Scottish Portraiture 1644-1714. David and John Scougall and Their Contemporaries by Brepols

She holds a PhD in Art History from Utrecht University (2017). In 1996, she graduated from the Gerrit Rietveld Academy in Amsterdam. Since then, her photographic work has gained worldwide recognition, and has been exhibited and published extensively. Her skills as a photographer were an important asset in producing the illustrations with which this publication is so lavishly furnished.

SCOTTISH PORTRAITURE 1644-1714

Carla van de Puttelaar (1967, Zaandam, The Netherlands) is an artist and art historian.

irreplaceable portraits

The most important contemporaries of the Scougalls were the portraitist L. Schüneman (active c. 1655/60-1667 or slightly later), his successor James Carrudus (active c. 1668-1683 or later), whose work is identified for the first time in this book, David Paton (c. 1650-in or after 1708), Jacob Jacobsz. de Wet (1641/42-1697) and Sir John Baptist Medina (16591710). Their lives and work are discussed. An extensive survey of Scottish portraits, with an emphasis on the work of the Scougall painters, is presented for the period 1644 to 1714. Numerous attributions to various artists and sitter identifications have been established or revised. An overview of the next generation is provided, in which the oeuvres and biographical details are highlighted of the principal portrait painters, such as William Aikman (1682-1731), Richard Waitt (1684-1733) and John Alexander (1686-1767). Countless paintings have been photographed anew or for the first time, and have been compared in detail, which had hardly been done before, while information is also included on technical aspects and (original) frames. The resulting data have been complemented by analysing the social and (art-) historical context in which the portraits were made. The works of the portrait painters in Scotland from this period, as this book shows, now form a solid bridge between the portraits painted prior to George Jamesone’s death in 1644, and those by the renowned Scottish painters of the eighteenth century.

Carla van de Puttelaar

This book is the first comprehensive publication on Scottish portraiture from the period 1644 to 1714, with an emphasis on the painters David Scougall (1625-1685), and his son John Scougall (1657-1737). It is based on in-depth art historical and archival research. As such, it is an important academic contribution to this thus far little-researched field. Virtually nothing was known about the Scougall portraitists, who also include the somewhat obscure George Scougall (b. 1670?, active c. 1690-c. 1737). Thorough archival research has provided substantial biographical information. It has yielded life dates and data on family relations and, also, it has become clear that David Scougall had two parallel careers, as a portrait painter and as a writer (solicitor). The legal community in which the Scougalls were embedded has been defined, as well as an extended group of sitters and their social, economic, and family networks. The book includes a catalogue raisonné of the oeuvre of David Scougall.

Studies on Portraiture From the Medieval to the Contemporary

SCOTTISH PORTRAITURE 1644-1714

Portraits are irreplaceable because of the uniqueness of the relationship that they mediate between the artist, the sitter, and the viewer. In no other artistic genre are their confrontation and interaction as intimate and absolute as in portraiture. Portraits can reflect past or current personages, their gender, their emotions, their opinions, their social ambitions, their professional network, their tastes and preferences. They offer complete access to the intimate life of the artist and the model. By giving visual form to the exclusive and irreplaceable physiognomies of individuals or groups, portraiture is unequalled in its ability to highlight the present as well as to breathe life into the absent past.

SCOTTISH PORTRAITURE 1644-1714 David and John Scougall and Their Contemporaries

I Carla van de Puttelaar

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Scottish Portraiture 1644-1714

irreplaceable portraits

David and John Scougall and Their Contemporaries

Studies on Portraiture from the Medieval to the Contemporary 1

volume i

series editors Katlijne Van der Stighelen & Rudi Ekkart

editorial board Rudi Ekkart, Professor Em. Dr., Utrecht University, Former Director of the rkd – Netherlands Institute

Carla van de Puttelaar

for Art History, The Hague Karen Hearn, Honorary Professor Department of English Language and Literature, ucl, London Kim Sajet, Director of the Smithsonian’s National Portrait Gallery, Washington Änne Söll, Professorin für Kunst der Moderne, Ruhr-Universität Bochum, Bochum

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Katlijne Van der Stighelen, Professor of Early Modern Art History ku Leuven, Leuven

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Scottish Portraiture 1644-1714

irreplaceable portraits

David and John Scougall and Their Contemporaries

Studies on Portraiture from the Medieval to the Contemporary 1

volume i

series editors Katlijne Van der Stighelen & Rudi Ekkart

editorial board Rudi Ekkart, Professor Em. Dr., Utrecht University, Former Director of the rkd – Netherlands Institute

Carla van de Puttelaar

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Katlijne Van der Stighelen, Professor of Early Modern Art History ku Leuven, Leuven

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Contents

volume i Abbreviations 9 Foreword 11 Acknowledgements 13 Introduction

Current State of Published Research on the Scougalls and Their Circle and the Appreciation of Their Work Through the Centuries

The Elder Scougall/Old Scougall and the Younger Scougall

Dates and Scarcity of Known Archival Material

Artistic Context: Painting in Scotland, the Start of a Portrait Tradition, c. 1575-1660

David Scougall (Edinburgh, 1625-1685), His Life and Career

Emerging from the Shadows

Father and Son, John (d. after 13 October 1627) and David (1625-1685)

Writer and Painter

Family Patrons

The Outset of a Career

Father and Son, David (1625-1685) and John (1657-1737)

The Advocate’s Close

The Profession of a Writer or Clerk in the Time of David Scougall

The Profession of a Painter in the Time of David Scougall

Possible Teachers and Family Creativity

Decline and Death

Skougall or Scougall

Personal Network, Legal Community and Further Family Relations

A Long and Prosperous Life

Becoming a Limner

Family Patrons

Increased Prosperity

Lack of Competition

1694: A Year of Important Changes

Decline in Skill and Death

David Scougall: The Oeuvre, Characteristics, Development and Sources of Inspiration The Outset of a Career Core Works, the Basis for a Compilation of the Oeuvre

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John Scougall (Edinburgh, 1657-1737), His Life and Career

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Contents

volume i Abbreviations 9 Foreword 11 Acknowledgements 13 Introduction

Current State of Published Research on the Scougalls and Their Circle and the Appreciation of Their Work Through the Centuries

The Elder Scougall/Old Scougall and the Younger Scougall

Dates and Scarcity of Known Archival Material

Artistic Context: Painting in Scotland, the Start of a Portrait Tradition, c. 1575-1660

David Scougall (Edinburgh, 1625-1685), His Life and Career

Emerging from the Shadows

Father and Son, John (d. after 13 October 1627) and David (1625-1685)

Writer and Painter

Family Patrons

The Outset of a Career

Father and Son, David (1625-1685) and John (1657-1737)

The Advocate’s Close

The Profession of a Writer or Clerk in the Time of David Scougall

The Profession of a Painter in the Time of David Scougall

Possible Teachers and Family Creativity

Decline and Death

Skougall or Scougall

Personal Network, Legal Community and Further Family Relations

A Long and Prosperous Life

Becoming a Limner

Family Patrons

Increased Prosperity

Lack of Competition

1694: A Year of Important Changes

Decline in Skill and Death

David Scougall: The Oeuvre, Characteristics, Development and Sources of Inspiration The Outset of a Career Core Works, the Basis for a Compilation of the Oeuvre

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John Scougall (Edinburgh, 1657-1737), His Life and Career

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101

Miniatures or Pocket Pictures

105

John Michael Wright (1617-1694)

319

Stylistic Features and Motifs

107

L. Schüneman (active c. 1655/60-1667 or shorty after)

327

Consistency in Style

123

James Carrudus (active 1671 or earlier-1683 or later)

341

Late Works, 1675-1685

123

David Paton (c. 1650-in or after 1708)

355

Thomas Murray (1663-1735)

369

133

Technical Research and Painting Technique Painting Materials

David Scougall as a Copyist Costumes and Jewellery Use of Motifs from Portraits by Other Painters

133

Jacob Jacobsz. de Wet (1641/42-1697)

135

Portraits, Painters Unknown

387

Painters, Portraits Unknown

396

Sir John Baptist Medina (1659-1710)

401

139 151 161

No Inventor, but Painting Real People

167

Production 171 Studio Practice and Legal Community

172

John Scougall: The Oeuvre, Characteristics, Development and Sources of Inspiration

175

The Early Years

175

Indisputable Works

175

Associated Works

213

Use of Motifs from Portraits by Other Painters

222

Stylistic Features and Motifs

222

Technical Aspects of John Scougall’s Paintings

237

Technical Research and Painting Technique

237

John Scougall as a Copyist 241 Production 245 Mending and Washing

245

Studio Practice and Apprentices

245

George Scougall (b. 1670?, active c. 1690- c. 1737)

251

Lack of Biographical Data

251

In the Studio of John Scougall

251

Inadequate Traces of Work

252

Clients/Sitters 257 Nobility and Clergy

257

Clients and Religious Beliefs

257

Loyal Patrons

257

Bonding Portraits

258

Competition from Abroad

267

Ladies and Gentlemen

267

Portraying Children

267

Problems in Sitter Identification

269

Known Sitter, but Problem in Period and Handling

274 278

Scougall’s Clients, Where Were They Based, and the Painter’s Studio

280

Backs and Frames

285

371

The Next Generation

417

William Aikman (1682-1731)

417

Richard Waitt (1684-1733)

431

John Alexander (1686-1767)

443

John Smibert (1688-1751)

453

And Beyond

459

Summary and Conclusion

465

Appendices 471 Appendix I The Scougall Family, Reconstruction of the Family Tree

471

Appendix II Transcriptions of Various Archival Documents Concerning the Scougall Painters

483

Appendix III The Mysterious Portrait of ‘John Scougall’

495

Appendix IV Transcription of the Memoir by Sir John Clerk of Penicuik, 1st Baronet (1649-1722) of His Wife Elizabeth Henderson, Lady Clerk (1658-1683)

499

volume ii Catalogue Raisonné of the Paintings by David Scougall (1625-1685)

503

Introduction 503 Glossary 507

Catalogue A Catalogue AW Catalogue B Catalogue C Catalogue D Catalogue E

Authentic Works Works Known Only from Written Sources Copies by David Scougall After Works by Others Doubtful Works Works Known Only Through Copies and Prints Rejected Works

530 612 616 624 644 656

Concordance 683 Notes 685 Bibliography 711 Websites 725 Guides to Houses and Other Venues

725

The Back of the Painting

285

Period Frames

291

Exhibitions 727

313

Inserted Details

Prices for Portraits and Frames Prices for Portraits by David Scougall 1664-1683

313

Prices for Portraits by John Scougall 1674-1728

313

Prices for Frames

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Associated Works

Technical Aspects of David Scougall’s Paintings

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The Contemporaries of the Scougalls

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Miniatures or Pocket Pictures

105

John Michael Wright (1617-1694)

319

Stylistic Features and Motifs

107

L. Schüneman (active c. 1655/60-1667 or shorty after)

327

Consistency in Style

123

James Carrudus (active 1671 or earlier-1683 or later)

341

Late Works, 1675-1685

123

David Paton (c. 1650-in or after 1708)

355

Thomas Murray (1663-1735)

369

133

Technical Research and Painting Technique Painting Materials

David Scougall as a Copyist Costumes and Jewellery Use of Motifs from Portraits by Other Painters

133

Jacob Jacobsz. de Wet (1641/42-1697)

135

Portraits, Painters Unknown

387

Painters, Portraits Unknown

396

Sir John Baptist Medina (1659-1710)

401

139 151 161

No Inventor, but Painting Real People

167

Production 171 Studio Practice and Legal Community

172

John Scougall: The Oeuvre, Characteristics, Development and Sources of Inspiration

175

The Early Years

175

Indisputable Works

175

Associated Works

213

Use of Motifs from Portraits by Other Painters

222

Stylistic Features and Motifs

222

Technical Aspects of John Scougall’s Paintings

237

Technical Research and Painting Technique

237

John Scougall as a Copyist 241 Production 245 Mending and Washing

245

Studio Practice and Apprentices

245

George Scougall (b. 1670?, active c. 1690- c. 1737)

251

Lack of Biographical Data

251

In the Studio of John Scougall

251

Inadequate Traces of Work

252

Clients/Sitters 257 Nobility and Clergy

257

Clients and Religious Beliefs

257

Loyal Patrons

257

Bonding Portraits

258

Competition from Abroad

267

Ladies and Gentlemen

267

Portraying Children

267

Problems in Sitter Identification

269

Known Sitter, but Problem in Period and Handling

274 278

Scougall’s Clients, Where Were They Based, and the Painter’s Studio

280

Backs and Frames

285

371

The Next Generation

417

William Aikman (1682-1731)

417

Richard Waitt (1684-1733)

431

John Alexander (1686-1767)

443

John Smibert (1688-1751)

453

And Beyond

459

Summary and Conclusion

465

Appendices 471 Appendix I The Scougall Family, Reconstruction of the Family Tree

471

Appendix II Transcriptions of Various Archival Documents Concerning the Scougall Painters

483

Appendix III The Mysterious Portrait of ‘John Scougall’

495

Appendix IV Transcription of the Memoir by Sir John Clerk of Penicuik, 1st Baronet (1649-1722) of His Wife Elizabeth Henderson, Lady Clerk (1658-1683)

499

volume ii Catalogue Raisonné of the Paintings by David Scougall (1625-1685)

503

Introduction 503 Glossary 507

Catalogue A Catalogue AW Catalogue B Catalogue C Catalogue D Catalogue E

Authentic Works Works Known Only from Written Sources Copies by David Scougall After Works by Others Doubtful Works Works Known Only Through Copies and Prints Rejected Works

530 612 616 624 644 656

Concordance 683 Notes 685 Bibliography 711 Websites 725 Guides to Houses and Other Venues

725

The Back of the Painting

285

Period Frames

291

Exhibitions 727

313

Inserted Details

Prices for Portraits and Frames Prices for Portraits by David Scougall 1664-1683

313

Prices for Portraits by John Scougall 1674-1728

313

Prices for Frames

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The Contemporaries of the Scougalls

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portraiture had virtually dried up. However, this would gradually change in the more settled times that followed and a revival would come principally with the work of the two Scougalls, David and John. There has long been a singular lack of clarity about their lives – even how they were related – and the individual contribution that each made to the painting of the time. The confusion surrounding their work can be illustrated by two examples. For many decades a portrait of a man proudly displaying a ring, clearly a seventeenth-century Dutch portrait of considerable accomplishment, was hung in the National Gallery of Scotland – and illustrated in many art-historical works of the time – as a self-portrait of John Scougall. This was on the strength of no more than a vague reference to the name Scougall in the portrait’s provenance. This was the kind of art history of wishful thinking that had once dubbed Jamesone ‘the Scottish Van Dyck’. The second example is a little portrait of a young lady in the Scottish National Portrait Gallery bearing what purports to be David Scougall’s signature. Only uncritical tradition had given it credibility, and the author’s stylistic analysis of the portrait has shown that it has nothing in common with his genuine works. The clarification that the author has now brought to the careers of David and John Scougall is the result of careful documentary research and direct scrutiny of many hundreds of portraits made on those yearly tours of Scotland that began in 2011. Among the biographical factors established by the documents is that John Scougall, ‘limner’, was indeed the son of David, and – a major surprise and something without precedent – that at the same time as being a portrait painter, David also worked as a member of the Scottish legal fraternity. In addition to the use made of documentary evidence, the unravelling of the works of the two painters has been accomplished by means of a fine sense of visual judgement and a particular sensitivity to stylistic nuances – the kind of connoisseurship that the history of art requires as much as ever. In so far as such things are a product of imagination and memory, the author has had the benefit of her great skills as a photographer which enabled her to compile a visual record of the paintings in question far exceeding in quality anything that had been done before. At the same time she has been able to define some of the lesser works of the period and create an identity for another painter, James Carrudus, virtually unknown before.

foreword

scottish portraiture 1644-1714

I first encountered Carla van de Puttelaar, though only indirectly, when a friend told me that a Dutch art historian was researching the Scougall family of painters and might welcome being driven out to Penicuik House, south of Edinburgh, where two of the finest Scougall portraits had been lodged since they were commissioned by the Clerk of Penicuik family in the latter half of the seventeenth century. I was more than happy to help with this surprising project – surprising in the sense that someone from the great tradition of Dutch art-historical studies had taken a serious interest in this under-researched and rather confusing period of Scottish art. However, I soon discovered that Carla was a highly organised researcher who had already made a number of trips, in the company of her art historian partner, Fred G. Meijer, to private collections throughout Scotland that held portraits that might – or might not – be the work of David or John Scougall. This she would continue to do during a number of summers after I had made her acquaintance. In the event, a second surprise awaited me, and that was that Carla was also a creative photographer of extraordinary accomplishment with an international reputation; it was a skill that would contribute substantially to the effectiveness of the work she was engaged in. This unusual conjunction of skills, along with dogged determination, was to prove immensely productive for a better understanding of Scottish painting in a century that has long tended to be overlooked, and especially those years that followed the death of George Jamesone in 1644, the date chosen as the starting point of the present work. This was a period of civil turmoil throughout Britain (Jamesone is likely to have lost his life as a result of these wars) that would culminate in the abolition of the monarchy with the execution of Charles I. This momentous event was to be followed by a decade of republican rule under Cromwell – as it transpired, however, only an ‘interregnum’, for Charles II was restored to the throne of the once-again united kingdom of Scotland and England in 1660. This was a disappointment to many, not least the poet John Milton (who had been painted in his youth by Jamesone’s contemporary and erstwhile rival, Adam de Colone) who narrowly avoided the vile retribution that was inflicted on many. Times such as these were not conducive to a flourishing of the arts, especially a social one like portraiture. This was especially the case in Scotland where the demand for

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Foreword

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foreword

scottish portraiture 1644-1714

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Foreword

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The new light that Carla van de Puttelaar has cast on the Scougalls and Scottish painting in the second half of the seventeenth century – taking the story, in fact, through to the time when the parliaments of Scotland and England were united, not without dispute, in the first decade of the next century – is an achievement for which everyone with an interest in British art in general should be grateful. More particularly, I believe the polity of Scotland, to a part of whose history she has dedicated so much commitment, owes her a great debt. Dr Duncan Thomson

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Acknowledgements

Until I encountered an engaging anonymous British female portrait (fig. 1) in 2009, my research had been focused on Dutch portraits of the Golden Age.1 I especially occupied myself with portraits by the lesser known masters, who were often working in smaller towns. However, the British masters and the Dutch painters who had gone to Britain to try their luck had also attracted my attention. One of the little-known masters on whom I did a lot of research is the portraitist Abraham Liedts (1604/05-1668), who was born in Hoorn and worked there in the later part of his career, after he had returned from a sojourn in England. In the autumn of 2010 my eye was caught by a portrait of Mary Campbell, Countess of Breadalbane (after 16341691) (cat. no. E 017/LS*) which was offered in auction at Sotheby’s London.2 That portrait appeared to be related to the anonymous British female portrait, which later I briefly attributed to L. Schüneman (active c. 1655/601667 or slightly later). However, in the end it still remains anonymous.3 The portrait of Mary Campbell was offered as a work by David Scougall, a Scottish portraitist of whom I had never heard. I instantly became intrigued and ‘googled Scougall’.4 To my amazement hardly anything appeared to be known about David Scougall, John Scougall, who turned out to be David’s son, and their contemporaries. Their lives as well as their oeuvres were not well-defined, and before I knew it, I became extremely fascinated by these painters and by this period of Scottish portraiture, and became desirous to explore this new ground. I started to do serious research, not expecting then that this would eventually result in the present publication. Initially, I wanted to find out more about the mysterious portrait of Mary Campbell, which was inscribed with a monogram LS, that, according to the auction house, was apocryphal. After the first inventory of surveyed works, it became clear to me that the lady in question was not by Scougall, but more likely painted by the rather obscure (probably) German painter L. Schüneman, of whom we still do not known much more than his work, last name, and the abbreviation of his first name ‘Lo:’, as found in signatures on his paintings.5 The monogram on the Sotheby’s painting, in fact, turned out to be authentic.6 However, upon extensive comparison, I got especially interested in the

works of David Scougall and became resolved to shed more light on this period of Scottish portraiture. In 2009 I had joined the RKD – Netherlands Institute for Art History in The Hague as a volunteer and I showed my first results to the then director and my later supervisor, Rudi Ekkart, who encouraged me in my research. Without his solid trust in my abilities, his continued guidance and interest, and the opportunities he has given me to prove myself, this publication, which was preceded by a dissertation that I defended at Utrecht University on 8 September 2017, would never have seen the light. I could not have wished for a better coach who also has become a highly esteemed and dear friend over the past decade. He has always been willing to share his extensive knowledge and has taken much time to discuss my research with me. For this book he has again given me very useful advice and has read the texts again with great care. His co-editor of the series, Katlijne Van der Stighelen, has also been enthusiastic about my research from the moment she heard about it, and has been a great supporter throughout. Of course, I am most grateful to Brepols Publishers, in the person of Johan Van der Beke, for having facilitated this publication and for their excellent care, and to Floor Boissevain for her beautiful graphic design of the book. It was a great pleasure to work together. I am also indebted to my second dissertation supervisor, Volker Manuth, who has shown continued interest, and has provided useful comments on the draft of my dissertation. Over the last ten years I have studied (both in person and through photos) a large number of works by the Scougalls and their contemporaries. In London I performed extensive searches in the Heinz Archive and Library, in the Paul Mellon Centre for Studies in British Art, and in the Witt Library. I am grateful to the Paul Mellon Centre, especially to Martin Postle and Sarah Turner, not only for providing access to the archives of Sir Oliver Millar and Sir Ellis Waterhouse, which proved to be extremely helpful, but also for granting me a Research Support Grant in 2012, and for inviting me to give a lunch talk about my research in 2015 for a distinguished audience. In Edinburgh, the staff of the National Archives of Scotland, the National Library of Scotland, and the Archive of the Scottish National Portrait Gallery have been very helpful. Already in 2010, I came into contact

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Formerly Keeper of the Scottish National Portrait Gallery

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David Scougall (Edinburgh, 1625-1685), His Life and Career

23 Baptismal record of David Scougall, dated 16 September 1625, National Records of Scotland, Edinburgh.

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Father and Son, John (d. after 13 October 1627) and David (1625-1685) David ‘Skowgall’ was baptised on 16 September 1625, as son of ‘Johnne Skowgall’, writer, and his second wife Elizabeth Matthisone (d. 1625) (fig. 23).88 His mother may have died in childbirth, since already on 14 June 1626 his

widowed father married Agnes Tailer (d. 1668), and on 20 March 1627 their son Thomas was baptised.89 His father probably died shortly after 13 October of the same year. A will and testament dated 12 and 13 October 1627 exists, mainly concerning the care and education of his youngest two sons, David and Thomas and payments of sums of money to several persons, such as Cristiane Denholme, who apparently lived in the house of his eldest son John at that time (figs. 549 and 550).90 The father mentions all of his five sons, leaving out at least one daughter, named Margaret, baptised on 22 November 1607, probably because she already died before the testament was made up. John Skougall, writer, clearly wanted to take care of all his beloved. He starts with the mention of the three eldest sons from his first marriage to Elizabeth Denholme, John, born 31 July 1603 (died before 14 March 1654), Alexander, probably the son baptised on 18 December 1604, who must have died shortly before 25 December 1641, and William, who was baptised on 6 March 1606, and died after October 1627, and then David and Thomas.91 After that, he ordains ‘Maister’ John Skougall, his eldest son, and his own spouse Agnes Tailer to be the tutors of his baby son Thomas, and his second son, Alexander Skougall, and again his own wife, Agnes, to be the tutors of the then completely orphaned David Scougall. In the second document he ordains his ‘loveng spous’ Agnes to raise his sons David and Thomas. He also mentions Thomas and Robert Layng, sons of his deceased second wife Elizabeth

david scougall, his life and career

Emerging from the Shadows Although David Scougall must have worked intensively as a portrait painter for about three decades, it was long believed that he hardly left any traces of his existence. Even the numerous portraits of many illustrious individuals of his time in Scotland, were often not correctly attributed to David Scougall, and were hidden under the name of John Scougall or more often simply called Scottish school. Many of David Scougall’s sitters held prominent places in society, and on most of them biographical information is available. However, this appeared not to be the case for Scougall himself. Fortunately, through extensive research over many years, I gradually could substitute several hypotheses with solid facts. I have succeeded to find a large quantity of biographical information concerning the life of this painter, who turned out to have had a legal profession at the same time. He also turned out to have come from a family in which a legal profession was a frequently chosen occupation and who belonged to the middle and upper classes of Scottish society.

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23 Baptismal record of David Scougall, dated 16 September 1625, National Records of Scotland, Edinburgh.

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24 Map of the four quarters of Edinburgh (SW Quarter 1st third marked in red), Allen/Spence 2014.

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On 15 February 1631 David’s stepmother, Agnes Tailer, married another writer, Patrick Rankin (d. 1665), who himself had become a widower shortly after marrying Marion Henrie (d. c. 1630), who was probably his first wife.93 To Patrick Rankin and Agnes Tailer the following children were born in the 1630s: Jonet (Janet) (1633-1671), Elizabeth (1635-1669), Patrick (b. 1636) and James (16381668).94 Of course these children differ in age from David by at least eight years, but he must have regarded them as younger brothers and sisters, or at least three of them, as there is no further information on the life of Patrick. Also, no additional information has yet come to light about David’s younger brother Thomas. It may be that he died in infancy. David’s stepfather Patrick Rankin, who initially was a writer, became an advocate in later years and is called Patrick Rankin of Lumquhat in the baptismal document of David Scougall’s daughter Elizabeth in 1661. The lands of Lumquhat had been granted to him and his wife Agnes in June of that year.95 David’s stepfather and stepmother had therefore clearly raised them-

selves to a higher position in society. It appears that Agnes Tailer and her husband Patrick Rankin briefly also came into possession of lands of the Baronies of Whytehill and Craigmillar on 17 August 1655. In 1660, the estate of Craigmillar was bought by John Gilmour (16051671).96 On 13 February 1661, Gilmour was appointed Lord President of the Court of Session and styled Sir John Gilmour of Craigmillar.97 David Scougall probably saw Patrick Rankin as a father, having been raised and supported by him and his stepmother Agnes Tailer from early childhood. David Scougall therefore continued to live within a circle in which legal jobs were a common profession, as not only his father and stepfather were writers, also his half-brothers, John and Alexander Skougall, were active in the same profession. According to the Edinburgh Housemails Taxation Book 1634-1636, Patrick Rankin lived at that time in ‘the upmost hous in the turnpike next the former sellars southward with a seller without soutward’ in the SW Quarter 1st third (see fig. 24).98 Rankin is classified as tenant and ‘Mr. John Skowgall, wrytter’, David Scougall’s half-brother, as Rankin’s landlord. David’s elder half-brothers John and Alexander owned various properties within the walls of Edinburgh and John also

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ter, or that he had known them already due to the legal environment in which he had lived from childhood.

had property outside of Edinburgh, just like Patrick Rankin and Agnes Tailer, and other, more distant relatives. In order to increase wealth and status, and therefore improving their position in society, various family members of the Scougall painters acquired land, perhaps also hoping that a title might be granted in due course, elevating the Scougalls and Rankins to nobility. Most probably the orphaned David grew up in this part of the centre of Edinburgh in the caring environment of his stepfamily. That the relationship between David and his step-parents must have been good is evident from the facts that Patrick Rankin acted as a witness at the baptisms of four of David’s children and that David Scougall named his first daughter Agnes after his stepmother. Patrick Rankin and Agnes Tailer lived together for several decades. David’s stepfather was buried in the Greyfriars Kirkyard on 30 June 1665 and his stepmother nearly three years later on 16 June 1668.99

On 3 November 1654, David Scougall married Anna Henrysone (Henderson) (d. 1672).101 In a document of 30 October 1654 regarding the transfer of ownership of a tenement (see paragraph The Advocate’s Close), she is called future spouse of David Scougall and mentioned as being the daughter of Mr Alexander Henrysone (Henderson) (b. 1597), ‘somtyme one of the Commissars of Edinburgh’ (fig. 26).102 Apparently, this Alexander was the son of Sir Thomas Henderson, Lord Chesters, mentioned above, who in his turn was the son of the judge and classical scholar Edward Henderson (c. 1522-before 10 March 1591), son of George Henderson, 2nd of Fordell (1496-1547). The family backgrounds of Anna and David are thus very alike, both families being firmly rooted in the legal community and same class in society, and thus theirs was an equal match.

It becomes clear from two surviving documents from 1643 and 1644 that David Scougall initially was trained as a writer in the 1640s under the guidance of Adam Watt, Writer to the Signet. The earliest known legal document in which David Scougall is mentioned in his legal profession is dated 16 March 1643 and concerns the debts of the deceased Sir Thomas Henderson of Chesters (d. 1638), Lord of Session (fig. 25).100 It may well be that he became acquainted with the Henderson family through this mat-

In 1636 Sir Thomas Henderson had erected a funereal monument on the ground of the Hendersons in Greyfriars Kirkyard to the memory of his family members including his son Alexander, mentioned in the inscription as a judge, and of his first wife Elisabeth, Lady Calderhall (further information unknown). This monument became known as the Calderhall Tomb and as the Henderson’s Tomb (fig. 54).103 In 1672 Jean Lauder, Lady Calderhall, wife of Sir Thomas Elphinstone of Calderhall was buried there,

25 Assignation of debts by Margaret, Elizabeth, Anna, Mary and William Elphinstone, earliest known document in which David Scougall is mentioned in his legal profession (detail), National Archives, Kew, UK.

26 Part of document regarding the tenement in Advocate’s Close in which Anna’s father, Mr Alexander Henderson is mentioned, National Records of Scotland, Edinburgh.

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of enlightenment’ in the next century would change the situation forever in many countries, including Scotland. Clients and Religious Beliefs It would appear that, although their relative, Patrick Scougall, was an Episcopalian bishop, neither David nor John Scougall were very active members of a specific church, or at least they do not appear to have been outspoken about it. Both of them worked for a large variety of clients with various religious convictions. One of the earliest clients of David Scougall was the House of Argyll. As mentioned earlier, in 1644 Scougall followed Archibald Campbell, the later 1st Marquess of Argyll to Aberdeen while belonging to the Covenanting army as servant to the Writer of the Signet, Adam Watt. Argyll must also have been one of David Scougall’s earliest patrons, as several of his earliest known portraits are of Argyll himself and of his two sons. Nevertheless, David Scougall also worked for Alexander Stewart, 5th Earl of Moray, who remained loyal to the Roman Catholic James II/VII. Thus, it appears that David Scougall was not particularly concerned about the religious affiliations of his clients, nor do the clients in their turn appear to have been concerned about his beliefs. This could also be because they did not have much choice as there were barely any portraitists with good quality standards in Scotland. Loyal Patrons As mentioned above, Archibald Campbell, 1st Marquess of Argyll and his family appeared to have been loyal patrons from the earliest moment of David Scougall’s career. Portraits of the Argylls date from the 1650s. David also worked for the Kerr family, perhaps through his connection with Lady Jean Campbell, a daughter of the 1st Marquess of Argyll. Another loyal patron was Sir Archibald Primrose, 1st Baronet, Lord Carrington (1616-1679). David Scougall portrayed Lord Carrington a number of times from about the time he became Lord of the Exchequer on 14 February 1661 until his forced resignation on 11 June 1676. Of no other sitter so many portraits painted by David Scougall have come down to us (cat. no. A 008, fig. 274, cat. no. A 085, figs. 72 and 275, cat. no. A 086, figs. 73 and 276, and

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Nobility and Clergy David Scougall, as well as his son John, mainly portrayed the nobility, which comes as no surprise as in the reinstalled monarchy the power and wealth lay predominantly in their hands, either traditionally, or through titles that were bestowed on them at the time of the Restoration. This meant that if you held an important position in society, you probably were or had an option to become a member of the nobility. The other strong entity in society was the Church. Initially, mainly the Episcopalians were powerful, with the bishops as their main representatives.385 The Scougalls were in an excellent position to receive portrait commissions, having connections among the nobility as well as the clergy through their relatives, such as Sir John Scougall of Whitekirk and Bishop Patrick Scougall. Also, through the Henderson family connection, David Scougall may well have had good connections, as his wife Anna Henderson descended from the Hendersons of Fordell. Apart from of a few scientists, no portraits of members of other groups in society are known, such as of wealthy merchants or other middle-class members, military men, writers and poets. In the seventeenth century Scotland did not have a large wealthy middle class that could afford portraits. The country was poor and more than four-fifths of the population derived their income from agriculture. The type of clientele of the Scougalls does not differ much from that of George Jamesone in the first half of the seventeenth century, although they did not often serve the very wealthy members of the aristocracy, such as the Duke of Hamilton. Apparently, such noblemen mainly preferred to employ London-based painters. As the male members, in particular, travelled to London on a fairly regular basis, they had the opportunity to sit for a portrait while they were there. Also, in England in the seventeenth century the main patrons for portraits were members of the nobility, although the clientele there showed a greater variety than in Scotland. In the Low Countries and particularly in the Dutch Republic the situation was completely different. Already from the beginning of the seventeenth century, famous Dutch artists, Rembrandt and Frans Hals among them, mainly portrayed the wealthy bourgeoisie, scholars and militia groups. Of course this is mostly related to the fact that Holland was a merchant republic with a decentralised structure, whereas Scotland was a monarchy. The ‘age

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275 David Scougall, Sir Archibald Primrose, 1st Baronet, Lord Carrington (1616-1679), 1672, oil on canvas, 121.9 x 100.3 cm. Private Collection, Scotland (cat. no. A 085).

cat. no. A 115, fig. 277). It may well be that David Scougall got his job as one of the under-clerks of H.M. Exchequer through the assistance of this noble patron, in addition to, undoubtedly, the help of Lord Whitekirk. It is fascinating as well that David Scougall’s most flourishing and productive period as portrait painter coincides completely with the period in which Lord Carrington was Lord of the Exchequer. Also the son-in-law of Lord Carrington, John Foulis of Ravelston and Woodhall, 1st Baronet (1638-1707), who had married his Lordship’s daughter Margaret Primrose (16411690), became a client of both David and John Scougall. His account book has been preserved and published as The account book of Sir John Foulis of Ravelston 1671-1707 and gives a valuable insight into the life and the payments of a noble family. One payment to David Scougall was recorded in 1672, and it may well be that more payments were made before 1671 that are therefore unrecorded. The first recorded payment to John Scougall dates from 26 September 1696 ‘for my first wifes picture helping and new frame 12 0 0.’ And on 11 February 1699 the Baronet noted in his account book ‘to Mr Scougall, his compt for my wife and my fathers picture and frames 60 0 0’. And on 10 April 1703 ‘to Wm to pay mr Scougall the remainder of his count for picturs and all to dis day 2 guinies, 1/1 a luidore [Louis d’or, a French gold coin introduced by King Louis XIII], half a croune, a doller, and 2 14s 6d pieces, and is in all 37 18 6’. From these payments it appears that he employed the Scougalls for most of his adult life. A fourth family that was loyal to David and John Scougall, is the Maule family (Earls of Panmure). Several receipts can still be connected with specific portraits, and from the portraits and these receipts it becomes clear that the Scougalls enjoyed the Maules’ patronage over a longer

276 David Scougall, Sir Archibald Primrose, 1st Baronet, Lord Carrington (1616-1679), 1672/76, oil on canvas, 73.7 x 61 cm. Private Collection, Scotland (cat. no. A 086).

277 David Scougall, Sir Archibald Primrose, 1st Baronet, Lord Carrington (1616-1679), 1676, oil on canvas, c. 76.2 x 63.5 cm. Private Collection, Scotland (cat. no. A 115).

period of time (fig. 32).386 Also William Douglas, 3rd Earl and later 1st Marquess and 1st Duke of Queensberry commissioned paintings from both David and John Scougall. Bonding Portraits Another intriguing aspect is the function of these portraits. They were generally not seen as art in the way we do nowadays, although the aesthetic qualities will have played a part in their appreciation. However, at that time these likenesses were primarily visual statements of identity, status and wealth. Additionally, it becomes clear from various archival documents and assessment of family collections that portraits and copies thereof were presented to family, neighbours and other (political) associates. They served as visual reminders for families and were used to strengthen bonds, keeping the sitters, and possibly their achievements, firmly in view of others. This was a prudent thing to do in a world with many political uncertainties and where illnesses and death change everything within a short span of time. In several cases the portraits also indicate the power and the extension of their owners’ network to others, as is done up to the present day. This phenomenon was not specifically Scottish. A striking example is a bill from the painter Gerard van Honthorst from 1647 for delivery to the Elector Friedrich Wilhelm von Brandenburg of thirty-six paintings, all of which were copies of the large double portrait of the Elector and his bride, Princess Louise Henriette. In the bill the copies in various sizes and the names of people for whom they were intended are specified.387 Also in Scotland painters’ receipts are a source of information in this regard. For example, in his receipt of 10 March 1668 (see fig. 330) David Scougall acknowledged payment from John Hay,

2nd Earl, later 1st Marquess of Tweeddale for several paintings and copies. Interestingly, he mentioned that several copies with frames were intended for various recipients, for example ‘a frame to my Lords picture which ye Earl of Lothian got’ and ‘2 frames of ye same sort one for my Ladyships picture which the Countess of Balcarres got, and the other which the Lady Necebyth [Nisbet] got’. Earl of Lothian at that time was the William Kerr (1605-1675), a powerful neighbour of John Hay, and a royalist. Lady Nisbet was possibly Helen Hay, Lady Nisbet (life dates unknown), who was the second wife of Sir John Nisbet, Lord Dirleton (1610-1688) (cat. no. D 001, fig. 253). The Countess of Balcarres at that time was Anna Mackenzie (c. 1621-1707). Her husband Alexander Lindsay, 1st Earl of Balcarres (1618-1659) was also a loyal royalist who had visited France to advise the king in 1653 and 1654 and finally resided at Charles II’s court in exile in the Netherlands. In 1657, in The Hague, Anna was chosen to be the governess of the future William III of England. Between Anna, her husband, John Maitland, 1st Duke of Lauderdale, Alexander Bruce, 2nd Earl of Kincardine (1629-1681) and Sir Robert Moray (1608/09-1673), all of them royalists, there existed a close friendship, as well as family connection.388 She therefore was an important political associate as well. Moreover, she was related to the Leslie family, and consequently to the influential John Leslie, 7th Earl and later 1st Duke of Rothes.

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Leslie himself appears to have been very active in collecting portraits of persons in his network, resulting in a picture gallery at Leslie House, which was built for him between 1667 and 1674.389 It may well be that he was inspired to create such a gallery in it by the portraits hanging in the Long Gallery in Ham House, Richmond, which was remodelled in 1639 for William Murray with wooden panelling deriving its style from Inigo Jones’ interpretation of the Classical order.390 No pictures were listed there in the 1655 inventory, but it is likely that the Gallery was already hung with portraits at that time and in 1679 ‘Two and Twenty pictures’ were hanging there in ‘carvd and guilt frames’; some of these frames were supplied between 1672 and 1675 by John Norris, ‘frame-maker to the Court’ (figs. 278 and 279). Most of these portraits are either of family members, including the Duke and Duchess of Lauderdale themselves and of important (political) associates. The Lauderdales were close friends and political allies of Rothes and an extensive correspondence between Lauderdale and Rothes (1660-1671) has been preserved.391 The Duke of Rothes probably built up his picture gallery in the 1670s, when his house was nearing completion. When looking at the selection of pictures that hung at Leslie House and were sold in 2004, it becomes clear that a large part of them was painted by the hitherto virtually unknown James Carrudus.392 Other portraits that possibly hung in the portrait gallery were

278 The long Gallery, National Trust, Ham House, uk. Photo: © ntpl/Andreas von Einsiedel.

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279 John Michael Wright, Colonel The Honourable John Russell (1620-1681), 1659, oil on canvas, 129 x 107.5 cm, in a Sunderland frame. National Trust, Ham House, uk, acc. no. 1139947.

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274 David Scougall, Sir Archibald Primrose, 1st Baronet, Lord Carrington (1616-1679), c. 1661, oil on canvas, 127 x 101.6 cm. Southesk Collection, Scotland (cat. no. A 008).

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317 David Scougall, Rachel Dunsmuir, Lady Blackness (d. after 7 April 1672), c. 1667, oil on canvas, 76.2 x 63.7 cm, back of the painting, before relining in 2015. Private Collection (cat. no. A 049).

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316 David Scougall, Called Robert Leslie of Kinclaven, Perthshire, and of Westminster, London (c. 1598-c. 1675), c. 1665, oil on canvas, 76.2 x 63.5 cm, back of the painting, before relining in 2015. Private Collection (cat. no. A 017).

(c. 1633-1684/85) (cat. no. A 035, fig. 351) by David Scougall and Barbara Hepburn, Lady Glendoick (b. c. 1638) (cat. JS*, fig. 352) by John Scougall. Most of these inscriptions date from the nineteenth century or (late) eighteenth century. Either these inscriptions have been copied from the earlier canvas or were newly added. Some wonderful examples of such inscriptions were found on the backs of some paintings by the Scougalls in a private collection. Unfortunately, these paintings were relined in 2015, and partly also lost these inscriptions in the process, as the old lining bearing them was removed. In the case of the portrait that is said to represent Robert Leslie of Kinclaven

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The Back of the Painting All the paintings I have encountered that have been painted by the Scougalls are on canvas, and practically all have been lined and have received new stretchers in the past. Therefore, often not much early information is to be found on the backs of the paintings. Sometimes remarks, sale numbers, restorers’ or framers’ labels and other such details can be found on the reverse of a painting, which may provide some additional information on the painting’s history. In a few cases, information concerning the sitter has been inscribed on the back, such as on the back of the portrait of Sir Thomas Murray, Lord Glendoick

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(cat. no. A 017, fig. 155) the inscription on an earlier lining was saved and attached to the back of the new canvas (back of canvas before relining in 2015, fig. 316). Also the portraits of Rachel Dunsmuir, Lady Blackness (d. after 7 April 1672) (cat. no A 049, figs. 165 and 317) and the portrait of Mathilda Wedderburn, Lady Keithock (d. 1737) (cat. JS*, figs. 319 and 320) were adorned with written inscriptions on the identity of the sitter. Occasionally, labels can provide more information about, for example, the provenance of the paintings. The portraits of Robert Dalgleish of Lauriston (1604-1662) (cat. no. A 004) and of his daughter Margaret Dalgleish, Mrs Craig (cat. no. A 102, fig. 148) are presently in two different collections. Both paintings have been sold through auctions. However, the three older labels on the backs of the paintings are similar (figs. 320 and 321). The most important is the one in the middle. Both paintings were apparently restored in 1955 by F.J. Harris & Son in Bath.419 The portrait of Robert Dalgleish of Lauriston is numbered no. 9984 (fig. 322), and that of his daughter Margaret Dalgleish, Mrs Craig, no. 9988 (fig. 323). This proves that the paintings were part of the same collection until at least 1955, maybe even till the sale of Margaret Dalgleish on 18 October 1989, although her portrait bears several (auction?) numbers in chalk, which the portrait of her father does not. The portrait of Margaret Dalgleish was wrongly

catalogued in that 1989 sale as representing her motherin-law Elizabeth Cranstoun of Crailing (d. 1702), which goes back to a catalogue of the paintings produced in 1906, according to the label on the back (lower centre) (fig. 324). She was not paired with the portrait of her father, as this portrait had already the correct attribution in the 1906 catalogue, and has an inscription on the front, and on the back (fig. 325). Moreover, in view of the fact that there is a gap between the two restorer’s numbers, it is likely that paintings bearing the numbers 9985, 9986 and 9987 belonged to the same collection. Also, the back of the painting of Lord David Hay of Belton (cat. no. A 025, fig. 326) provides more information on its history. The upper label was affixed by the Royal Academy of Arts when the painting was on loan there for the Winter exhibition entitled: The Age of Charles II in the Diploma Gallery 1960/61. The owner marked there was the Marquess of Tweeddale, Yester House, Gifford, East Lothian. The label at the bottom is that of Thomas Agnew and Sons Ltd., London, who owned the painting at some point after it left the Tweeddale collection, and the two labels on the right concern the Sotheby’s sale, after which it entered the collection of the present owner. Another informative back is that of the portrait of Sir Andrew Ramsay, Lord Abbotshall, 1st Baronet (cat. no. A 034, fig. 327), which in addition to a short biography of the sitter,

320 David Scougall, Robert Dalgleish of Lauriston (1604-1662), c. 16551660, oil on canvas, 68.6 x 59.7 cm, back of the painting. Private Collection (cat. no. A 004).

321 David Scougall, Margaret Dalgleish, Mrs Craig (1645-d. in or after 1718), c. 1675, oil on canvas, 67.5 x 58.5 cm, back of the painting. Private Collection, USA (cat. no. A 102).

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322 David Scougall, Robert Dalgleish of Lauriston (1604-1662), label restorer on the back.

323 David Scougall, Margaret Dalgleish, Mrs Craig (1645-d. in or after 1718), label restorer on the back.

324 David Scougall, Margaret Dalgleish, Mrs Craig (1645-d. in or after 1718), name label on the back.

325 David Scougall, Robert Dalgleish of Lauriston (1604-1662), name label on the back.

326 David Scougall, Lord David Hay of Belton (1656-1726), 1668, oil on canvas, 91.5 x 76.1 cm, back of the painting. Private Collection – Marchmont House, Marchmont Farms Limited (cat. no. A 025).

327 David Scougall, Sir Andrew Ramsay, Lord Abbotshall, 1st Baronet (1619-1688), 1665-1670, oil on canvas, 72.5 cm x 58.5 cm, back of the painting. Private Collection (cat. no. A 034).

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Carla van de Puttelaar (1967, Zaandam, The Netherlands) is an artist and art historian.

irreplaceable portraits

Carla van de Puttelaar

Studies on Portraiture From the Medieval to the Contemporary

SCOTTISH PORTRAITURE 1644-1714

SCOTTISH PORTRAITURE 1644-1714 David and John Scougall and Their Contemporaries

II Carla van de Puttelaar

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The mouth has an orange colour. The modelling is effective and well done with slight high lights in a lighter orange hue. The closure of the lips is marked with a black line, which is not always present anymore due to the vulnerability of the black pigment.

The noses are mostly seen from the side and the painter appears to have had a tendency to point them a bit too much to one side, so only one nostril is visible. The contours of the nose are strongly defined in a dark brown colour (umber with a hint of sienna?). A few soft highlights have been placed on the nasal bridge and tip.

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catalogue raisonné: glossary

scottish portraiture 1644-1714

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catalogue raisonné: glossary

scottish portraiture 1644-1714

Details of cat. nos. A 076, A 069 en A 006.

Details of cat. nos. A 032, A 086 and A 017.

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Details of cat. nos. A 075, A 039 and A 010.

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Hair(style)

The hair is rendered with understanding and in an effective manner. The shimmering of the hair is done in a con-

vincing way. The handling is rather loose with touches of a lighter shade of paint on the highlights. The curls are quite convincing and have a three-dimensional feel.

– Wig/hairpiece

According to the fashion of the day, most hair as seen in male portraits from the mid-1660s on, will have been wigs. In the 1650s and first part of the 1660s, most of the sitters had long waving hair, and several of them wore wigs with a natural look. Wigs were made of human, horse, and goat hair and worn over shaved heads. In the late 1660s the full-bottomed wig, a mass of long curls, mostly parted in the centre that towered above the head by several inches and hung down past the shoulders, started to become popular (cat. nos. A 033 and A 034). Both styles continue to be worn in the 1670s. In the 1680s predominantly the full-bottomed wig is en vogue, and remained so till the beginning of the eighteenth century.653 In the 1660s the women have a hairstyle à la Sévigné with deep side ringlets (cat. nos. A 031, A 066 and A 081), whereas in the 1670s the hairstyle à la hurluberlu came into fashion with many shorter curls around the face and (two) long ringlets over the shoulders (cat. nos. A 102 and A 105). In the 1680s a Fontange hairstyle becomes fashionable, with high upswept hair (cat. no. C 023). Handling

The handling of the painting refers to: – Manner of applying the paint upon the support

David Scougall worked in rather smooth, thin layers. In many cases the structure of the canvas is still visible. Details of cat. nos. A 080 and A 033.

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sionally did so in the background; the trees, leaves and sky are handled rather freely. The paint was applied rather dry in most cases, not much medium/linseed oil appears to have been used. – Manner of layering

The layers were applied carefully. Especially in the face, layering (glazing) has been used to render more depth to the form of the face. – Colouring/palette

The colouring is not extravagant, nor did David Scougall use a large variety of pigments. The faces are painted in a rather cool palette, with pink shades, with orange touches around the eyes, and the cheeks and mouth. The eyes are rendered with pink and orange contours and layering. The mouth has an orange hue and the upper body of the ladies is often whiter (lead white) than the face, in particular at the outset of his career. For the blues he probably employed smalt, a glass pigment that tends to turn grey over time, and ultramarine (probably coat cat. no. A 080). Copper green is another pigment that was used by David Scougall (part of sleeves cat. no. A 041). Vermilion is the standard pigment he used for red, and occasionally he made use of red lake (cat. no. A 105). For the hair, background and oval he limited himself to earth pigments, such as ochre and umber, and some bone black. For contours and garments he made use of bone black as well.

– Type of brush stroke

catalogue raisonné: glossary

scottish portraiture 1644-1714

Details of cat. nos. A 066 and A 105.

Details of cat. nos. A 041 and A 080.

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The painter worked with rather defined brushstrokes. He hardly employed any impasto, nor did he usually apply the paint in a loose, impressionistic manner. He only occa-

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Hair(style)

The hair is rendered with understanding and in an effective manner. The shimmering of the hair is done in a con-

vincing way. The handling is rather loose with touches of a lighter shade of paint on the highlights. The curls are quite convincing and have a three-dimensional feel.

– Wig/hairpiece

The handling of the painting refers to: – Manner of applying the paint upon the support

David Scougall worked in rather smooth, thin layers. In many cases the structure of the canvas is still visible. Details of cat. nos. A 080 and A 033.

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The layers were applied carefully. Especially in the face, layering (glazing) has been used to render more depth to the form of the face. – Colouring/palette

– Type of brush stroke

catalogue raisonné: glossary

scottish portraiture 1644-1714

Details of cat. nos. A 066 and A 105.

Details of cat. nos. A 041 and A 080.

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The painter worked with rather defined brushstrokes. He hardly employed any impasto, nor did he usually apply the paint in a loose, impressionistic manner. He only occa-

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Jewellery

Most jewellery depicted by David Scougall belongs to the standard accessories of the fashion of the period, such as the pearl earrings and the string of pearls that he adorned his female sitters with throughout his career (with two known exceptions; see cat. nos. A 042 and A 043 and one with a string of possibly black pearls, cat. no. A 074. In all three cases the women are most probably widowed). These served as a symbol of wealth for his noble sitters who were anxious to show their status, as was the case in London and on the continent as well. It can be remarked that David Scougall was very consistent in the depiction

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of the jewellery. The pearls of the necklace are rendered rather largely and they have been rendered well, with varying shades of grey and white. The earrings are rather voluminous, but still elegant. David Scougall often adorned the dresses of his sitters with gold-and-stone brooches, sometimes embellished with baroque pear pearls and strings of pearls to hold a shawl together, as is seen in cat. no. A 093. The gold–and-stone brooches and ornaments are well observed and painted convincingly, with sharp highlights in white on the black stones and the shimmering of the gold, in shades of ochre. They provide a bold three-dimensional feel.

Hands

catalogue raisonné: glossary

scottish portraiture 1644-1714

Details of cat. nos. A 105, A 012 and A 054.

Details of cat. nos. A 081, A 041 and A 102. Details of cat. nos. A 059, A 025 and A 054.

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Only rarely did David Scougall show the hands of his sitters in his half-length portraits. They are, however, featured in his three-quarter length portraits. In all cases, the execution of the hands is simple and economical. It is clear that he did not elaborate on the details of the bone structure or the surface of the skin, nor does he appear to have had much interest in this aspect of the portrait. The hands primarily have the function to hold a stole for example, to pick-up some flowers or to rest upon a table, vase or rock. The hands of the men have rudimental forms that barely give an indication of how the fingers bend. They are often rather bleak or covered in a glove with strong defined borders in dark, orange and pink paint. The hands are usually slender, the fingers long and thin.

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Hands

catalogue raisonné: glossary

scottish portraiture 1644-1714

Details of cat. nos. A 105, A 012 and A 054.

Details of cat. nos. A 081, A 041 and A 102. Details of cat. nos. A 059, A 025 and A 054.

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Relationship with other sitters Daughter Grizel Stewart (life dates unknown), wife of Sir

John Drummond, 1st of Logie-Almond (1620-1678) (cat. JS*) Son-in-law Sir James Mercer of Aldie and Meikleour (c. 16151671) (cat. no. A 038) Print A

A 001 pp. 86 (fig. 59), 105 Sir Thomas Stewart, 12th of Grandtully (1607/08-1688)

c. 1655

Half length, facing right, looking at the viewer, with long hair, possibly a wig. Wearing a black doublet slashed to reveal the white shirt, a white flat collar with lace, and a richly embroidered shoulder belt. Oil on canvas, 72 x 60.8 cm No inscription Frame Not period A 002 pp. 104 (fig. 84), 105, 513 (detail ill.) Neil Campbell of Ardmaddie (1630/31-1692)

c. 1655

Collection Private Collection, Scotland Provenance By descent to Donald Steuart Fothringham of

Murthly, who presented the painting to the present owner

Half length, facing right, looking at the viewer, with long waving blonde hair, wearing a black doublet slashed to reveal the white shirt, a white flat collar, and a richly embroidered shoulder belt.

Literature Van de Puttelaar 2017, vol. 1, pp. 73-74, ill., 86-87, ill.;

vol. 2, pp. 19, 39-40 (cat. no. A 002), ill.

Oil on canvas, 69.8 x 57.1 cm No inscription

Copies and prints Copy A John Horsburgh (1835-1924), oil on canvas, 72.4 x 61

Frame Possibly period, cushion frame (with a later added flat border?)

cm, probably painted in the 1870s or 1880s. Private Collection, Perthshire, Scotland. Print A Published in Fraser 1868, between pp. 124 and 125. Grounds for attribution Handling, face, hair, doublet, collar

Remarks Portraits in half-length without a painted oval are rare

and appear predominantly in Scougall’s early career. The paint in the face is slightly more opaque than in some other paintings.

Collection National Galleries of Scotland, Edinburgh, acc. no.

PG 1412

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Sitter Thomas Stewart 12th of Grandtully (1607/08-1688), eldest son of Sir William Stewart, 11th of Grandtully (1567-1646) and of Agnes Moncreiffe (life dates unknown), daughter of Sir John Moncreiffe of Easter Moncreiffe (life dates unknown). On the death of his father, in about 1646, he succeeded to the baronies of Grandtully, Murthly, and Strathbraan as 12th of Grandtully. He married in 1627, Grizel Menzies (life dates unknown), daughter of Alexander ‘the Poet’ Menzies of Weem (1566-1644) and of Marjory Campbell (b. c. 1582). Sir Thomas died on 10 August 1688. Sources Fraser 1868, pp. 87-127; http://www.clanmacfarlanegenealogy.info/genealogy/ TNGWebsite/getperson.php?personID=I23664&tree=, retrieved 14 November 2016; Email correspondence with owner, 26 April 2017.

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Condition The painting appears to be in a rather good state of preservation. The paint layers look stable. The light parts and the belt appear to be rather well preserved, although the lace of the collar is somewhat rubbed. The painting has been lined (inspected 4 August 2015).

Catalogue A Authentic Works

For all works in this category I either accept the traditional attribution to David Scougall or have established the attribution in the course of my research, based on the core oeuvre, comparing features of style and handling, of the rendering of the face, hair, costume and background and also involving technical research. In each entry, I elaborate on the details that are specific for his work in the description of each individual portrait. The glossary above explains the terms that have been employed in order to avoid repetitive explanations for each painting. They represent characteristic features of the work of David Scougall which, in various possible combinations, can substantiate the attribution of a portrait to the artist. Moreover, I have trained my eye by examining most of the known works by David Scougall in person over many years, as well as that of other portraitists working in Scotland at that time. This has filled and sharpened my visual memory and has enabled me to recognise the work of the various individual painters and to make efficient comparisons between works.

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Relationship with other sitters Daughter Grizel Stewart (life dates unknown), wife of Sir

John Drummond, 1st of Logie-Almond (1620-1678) (cat. JS*) Son-in-law Sir James Mercer of Aldie and Meikleour (c. 16151671) (cat. no. A 038) Print A

A 001 pp. 86 (fig. 59), 105 Sir Thomas Stewart, 12th of Grandtully (1607/08-1688)

c. 1655

Collection Private Collection, Scotland Provenance By descent to Donald Steuart Fothringham of

Murthly, who presented the painting to the present owner

Half length, facing right, looking at the viewer, with long waving blonde hair, wearing a black doublet slashed to reveal the white shirt, a white flat collar, and a richly embroidered shoulder belt.

Literature Van de Puttelaar 2017, vol. 1, pp. 73-74, ill., 86-87, ill.;

vol. 2, pp. 19, 39-40 (cat. no. A 002), ill.

Oil on canvas, 69.8 x 57.1 cm No inscription

Copies and prints Copy A John Horsburgh (1835-1924), oil on canvas, 72.4 x 61

Frame Possibly period, cushion frame (with a later added flat border?)

Remarks Portraits in half-length without a painted oval are rare

and appear predominantly in Scougall’s early career. The paint in the face is slightly more opaque than in some other paintings.

Collection National Galleries of Scotland, Edinburgh, acc. no.

PG 1412

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Catalogue A Authentic Works

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Provenance Collection Marquess of Lothian, bequeathed to

the National Galleries of Scotland, 1941

Literature Smailes 1990, p. 22, not ill., as: by unknown artist;

Wenley 1990, as representing Archibald, 9th Earl of Argyll, by an unknown artist, no. 107; Van de Puttelaar 2017, vol. 1, pp. 84-85, ill.; vol. 2, pp. 19, 41-42 (cat. no. A 003), 286, ill.

Sister Mary Campbell, Countess of Breadalbane (after 16341691) (cat. no. E 017/LS*, fig. 377) Brother-in-law Robert Kerr, 1st Marquess of Lothian (16361703) (cat. nos. C 009, E 007) Sister-in-law Mary Stewart, Countess of Argyll (1628-1668) (cat. nos. A 036, fig. 289 and C 007, fig. 290)

Documented Lothian Collection: c. 1726 inventory, no. 106, as

by David Scougall, c. 1775 (?), (Dining Rm); 1798 (?) (Great Rm) 1878; 1900 (as by David Scougall, both Organ Hall). Sources Wenley 1990, and email correspondence with Robert Wenley, dated 17 September 2012 and 23 March 2017. Grounds for attribution Handling, face, hair, doublet, collar Remarks According to the National Galleries of Scotland said to represent Archibald Campbell, 9th Earl of Argyll (1629-1685). However, this cannot be correct as the sitter does not resemble known portraits of Archibald Campbell (see figs. 311-314). This sitter hardly has a squint and the chin is different. It would appear that this portrait and cat. no. A 003 have been mixed up in the past. Moreover, a third portrait (cat. no. C 004) forms a complication. The physiognomy of the face points more towards Neil Campbell, whereas the belt is the same as in the portrait of Archibald Campbell.

scottish portraiture 1644-1714

Archibald Campbell, 9th Earl of Argyll (1629-1685)

c. 1655

preservation. The paint layers look stable but they are rather thin. The white parts and the belt appear to be well preserved. The painting has been lined (inspected 26 July 2012, National Galleries of Scotland, Granton store, Edinburgh).

Half length, facing right, looking at the viewer, with the same squint as his father, with long waving dark hair, wearing a black doublet slashed to reveal the white shirt, a richly embroidered shoulder belt, and a white flat lace collar.

Sitter Neil Campbell of Ardmaddie (1630/31-1692), second

Oil on canvas, 74.6 x 66 cm No inscription

of six children of Archibald Campbell, 1st Marquess of Argyll (1607-1661) and of Lady Margaret Douglas (1610-1678), eldest daughter of William Douglas, 7th Earl of Morton (1582-1648). He was the younger brother of Archibald Campbell, 9th Earl of Argyll (1629-1685). On his brother's invasion in 1685, he was imprisoned in Edinburgh Castle. Ardmaddie went to America after his brother’s execution. Already in 1687 he returned to Scotland and became the Governor of Dumbarton Castle. He died in April 1692. He married first, in 23 January 1668, his cousin Vere Kerr (1649-1674), third daughter of William, 3rd Earl of Lothian (c. 1605-1675). The couple had two sons and three daughters. Married secondly, in March 1685, Susan Menzies (b. c. 1665-1690), eldest daughter of Sir Alexander Menzies of Weem (1623-1694) and of Agnes Campbell (life dates unknown). They had four children. Sources Campbell 2000, p. 287; Linda G. Fryer, ‘Campbell, Lord Neil, of Ardmaddie (c. 1630-1692)’, Oxford Dictionary of National Biography, Oxford University Press, 2004, http://www. oxforddnb.com/view/article/67447, retrieved 30 October 2013; https://en.wikipedia.org/wiki/William_Douglas,_7th_Earl_of_ Morton; http://www.clanmacfarlanegenealogy.info/genealogy/ TNGWebsite/familychart.php?familyID=F12069&tree=CC, retrieved 14 November 2016. Other portrait of possibly the same sitter

Cat. no. C 004

Relationship with other sitters Father Archibald Campbell, 1st Marquess of Argyll (1607-1661)

(cat. no. A 005, figs. 60 and 307)

Brother Archibald Campbell, 9th Earl of Argyll (1629-1685) (cat.

no. A 003, figs. 83 and 310)

Sister Jean Campbell, Countess of Lothian (c. 1631-1700) (cat.

Collection National Galleries of Scotland, Edinburgh, acc. no.

PG 999

Frame ‘Lely’ type panel frame, period?

Literature Smailes 1990, p.56, not ill., as: by unknown artist;

Van de Puttelaar 2017, vol. 1, pp. 84-85, ill., 161, ill..; vol. 2, pp. 19, 25, 42-44 (cat. no. A 004), ill., 286

Grounds for attribution Handling, face, doublet, collar Remarks According to the National Galleries of Scotland said to represent Neil Campbell, of Ardmaddie, however, this is very unlikely. The sitter resembles a known portrait of Archibald Campbell, the 9th Earl with the slight squint, rather prominent nose, pronounced chin and large eyes (see figs. 310-313). It would appear that this portrait and cat. no. A 002 and a few others have been mixed up in the past.

born in Dalkeith, Scotland. He was the eldest son of Archibald Campbell, 1st Marquess of Argyll (1607-1661) and of Lady Margaret Douglas (1610-1678), eldest daughter of William Douglas, 7th Earl of Morton (1582-1648). From c. 1638 he bore the courtesy title Lord Lorne. He became a colonel of the Foot Guards and fought in the Battle of Dunbar in 1650 and of Worcester in 1651 for Charles II. On 13 May 1650 he married Lady Mary Stewart (1628-1668), daughter of James Stewart, 4th Earl of Moray (1611-1653) and of Lady Margaret Home (16071683), with whom he had seven children. He became the 9th Earl of Argyll in October 1663. After the death of his first wife in 1668 he married again, in 1670, the widow Anna Mackenzie, Countess of Balcarres (1621-1707). In 1685 Argyll was General of the forces that invaded Scotland in support of the Monmouth rebellion. The invasion failed and Argyll was taken prisoner. On 30 June 1685 Argyll was executed, like his father, on the Maiden in Edinburgh. Source http://en.wikipedia.org/wiki/Archibald_ Campbell,_9th_Earl_of_Argyll, retrieved 4 March 2013 and 28 September 2016 Other portraits of the same sitter

James Carrudus, oil on canvas, 127 x 101.6 cm. Collection National Galleries of Scotland, Edinburgh, acc. no. PG 1611 (as by L. Schüneman). Purchased in 1954 (cat. JC*, fig. 314). Anonymous, according to National Galleries of Scotland by David Loggan, oil on card, 8.3 x 5.8 cm. Collection National Galleries of Scotland, Edinburgh, acc. no. PG 1197 (fig. 313). Circle of Sir Peter Lely, oil on canvas, c. 76.2 x 63.5 cm. Private Collection, Scotland (fig. 311). Anonymous, Archibald Campbell, 9th Earl of Argyll (1629-1685) and Mary Stewart, Countess of Argyll (1628-1668), c. 1663-1665, oil on canvas, 110.1 cm x 163.2 cm, National Portrait Gallery, London, National Portrait Gallery 3902 (figs. 22 and 312). Anonymous, Probably Archibald Campbell, 9th Earl of Argyll (1629-1685), c. 1665-1668?, oil on canvas, c. 76.2 x 63.5 cm. Cawdor Castle, Scotland (fig. 313).

A 036, fig. 289 and C 007, fig. 290) Father Archibald Campbell, 1st Marquess of Argyll (1607-1661) (cat. no. A 005, figs. 60 and 307) Brother Neil Campbell, of Ardmaddie (1630/31-1692) (cat. nos. A 002, fig. 84 and C 004) Sister Jean Campbell, Countess of Lothian (c. 1631-1700) (cat. nos. A 039, fig. 164, C 010, fig. 58 and E 007, fig. 57) Sister Mary Campbell, Countess of Breadalbane (after 16341691) (cat. no. E 017/LS*, fig. 377) Brother-in-law Robert Kerr, 1st Marquess of Lothian (16361703) (cat. nos. C 008, E 007) Brother-in-law Alexander Stewart, 5th Earl of Moray (16341701) (cat. no. A 092, fig. 357) Sister-in-law Emilia Balfour, Countess of Moray (1640-1702) (cat. no. A 093, fig. 99)

Condition The painting is in a poor state of preservation. The paint layers are very thin. The painting was overcleaned in the past. However, the whites and the belt are quite well preserved. The painting has been lined (inspected 26 July 2013, National Galleries of Scotland, Granton store, Edinburgh).

nos. A 039, fig. 164, C 010, fig. 58 and E 007, fig. 57)

A 004 pp. 288, 289 Robert Dalgleish of Lauriston (1604-1662)

c. 1655-1660

Half-length facing right, looking at the viewer, with long curly hair/wig, wearing a skull cap, a plain black costume and a large flat collar. Oil on canvas, 67.6 x 59.7 cm Inscribed upper left: Mr Dalgliesh [sic] of Lauriston. Frame Not period

Collection Private Collection Provenance By descent; perhaps sale London, Sotheby’s,

18 October 1989; sale 235 Vancouver, Maynards Fine Art And Antiques, 14 December 2016, lot 195, as a nineteenth-century portrait by an anonymous painter, sold 1,400 CAD hammer, to the present owner

Literature Van de Puttelaar 2017, vol. 1, p. 111, ill.; vol. 2, pp.

45-46 (cat. no. A 005), ill.

Grounds for attribution Handling, face, black costume, collar Remarks The portrait of Robert Dalgleish of Lauriston apparently comes from the same collection as the portrait of his daughter Margaret Dalgleish, Mrs Craig (cat. no. A 102, fig. 148), as both paintings have the same three labels on the back. The label in the centre reads: ‘Bath 1955’ on both paintings, which means that in 1955 the paintings were still in the same collection, possibly located in or around Bath.

Back of portrait of Robert Dalgleish of Lauriston, cat. no. A 004.

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Sitter Archibald Campbell, 9th Earl of Argyll (1629-1685) was

Relationship with other sitters Wife Mary Stewart, Countess of Argyll (1628-1668) (cat. nos.

Provenance Purchased 1925

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A 003 pp. pp. 104-(fig. 83), 105, 279 (fig. 310), 516 (detail ill.)

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