Highland chief belongs to Glasgow

Glasgow Museums has secured A Highland Chieftain: Portrait of Lord Mungo Murray, a truly iconic portrait for the culture of Gaelic Scotland, for the city.

The striking painting, by John Michael Wright (1617-1694), is the earliest major portrait to depict a sitter full-length in Highland dress.

Mungo Murray was aged just 15 when he was painted sometime around 1683 wearing an exquisite doublet and féileadh mór, or belted plaid in tartan that predates the invention of kilts and clan tartans. The painting has been put on display in the Scottish Identity in Art gallery at Kelvingrove Art Gallery and Museum, Glasgow, juxtaposed with interesting examples of Scottish weaponry, textiles and decorative art objects, which provide fascinating historical context.

Organisers of the exhibition are convinced the portrait will delight local visitors and anyone with a Scottish family connection given its historical significance and insight, which allows for a better understanding of Scottish national heritage.

Photo Glasgow Museums Collection John Michael Wright Portrait of Lord Mungo Murray (c) CSG CIC

“Our successful acquisition of this hugely significant painting for Scottish culture and national identity ensures it remains accessible to the public who have come to love and identify with the work,” said David McDonald, Chair of Glasgow Life and Depute Leader of Glasgow City Council.

“The portrait supports Glasgow Museums’ Scottish history, dress and textile and military collections, providing invaluable information for cultural historians interested in our national heritage, Gaelic culture and Highland identity”.

Visitors will be able to learn more about the painting and the artist through a programme of events and activities that will accompany its display in Kelvingrove.

“Lord Mungo Murray’s fine portrait draws on the ideology of the brave and fearless warrior, so much part of Scotland’s history and identity. It’s an excellent addition to Glasgow Museums’ permanent collection, enriching the story of one the most celebrated of Highland Chieftains,” said Stephen Deuchar, Art Fund Director.

The large-scale work presents Lord Mungo Murray (1668-1700) as a powerful Highlander warrior, standing in a mountainous landscape with his servant in the background carrying his master’s longbow and fur-decorated targe. his wealth and status as an aristocratic and cosmopolitan Highland Scot. He proudly holds a long gun made for hunting, sports a brass basket-hilted sword of ribbon-hilt form and a lavishly-decorated dirk, the ornamental knot-work of which is unique to the Gàidhealtachd (Gaelic speaking regions) and wears a brace of steel pistols, complete with rams-horn’ shaped butts hooked on each side of his belt, a design that was exclusive to Scotland.

The safeguarding of such an iconic artwork for the culture of Scotland will enable Glasgow Museums to advance their research into Gaelic culture and Scottish history. Through family events, educational workshops, talks and tours, handling sessions and craft opportunities focused on the painting, curators will explore issues of tartan myths; the meaning of Scottish identity in a multi-cultural, richly diverse society; gender stereotypes, toxic masculinity; teenage culture and transatlantic slavery.

The purchase of the painting was made with the generous support of The National Lottery Heritage Fund, Art Fund, Friends of Glasgow Museums and the National Fund for Acquisitions.

“This striking work-of-art is a photograph of its time, capturing a period in our social history which predates the Highland dress we recognise today. We’re delighted it will form the centerpiece of a gallery where everyone can see and enjoy it while exploring Scotland’s heritage and identity,” said Caroline Clarke, The National Lottery Heritage Fund’s Director, Scotland.

Mungo Murray is clothed with an exquisite paned wool doublet embroidered with silver and silvergilt threads, which demonstrates Mungo born on 29 February 1668 - the fifth son of John Murray (1631–1703), the second Earl of Atholl, and Lady Amelia Ann Sophia Stanley (1633–1702) who was the fourth daughter of James, 7th Earl of Derby.

Mungo’s father, John Murray, was created the 1st Marquess of Atholl in 1676, which gained the teenager the title Lord Mungo Murray.

The family positioned themselves as leading Scots in the political arena, prepared to fight and settle disputes on the side of the Stuart monarchy and government. When the portrait was painted, Mungo Murray’s father was Keeper of the Privy Seal of Scotland. Mungo was involved in various military expeditions during the troubles in the north of Scotland in the 1680s and 1690s.

Although only 15 in Wright’s portrait, the artist suggests military prowess to come and presents him as following in his father’s footsteps as a future powerful landowner and estate manager, and by extension political influencer.

However, despite his family’s success, Mungo Murray’s own life was an unsettled one and did not end happily. In 1699 he was rejected by Margaret Campbell, the daughter of politician and Covenanter Sir George Campbell of Cessnock, Ayrshire, whom he had hoped to marry.

Location of the ill-fated Darien colony (www.

www.maps-for-free.com CC BY 3.0

Desiring to further his family’s political and economic position, Mungo Murray sailed for Darién (in present day Panama) in Central America in 1699. This was part of an ill-fated attempt to found a Scottish plantation settlement there by the Company of Scotland Trading to Africa and the Indies, established in 1695.

Shortly after his arrival in Darién, in early 1700 Mungo Murray, aged only 32, was killed by Spanish forces who had already laid claim to the territory.