William Wilson Master Printmaker William Wilson Master Printmaker

william wilson master printmaker william wilson master printmaker

7-31 october 2015

16 Dundas Street, Edinburgh EH3 6HZ tel 0131 558 1200 email [email protected] www.scottish-gallery.co.uk

Inside front cover: From My Window, 1935 (detail) (cat. 25) 2 foreword

Like many of the significant Scottish artists of the growing interest in etching in particular. This was 20th century, William Wilson was not satisfied fuelled by a number of publications by London with the restrictions of one medium, but focused art dealers, including James McNeill Whistler’s his energies on three. Throughout his life he fixed etchings of cityscapes. Printmaking began to be intently on each in turn; etching, watercolour appreciated as a fine art, rather than solely an painting and latterly stained glass design, which illustrative medium. Scotland had already a strong brought him an international reputation. However, printmaking heritage. DY Cameron, James McBey it is his work in etching, made between 1925 and and Muirhead Bone championed the importance 1940 which is arguably his most powerful and of printmaking at the start of the twentieth century, successful work, and a unique contribution to and helped the revival of the interest in etching. Scottish art history. From 1908 printmaking was established as part of Wilson was born in Edinburgh in 1905, the son the curriculum at Edinburgh College of Art, under of John Wilson a gas meter index maker. His uncle the tutelage of the young Ernest S. Lumsden. Thomas worked for the local firm of stained glass In 1921 the Society of Artist Printers was artists James Ballantine and Son, with whom Wilson established in Glasgow. This was to prove an first worked for in 1920, aged 15. Wilson attended important asset to printmakers working in Scotland, evening classes at Edinburgh College of Art and as it afforded them a platform to exhibit work. was taught there by Adam Bruce Thomson, who Previously, printmakers had to rely on London was 20 years his senior. Bruce Thomson recognised dealers for exposure, as McBey and Cameron had Wilson’s skill as a draughtsman and encouraged done. The Society of Artist Printers relocated to him to study at the College full time, which he did, Edinburgh in 1931 with E.S. Lumsden taking the enrolling in 1932. This was to be the start of an role of president. Thus Wilson found himself at the important friendship for both artists, which would centre of a flourishing group of printmakers and with last up until Wilson’s death in 1972. The entirety of the encouragement of two older artists, Adam Bruce this exhibition has come from the estate of Adam Thomson and E.S Lumsden, Wilson threw himself Bruce Thomson, Wilson having gifted each print to into work. It was at this time that Bruce Thomson his friend and fellow artist. introduced Wilson to Ian Fleming. Fleming was a Printmaking in Britain had undergone a revival Glasgow artist with a keen interest in printmaking. at the turn of the 20th century. New printmaking From the mid 1920s Wilson travelled extensively methods had become popular, including to the continent. His first etching of Paris, Pont woodcutting and linoleum cuts, as well as new Neuf, 1925 (cat. 1) was completed when he was developments in the techniques of lithography and still working as a young apprentice with James monotype. The founding of the Society of Painter- Ballantine. Later trips to Germany in 1928 form the Etchers in 1880 was a driving force behind the basis of the works The Walls, Rothenburg (cat. 9) and 3

Rothenburg (cat. 8). Unlike Cameron, McBey and Whistler, who looked to French art for inspiration, Wilson’s main influence was art from Northern Europe, and his interest in the work of Durer and Breughel can be seen in works such as Der Klein Soldat, 1932 (cat. 18) Adam and Eve, 1932 (cat. 19) and in his heavily worked rural scenes. Whilst McBey and Whistler had a tendency to convey the quality of light through leaving the etching plate ‘blank’, and so to give the idea of space, Wilson responded differently.I nstead he often filled his etching plates completely, margin to margin. These dark, structural images reached their zenith in a series of plates made in Scotland in the mid 1930s. Of which Sutherland, 1934 (cat. 27) and West Highland Landscape, 1934 (cat. 28) are examples. Wilson moved to London in 1935 to study engraving at the Royal College of Art then returned to Edinburgh in 1937, moving into a studio at 57 Frederick Street. Wilson began to exhibit his watercolours at the Royal Scottish Academy from 1936, and this marked the slow turn of his attention to the difficulties and challenges which watercolour entailed. In Scottish painting there is a long tradition of major figures placing great emphasis on the Self Portrait, etching, 1937. importance of work on paper. This is perhaps best Scottish National Gallery of Modern Art seen in the work of ‘The Edinburgh School’. His contemporaries and close friends, Adam was a constant preoccupation throughout his life, Bruce Thomson, William Gillies, Anne Redpath and and he worked off and on for James Ballantine and William MacTaggart were all watercolour painters. Son right up until the mid 1940s. His work in etching It could be said that their influence swayed his and watercolour did not detract from his interest in priorities from etching toward painting. (A show of stained glass, but helped inform it and from 1938 intent was made when in 1947, he resigned from his Wilson started to receive commissions for stained post of Honorary Secretary at the Society of Artist glass windows with increasing regularity. The Printers). His watercolours from the late 1930s and necessity for new windows from bomb damaged 1940s focus on French travels, as well as locations churches, as well as memorial windows added to in Fife and Skye and bear close similarities with his Wilson’s workload, and enabled him to set up a Edinburgh School contemporaries. Stained glass stained glass studio in Belford Mews in 1947. Notable 4 5 commissions included windows for Canterbury they are wonderful images, do not compare to the Cathedral, St Giles in Edinburgh and John Knox original editions of the 1930s. He died in 1972. Memorial Church in Ottawa, Canada. Wilson was Fiona Pearson has documented a total of 138 very much at the heart of the revival of the stained different etchings from William Wilson, but a full glass movement and it is for this he is most notably catalogue raisonné has still be to be completed. remembered. Wilson heralded a new wave of printmaking in From the early 1950s Wilson began to lose his Scotland, not through developments of technique sight through complications with diabetes. A cruel but through a modern approach to design and hand to be dealt, but even more so for a man whose content. Whilst the previous generation, Cameron life was centred on the visual arts. His stained glass and McBey, had been primarily concerned with studio was carried on through close work between the documentation of landscape and atmospheric Wilson and his apprentice John Blyth who translated effect, Wilson’s interest lay in the structural qualities Wilson’s ideas into glass. But his work in etching of an image, often realised through architectural and watercolour had to come to an abrupt end. Even subjects; relishing the angular juxtapositions of roof, with his sight lost, Wilson still played an active role wall and landscape. Wilson’s draughtsmanship is in the artistic scene of Edinburgh, a governor of superb, his line as suggestive as Gill and his tonality the Edinburgh College of Art, as well as an active in a tradition that goes back to Samuel Palmer member of the Royal Scottish Academy and the and Rembrandt. His etchings are visually rich and Scottish Committee of the Arts Council (where suffused with atmosphere and represent a body of he championed up-and-coming artists, including work to match McBey and Cameron. Joan Eardley). His studio in Belford Mews was a Printmaking in Scotland is still thriving. Glasgow hotbed for intellectual discussion, and his interests and Edinburgh Print Studios are both producing ranged from art to music and current affairs. He was work from an array of notable artists. DCA in awarded an OBE to his services to art in 1961. Dundee, Peacock in Aberdeen, Graal Press too, From the late 1960s Wilson’s quality of life began on the outskirts of Edinburgh produce works from to decline, and he relinquished his membership Scottish artists such as Wilhelmina Barns-Graham to the Royal Scottish Academy to make way ‘for and Victoria Crowe. No single artist however, then someone who could take a more active part…’. Illness or since, has placed such importance on the power and blindness necessitated a move to Lancashire of a single image etched onto plate. For this we to live with his sister. At this time, in response to a are indebted to William Wilson, Scotland’s master family crisis, Wilson sanctioned new editions of printmaker. around twenty etchings. These, printed in the early 1970s, were not signed by the artist, and although TOMMY ZYW, THE SCOTTISH GALLERY

William Wilson creating his stained glass window for Liverpool Cathedral, c.1946 6

1 Pont Neuf, 1925 etching, 18 x 23 cms signed lower right

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 7 8

2 Rue Couverte, Provins, 1926 etching, 15 x 18 cms titled lower left, signed lower right

provenance The estate of Adam Bruce Thomson and thence by descent 9

3 Chauvigny, 1928 etching, 16.5 x 17 cms titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent 10

4 Delt, c.1928 etching, 10.5 x 7 cms signed lower right

provenance The estate of Adam Bruce Thomson and thence by descent 11

5 Culross, 1928 etching, 19 x 17.8 cms, edition 1/12 signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent 12

6 Dunfermline, 1928 etching, 14 x 19 cms titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 13

7 Edinburgh, 1928 etching, 14 x 17 cms, edition 2/30 titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 14

8 Rothenburg, 1928 etching, 15.5 x 21 cms titled lower left, signed lower right, inscribed to ‘Mr AB Thomson’

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 15

9 The Walls, Rothenburg, 1928 etching, 21.5 x 20.5 cms titled lower left, signed lower right, inscribed to ‘Mr AB Thomson’

provenance The estate of Adam Bruce Thomson and thence by descent 16

10 The Farm, 1929 etching, 12.5 x 16 cms, edition 3/25 titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent 17

11 San Gimignano, 1930 etching, 22.8 x 26 cms, edition 3/45 titled lower left, signed and dated lower right

exhibited Impression exhibited at Society of Scottish Artists, 1930

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 18

12 Christ and the Woman of Samaria, 1931 etching, 16 x 14 cms titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent; finished impression in The Scottish National Gallery of Modern Art 19

13 Mezzogiorno, 1931 etching, 18.5 x 23 cms titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent 20

14 Siena, 1931 etching, 25 x 20 cms, edition 1/30 titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 21 22

15 Castle near Verona, 1932 etching, 23.5 x 29 cms, edition 3/20 titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent 23 24

16 Noli Me Tangere, 1930 etching, 16.5 x 10.5 cms signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art

illustrated Fiona Pearson, William Wilson, Scottish Masters 19, National Galleries of Scotland, 1994, p6 25

17 The Gipsy, 1931 etching, 14 x 16 cms titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent 26

18 Der Kleine Soldat, 1932 etching, 14 x 9.5 cms, edition 5/20 titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art

illustrated Fiona Pearson, William Wilson, Scottish Masters 19, National Galleries of Scotland, 1994, p20 27

19 Adam and Eve, 1932 etching, 28 x 21.5 cms, edition 4/30, titled lower left, signed and dated lower right, inscribed ABT on mount

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 28

20 Avila, Spain, 1933 etching, 29 x 36.5 cms, edition 2/20 signed and dated lower centre

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 29 30

21 Church Gate, Colinton, 1933 etching, 18.5 x 23 cms, edition 6/20 signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 31

22 Low Tide, 1933 etching, 11.5 x 9.5 cms, edition 2/10 titled lower left, signed and dated lower centre

provenance The estate of Adam Bruce Thomson and thence by descent 32

23 Bridge of the Scaligers, Verona, c.1932 etching, 26.5 x 20 cms signed lower right, inscribed ‘Impression by HK’

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 33

24 St. Martin’s Bridge, Toledo, 1933 etching, 35 x 42.5 cms titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art

illustrated Fiona Pearson, William Wilson, Scottish Masters 19, National Galleries of Scotland, 1994, p21 34

25 From My Window, 1935 etching, 10.5 x 11.5 cms, Christmas card to AB Thomson, signed lower right, inscribed ‘From my Window 23 Dec 1935’ lower left

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 35

26 Railway Siding, Colinton, 1934 etching, 21 x 25.5 cms titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent 36

27 Sutherland, 1934 etching, 30 x 40 cms, edition 13/30 titled lower left, signed and dated lower right, inscribed to ‘To AB Thomson’

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 37 38

28 West Highland Landscape, 1934 etching, 36 x 39 cms, edition 3/30 signed lower right, inscribed ‘W. Wilson to A. Bruce Thomson’

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art

illustrated Fiona Pearson, William Wilson, Scottish Masters 19, National Galleries of Scotland, 1994, p22

29 Loch Scavaig, Skye, 1935 etching, 29.5 x 38 cms, edition 1/35 titled lower left, signed and dated lower right, inscribed ‘To AB Thomson, 1935’

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 41 42

30 Sea Wall, 1936 etching, 13.5 x 16 cms, Christmas card to AB Thomson titled lower left, signed and dated lower right

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 43

31 A Tower House (Christmas Card), 1938 etching, 12.5 x 6.5 cms, Christmas card to AB Thomson signed lower centre

provenance The estate of Adam Bruce Thomson and thence by descent 44

32 Christmas Greeting, Edinburgh Castle etching, 17 x 11.5 cms, Christmas card to AB Thomson signed lower right, inscribed ‘From Willie Wilson’ lower left

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 45

33 A Village in Winter (Christmas Card) etching, 5.5 x 11 cms, Christmas card to AB Thomson inscribed ‘Greetings from William Wilson’

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 46

34 In This Year of Our Lord, 1939 etching, 11.5 x 9.5 cms, Christmas card to AB Thomson

provenance The estate of Adam Bruce Thomson and thence by descent; impression in The Scottish National Gallery of Modern Art 47 48 William Wilson OBE RSA RSW (1905-1972)

1905 Born 21st July, son of John Wilson, a gas meter index maker 1920 Started work at James Ballantine and Son, stained glass artist. His uncle Thomas was also in their employ 1920 attended evening classes at Edinburgh College of Art, where he attracted the attention of Adam Bruce Thomson 1925 First trip to France where he completed his first etching Pont Neuf 1928 travelled to Germany 1929 artistic trip to East Neuk of Fife and Italy 1930 Elected member of Society of Scottish Artists 1931 Society of Artist Printmakers moved to Edinburgh under presidency of E.S. Lumsden 1930 travelled extensively, including Siena, Soave, San Gimignano, Bruges and Ghent 1932 Got leave from James Ballantine to study at Edinburgh College of Art full time 1932 awarded RSA Carnegie Travelling Scholarship 1933 Wilson became Honorary Secretary of Society of Artist Printmakers 1933 introduced to Ian Fleming through Adam Bruce Thomson 1933 trips to the Scottish Highlands and Toledo, Spain 1934 Won the Guthrie Award at the RSA and the Andrew Grant Fellowship at the Edinburgh College of Art. Bought own printing press 1934 Successful trip to the highlands 1935 Starts Engraving course at Royal College of Art, London. Made associations with museums print rooms and dealers in London 1935 Studies stained glass in Germany 1935 meets fellow printmaker and likeminded individual, Edgar Holloway 1936 moves to Netteswell Common, near Harlow in Essex with Holloway. Buys a ten inch printing press 1936 His print Sutherland illustrated in Campbell Dodgson Fine Prints of the Year 1936 Began to illustrate watercolours at the RSA 1936 Visits Vienna with Holloway. Saw work of Breughel 1937 Began commission of 20 stained glass panels for Cameron Nursery School in Edinburgh 49

1937 Visits Paris, sees French Print exhibition 1937 Returns to Edinburgh, moves to 53 Frederick Street Works freelance for Ballantine 1938 Empire Exhibition at Bellahouston Park, Glasgow. Commissioned to design a window for the choir of the Church of St Andrew, designed by Jack Coia 1938-40 Wilson commissioned to do three monumental windows for Caledonian Insurance Company on George Street, Edinburgh 1939 Designed windows for churches in Dalkeith, Edinburgh and Innerwick 1939 Elected associate of RSA 1940 took up post of art master at Fettes College 1942 Joins Auxiliary Fire Service 1945 Returns to Fettes 1946 Elected member of RSW 1947 took over studio of Phyllis Bone at 11a Belford Mews 1947 Ceases his association with Society of Artist Printmakers 1948 Elected Member of RSA, takes up role as Librarian 1949 three large panels commissioned for The Royal High School c.1950 active member of the Scottish Committee of the Arts Council, including championing work of Joan Eardley 1950 Queen unveils a three-light window at St Salvators Chapel in St Andrews 1957 trip to France to study stained glass designs 1959 lost his sight, through diabetes. Stained glass studio is kept on through close working relationship with his team, including John Blyth 1961 awarded OBE for services to art in Scotland 1968 awarded civil list pension 1969 Wilson asks to resign his membership of RSA ‘for someone who could take a more active part in the work of the Academy’ 1971 moved to his sister’s in Bury, Lancashire 1971 Resigned from Governors of Edinburgh College of Art 1972 Dies in Bury, Lancashire 50

Selected Stained Glass Commissions c.1946 anglican Cathderal, Liverpool 1949 three large panels commissioned for The Royal High School 1950 Queen unveils a three-light window at St Salvators Chapel in St Andrews 1951 East Kent Memorial window for Canterbury Cathedral 1952 Brechin Cathedral, his largest series of stained glass windows 1954 St Giles Cathedral 1955 & 1968 John Knox Memorial Church, Ottowa, Canada 1956 Cameronians Regimental window for Glasgow Cathedral 1957 St Machar’s Cathedral, Aberdeen 1957 Synagogue on Salisbury Road, Edinburgh 1959 liberton Secondary School

Selected Group Exhibitions 1924 Royal Scottish Academy, Edinburgh (exhibited every year from 1927-1960) 1928 Society of Scottish Artists, Edinburgh 1936 15th annual exhibition of the Society of Artist Printers, Edinburgh 1937 Society of Artist Printers, Municipal Museum and Art Gallery, Belfast, Ireland 1940 Joint exhibition with potter Alexander Inglis, Aitken Dott, The Scottish Gallery, Edinburgh 1947 Joint exhibition of watercolours with Ian Fleming, Aitken Dott, The Scottish Gallery, Edinburgh 1954 Recent Paintings by Redpath, Gillies, Wilson, Fleming, Festival Exhibition, The Scottish Gallery, Edinburgh 1959 Scottish Society of Artists 1964 14 Scottish Painters, The Commonwealth Institute, The Arts Council – Scottish Committee, Glasgow 51

Selected Solo exhibitions 1962 Paintings by William Wilson, The Scottish Gallery, Edinburgh 1982 William Wilson, The Scottish Gallery, Edinburgh 1994 Watercolours, Etchings and Stained Glass, Bourne Fine Art in conjunction with The Open Eye Gallery, Edinburgh 1994 William Wilson, Painter and Stained Glass Artist, Scottish National Gallery of Modern Art, Edinburgh 2015 Master Printmaker, The Scottish Gallery, Edinburgh

Collections Aberdeen Art Gallery and Museum British Museum, London Creative Scotland Glasgow Art Gallery Gracefield Arts Centre, Dumfries Royal Scottish Academy, Edinburgh Scottish National Gallery of Modern Art, Edinburgh Victoria and Albert Museum, London West Riding County Council 52

Published by The Scottish Gallery to coincide with the exhibition WILLIAM WILSON: MASTER PRINTMAKER 7 – 31 October 2015

Exhibition can be viewed online at www.scottish-gallery.co.uk/williamwilson

ISBN: 978 1 910267 25 7

Acknowledgements The Scottish Gallery would like to thank Elizabeth and Andrew Hall for their help with this exhibition. Thanks also to Alice Tod at the National Galleries Scotland.

16 Dundas Street, Edinburgh EH3 6HZ Tel 0131 558 1200 Email [email protected] www.scottish-gallery.co.uk 1 2