1909. He won the club championship in 1907/08 and subsequently the Coronation Cup.
He married Mary Lilias Alison on the 6th December 1911 at Grange Parish Church of Scotland, Edinburgh. She was the daughter the Rev, John Alison of Edinburgh and Margaret McGeorge. They had two daughters, Stella (b.?) and Alison Jean (b.1914).
Ernest’s civil service career continued to progress and in 1924 he became the British Resident of Negri Sembilan, retaining that position until 1928 when he retired to Fair Oak Lodge, Hants, where he lived for most of the rest of his life. In January of that year he was appointed Companion of the Order of St. Michael and St. George (C.M.G.).
He and his wife travelled home on the SS Empress of Canada, embarking from Hong Kong on the 6th April 1928 and arriving in Victoria, British Columbia on the 6th May for a month long tour of Canada. Following the tour they travelled home to Southampton where his brother Arnold lived at Bitterne Park.
It’s not clear when the Macnee painting came into his possession. Did his mother Jane leave it directly to him or did it first go to his brother Arnold who bequeathed it to him on his death in 1941? However, on the 9th July 1945 Ernest presented the painting to Glasgow, just a few months before he died.
He died on the 23rd April 1946 at Cheniston Compton near Winchester leaving estate to the value of £12,420, probate being granted to his wife Mary and George Eaton Stannard Cubitt.
The Wolff family motto was “Res non verba”  which translates as “deeds not words”, which, it seems to me, all members of the family lived up to.
Note: Johnstone is spelled with or without an e in various records.
 Baptisms (NCR) England & Wales. Manchester, Lancashire. 8 April 1814. TAYLOR, Lucy. Class Number: RG 4; Piece Number: 2009. Collection: Non-Conformist and Non-Parochial Registers, 1567-1970. http://www.ancestry.co.uk
 Marriages (PR) England. Manchester, Lancashire. 23 June 1831. WOLFF, Arnold Julius and TAYLOR, Lucy. Collection: Manchester, England, Marriages and Banns, 1754-1930 (Cathedral). Archive Roll 699. http://www.ancestry.com
 Testamentary records. England. 10 April 1866. WOLFF, Arnold Julius. Principal Probate Registry. Calendar of the Grants of Probate. p. 438. Collection: England & Wales National Probate Calendar 1858-1966. http://www.ancestry.com
 War Office (Great Britain). Record of Service. WOLFF, Arnold Johnston. WO100/157 page 56, WO100/314 page 58 FindMyPast Transcription. Collection: Anglo-Boer War Records 1898-1902. http://www.findmypast.co.uk
 War Office (Great Britain). Record of Service. WOLFF, Arnold Johnston. Lieutenant Colonel, Royal Engineers 1922. Collection: British Army Lists, 1882-1962. http://www.ancestry.com
 London Gazette (1916) Supplement. 2 February 1916. Military Award, Companion of D.S.O. WOLFF, Arnold Johnston, p.1336, 1337.
 Marriages Index (CR) England & Wales. RD: Hampstead, London. Last Qtr. 1905. WOLFF, Arnold Johnston and PLATT, Nora Gladys. Vol.1a. p.1415. Collection: England & Wales, Civil Registration Marriage Index, 1837-1915. http://www.ancestry.com
 Testamentary records. England. 2 September 1941. WOLFF, Arnold Johnston. Principal Probate Registry. Calendar of the Grants of Probate. p. 432. Collection: England & Wales National Probate Calendar 1858-1966. http://www.ancestry.com
 Passenger List for S.S. Empress of Canada departing Hong Kong WOLFF, Ernest Charteris Holford. 6 April 1928. Collection: Canadian Passenger Lists, 1865-1935 and Washington, Passenger and Crew Lists, 1882-1965 http://www.ancestry.com
 Testamentary records. England. 23 April 1946. WOLFF, Ernest Charteris Holford. Principal Probate Registry. Calendar of the Grants of Probate. p. 585. Collection: England & Wales National Probate Calendar 1858-1966. http://www.ancestry.com
In June 1945 Captain Campbell of Jura donated two paintings to Kelvingrove. The first by the Scottish portrait painter Colvin Smith was titled ‘Daughters of Colin Campbell of Jura’, the other by Scottish landscape artist Gourlay Steel was called ‘Deer Stalking on Jura’ and was painted circa 1870.
The genus of Campbell control of Jura began in the fifteenth century when John McDonald entered into a treaty with Edward IV of England from which he anticipated he would become King of a large part of Scotland. This was not to be and the treaty proved to be undoing of Clan Donald paving the way for a long period of Clan Campbell control of Jura from the seventeeth century on. The first Laird was Duncan Campbell of the House of Lochnell. He was born in 1596 and died in 1695, being succeeded by his son John Campbell. There were to be 11 lairds in total from the early 1600s to 1971 when the last one died. The succession line was a mixture of father to son and brother to brother, particularly in the nineteenth century when three sons of the sixth Laird Colin Campbell inherited the title, their combined ‘tenure’ totalling fifty three years from 1848 to 1901.
Colin Campbell was born on the 8th November 1772 to Archibald and Sarah Campbell. He married Isabella Hamilton Dundas Dennistoun in 1806 and was described as a merchant in Glasgow. What his business activities were is not entirely clear however he was involved in the Caribbean sugar trade through Campbell, Rivers & Co. and is described as a ‘name partner’ in the research report ‘Legacies of British Slave-ownership’ by University College London. His father-in-law Richard Dennistoun is also named as partner in the company and was also a partner in George and Robert Dennistoun and Co and Dennistoun, Buchanan and Co., both companies heavily involved in the trade. 
Colin’s sisters Anne Penelope and Barbara both married individuals who were shareholders or partners in companies involved in the Caribbean. In 1797 Anne married Robert Dennistoun, son of Richard Dennistoun. He was against the anti-slavery movement and was a founder member of the Glasgow West India Association which was formed to resist that movement. When slavery was finally abolished his trust, he died in 1815, represented by his widow, his brother in law Colin and others as trustees were awarded compensation of £12,545 14s 9d in 1836 for the freeing of 253 slaves on three plantations he or his company owned in Trinidad.
Barbara married Alexander Campbell of Hallyards in 1800, a cousin of John Campbell senior and one of the original partners of John Campbell, senior & Co., a major Scottish company in the sugar trade.
There were eleven, possibly twelve children of the marriage between Colin and Isabella, five or six sons and six daughters, three of whom are in the portrait by Colvin Smith.
Smith was born 1796 and between 1811 and 1822 studied at Edinburgh University, travelled to London, Antwerp and Paris, where he studied in the Louvre. In 1826 he was in Rome, returning to Edinburgh the following year. The painting must have been completed sometime after 1827 when Smith returned to Scotland and before 1875 when he died.
The painting is of young ladies. Three of the daughters had married by 1838 and it seems unlikely that they are the subjects of the painting. It is therefore reasonable to assume that the painting is of the three unmarried daughters and was done after 1838 and probably before Colin’s death in 1848 at which time all three remained unmarried. I suspect it was probably painted around the early 1840s, say 1841, the age of the three daughters Mary Lyon, Ann Caroline and Barbara being at that time 21, 22 and 17 years respectively.
One of these daughters, Mary Lyon Campbell did eventually marry in 1852 Dr. James Loftus Marsden, a homeopathist and practitioner of water therapy to cure or prevent illness. Marsden was a widower with five daughters and was not without controversy. Nor was Mary Lyon. She had become a patient of his in 1851 after a bad fall from a horse in 1849 which apparently left her unable to walk. She was cured and it seems that subsequently they became lovers. This however was not the first time that Mary had an affair.
Her sister Isabella Dundas had married Lachlan Macquarie in 1836. In 1841, age 21 years, whilst living with her sister and her husband on the Isle of Mull Mary was accused of sleeping with her brother-in-law. In January 1842 Lachlan was forced to write to his father-in-law denying the rumours blaming them on his in house medical advisor. However the gossip damaged her reputation within the close knit and interconnected Highland community and probably adversely impacted on her local marriage opportunities.
Colin died on the 6th September 1848 having succeeded his elder brother James as laird in 1838. His estate was valued at £49,609, a considerable sum for the time, worth somewhere between £5m and £155m today dependant on the measure used. In his Trust Deed and Settlement his trustees included his sons Archibald, an advocate, who as the eldest son succeeded him as Laird, and Richard, and George Scheviz, a partner in Campbell Rivers & Co.
Just over £20,000 of his estate was cash deposited with the Western Bank. This bank was formed in Glasgow in 1832 and in its short history, had several periods of liquidity problems resulting in it eventually collapsing in 1857 through bad management and three major customers defaulting on loans amounting to £1.2 million. At that time it was the second largest bank in Scotland with 1280 shareholders and 101 branches, the larger being the Royal Bank of Scotland.
Archibald Campbell was Laird for only three years, dying unmarried in 1851, age 43. His estate was valued at £53,259, which included £218 cash deposited with the Western Bank, but more crucially 350 shares in the bank valued at £22,529.
When the bank failed in 1857 its shareholders not only lost their paid up capital of £2 million but had to provide a further £1.1 million to pay off all its liabilities. That, in due course, became his brother, Richard Dennistoun Campbell’s problem, who succeeded him and was Laird for twenty seven years.  Whilst the Campbells remained a very wealthy family this set in motion a train of events which saw them gradually divest themselves of their properties, the last of the Jura estate being sold in 1938 by the eleventh and last Laird of Jura Charles Graham Campbell, who was the Captain Campbell who donated the paintings to Kelvingrove.
The painting by Gourlay Steel ‘Deer Stalking on Jura’ includes four figures, who are as follows, from left to right, Neil Clark, gamekeeper Angus McKay, the Laird Richard Dennistoun Campbell, and Angus McKay jnr.
In 1875 the Campbells owned twenty three properties on Jura including crofts, a distillery, the school house, shootings, Jura House, woodlands and pauper’s houses. Richard died in 1878, unmarried, the title passing to the fourth son James, born in 1818 in Glasgow. The third born son Colin, died in 1827 aged 11 years.
James married Mary Campbell in 1848 at Treesbanks in Ayrshire. They had seven children, five daughters, two of whom were born in Germany, and two sons, the youngest boy dying aged two years in 1857. James and his family lived at various locations between 1851 and 1901 including Edinburgh (with his mother Isabella at West Coates House), Ayr, Tunbridge Wells and Kensington. They also lived in Germany for some time it would appear as two of their daughters Christiana and Jessie were born there in 1859 and 1863 respectively. He lived the life of a landed proprietor with no obvious occupation being recorded in any of the censuses between those years, generally being described as living off ‘interest from money’ or ‘holder of bank stock’.
He died in 1901 at 11 Cornwall Gardens, Kensington. The gross value of his estate was just under £73,000, his wife Mary and brother in law William Hugh Campbell, a colonel in the Royal Scot Fusiliers, being his executors.
Mary died in 1909 in Kensington leaving her estate to her unmarried daughters, of whom there were four, and to her youngest daughter Jessie who had married Allan Gordon Cameron in 1885. They had twin boys, Allan Gordon and James Frederick, in 1892 both of whom became officers in the Argyll and Sutherland Highlanders. Allan won the Military Cross in 1917, and James was awarded the Military Cross in 1916, and Bar in 1917, and finally the Distinguished Service Order in 1918.
James and Mary’s only living son Colin, who was born in 1851, succeeded to the title becoming the 10th and penultimate Laird of Jura. Between 1860 and 1862 he was a pupil at Loretto School  and, later on, attended the Royal Military College at Sandhurst.
He joined the 91st Highlanders serving in Enniskillen in Northern Ireland which was where he was resident when he married his wife Frances Monteath Sidey in 1876. She was born in New Zealand the daughter of Charles Sidey and Allison Isabella Walker who married in New South Wales in 1854.
Colin Campbell did not remain in the army for long as in the 1881 census he was described as a ‘late lieutenant in the 91st Highlanders’. The censuses following 1881 cite no obvious occupation for him except to refer to him as ex-army or, in 1911, when he and his wife were staying at the Pulteney Hotel in Bath, as a ‘Landed Proprietor’ 
He did however have other duties. He was a justice of the Peace, Deputy Lord Lieutenant for Argyllshire (1914-1918), head coast watcher for Jura, and from 1890 to 1897 was Government Inspector in Technical Education in Agriculture.
He and Frances had four sons and two daughters, born between 1877 and 1894. The sons all saw military service in the army. The eldest James Archibald Lochnell Campbell (b.1879) joined the Argyll and Sutherland Highlanders in 1900 and served in South Africa, Northern Nigeria and Malta. In 1914 he went to France with the 6th Battalion Gordon Highlanders. He died in battle at Neuve Chapelle in 1915, three days after his 36th birthday.
The youngest son Ronald Walker Francis Campbell (b.1888) also died during the Great War. He went to France with the Royal Fusiliers and was severely injured during the Battle of the Somme in 1916.He died of his injuries in a military hospital in Manchester later that year.
The other sons were more fortunate. Charles Graham Campbell, the second eldest, was initially not accepted for military service as he had only one eye. Late in 1914 he was given a commission in the Royal Field Artillery and posted to East Africa where at some point he was attached to the headquarters of General Smuts. He served in Africa until 1917 at which time he was sent to France, remaining there until the end of the war.
The third son Colin Richard Campbell (1885) also served in the Argyll and Sutherland Highlanders, eventually returning home at the end of hostilities.
Noblesse oblige indeed!
Colin Campbell died in Eastbourne in 1933 leaving £51,290, having previously made the estate over to his son Charles.
The eleventh and last Campbell Laird of Jura, Charles Graham Campbell was born in Edinburgh in 1880.
He was educated at St Paul’s School London, having previously attended Colet Court, the preparatory school for St Paul’s. He served an engineering apprenticeship with James Simpson and Co. of Pimlico from 1898 to 1900, then as a pupil with the same company from May 1901 until December 1902 when he was proposed for membership of the Institute of Mechanical Engineers.
There was a gap in his apprenticeship from February 1900 to May 1901 which was explained to the Institute in a letter from his employer and on the 16th January 1903 he duly became a graduate member.
The following years saw him travelling to Canada, New Zealand, Australia, and the USA where he undertook a variety of occupations including gold digging (Alaska), farming, and cattle, sheep and horse raising. He spent eighteen months in the Chilliwick Valley in British Columbia ranching and fruit packing eventually becoming an engineer to the first successful fruit cannery there. He returned to Scotland for a short period before returning to Australia where, in 1910, he bought his own station at Kooringarro, New South Wales where he raised horses. In 1913 he was a registered voter for the district of Wollondilly, listed as a pastoralist at Kooringgarro. When war broke out he returned home and as described before, eventually joined the Royal Field Artillery.
He left the army in 1920 and went on his travels again, visiting Australia, Canada, Java and New Zealand, returning home via the South Sea Islands and the Panama Canal.
He married Deborah Sylvester Lambarde at Eastbourne in 1930. She had been born in 1904 and was the daughter of William Gore Lambarde, Lord of the Manor of Ash and Ridley in Kent, and Florence Lucy Fetherstonhaugh, the family home being Bradbourne Hall in Kent.
Charles sold the last of the Campbell’s Jura estate in 1938 to William Riley-Smith of Tadcaster, Yorkshire, the final impact of the Western Bank failure in 1857.
He bought a small estate in Melrose where he and his wife lived, travelling in 1955 to Ceylon (Sri Lanka) and in 1958 to South Africa.
Of the 10th Laird’s offspring only Charles and his brother James married, James marrying Dorothy Rosalinda Frances Black in April 1914 before he went France. A month after James died in France his wife gave birth to a daughter Celia in London.
Charles Graham Campbell was therefore the last Laird of the line from Duncan Campbell in all respects, which is perhaps not surprising. Legend has it that one of his ancestors evicted an old lady from property on Jura who cursed him and his descendants by saying that the last of the Campbells will be one eyed. “He will leave the island and all that he will take with him will be carried to the ship on a cart drawn by a white horse.”
In the event that’s how Charles apparently left the island after he sold it, with his family possessions, presumably including the two paintings he donated to Kelvingrove in 1945, on a cart pulled by a grey horse that was turning white!
 It should be noted that there was another Colin Campbell, of Colgrain, son of John Campbell, senior, who was involved with these companies. Stephen Mullen (2015) ‘The Great Glasgow West India House of John Campbell, senior and Co’. In: Devine T.M. ed. Recovering Scotland’s Slavery Past. p.124.
 Dunford, June C. (2017) Colin Campbell at Loretto School. E-mail to George Manzor confirming Campbell’s attendance at the school. 24 April, 09.49. firstname.lastname@example.org and Sinclair, Emma J (2017) Colin Campbell at Loretto School. E-mail to George Manzor confirming Campbell’s attendance at the school. 4 May, 14.22. email@example.com.
 Death Index (CR) England. Manchester, Lancashire. 3rd Qtr. 1916. CAMPBELL, Ronald Walker Francis. Vol. 8d. p. 194. Collection: England & Wales, Civil Registration Death Index, 1916-2007. http://www.ancestry.co.uk
 Application for Membership of the Institute of Mechanical Engineers. 1 December 1902. CAMPBELL, Charles Graham. Collection: Mechanical Engineering Records, 1847-1930. p. 40 no. 4531. Collection: Mechanical Engineering Records, 1847-1930. p. 40 no. 4531. http://www.ancestry.co.uk
 Membership of the Institute of Mechanical Engineers. 16 January 1903. CAMPBELL, Charles Graham. Collection: Mechanical Engineering Records 1847-1930, Register of Members. http://www.ancestry.co.uk
 Passenger List for S.S. Oranje departing Southampton. CAMPBELL, Charles Graham and CAMPBELL, Debora Sylvester. 7 January 1955. Collection: UK, Outward Passenger Lists, 1890-1960.http://www.ancestry.co.uk
 [Passenger List for S.S. Capetown Castle departing Southampton. CAMPBELL, Charles Graham and CAMPBELL, Debora Sylvester. 9 January 1958. Collection: UK, Outward Passenger Lists, 1890-1960.http://www.ancestry.co.uk
 Deaths Index (CR) England and Wales. St Marylebone, London. 1971. CAMPBELL, Charles Graham. Collection: England & Wales, Civil Registration Death Index, 1916-2007.http://www.ancestry.co.uk
 Marriages (PR) England and Wales. Kensington and Chelsea. 23 April 1914. CAMPBELL, James Archibald Lochnell and BLACK, Dorothy Rosalinda Frances. Collection: Church of England Marriages and Banns, 1754-1921. http://www.ancestry.co.uk