The Immeasurable Wilds: Travellers to the Far North of Scotland

20th Century Visitors to the Far North and Their Art

Travel to the far north of Scotland is now, of course a good deal easier than ever before. To explore the North-West in detail you still need your own transport, and you may make slow progress along the north coast in the height of summer when the NC500 coastal route is at its busiest, but the area has been open to all for the past hundred years or so. 

Since writing The Immeasurable Wilds, I have become particularly interested in the art of the area. I have unearthed some interesting examples of early views of the region in public collections, and I keep my eye open for images from any period, including modern times. Below are some original artworks from my collection, painted in the 20th century and later. Not all are necessarily masterpieces, but they do all convey the artists' reaction to this remarkable part of Scotland.

Two views from Strathpeffer, by an unknown visitor. A note on the back of the painting on the right says, intriguingly, "Strathpeffer, 1915. Taken to Police Station for sketching in a prohibited area." Derring-do in Ross and Cromartie?

Berriedale Water, Sutherland                                                                         A Blue Day, Sutherland

Two sensitive watercolours by Alexander Nisbet Paterson (1862-1947). Nisbet trained as an architect. The Dictionary of Scottish Artists (Halsby & Harris) notes the "romantic overall effect" of his work, which is particularly evident in the soft, Berriedale painting.

Ivy Bailey was an artist based at 72 Paxton Road, Chiswick in London. Her small sketch The Road to Ben Loyal indicates that she travelled along the north coast, but none of the artwork I have by her is dated. Her tour was probably made during the 1930s. The small image on the right is a sketch for the larger work below, a beautiful watercolour catching sunrise or sunset colouring. No indication is given as to where the view is, but one possibility is the mountain Quinag.

There is little doubt as to where this view is: Liathach, one of the Torridon Munros.

Some of Bailey's smaller sketches could be anywhere in the Highlands:

But they all clearly reflect a love of what she saw on her travels.

This image, on the other hand, is almost abstract, with only the inclusion of the tiny white cottage bottom right an indication that she is seated somewhere high up on a mountain, looking down.

Another visitor to the region at this time (I suspect) was Myles Tonk. Not all the artwork I possess by him is titled, but the watercolour below indicates on the back that this is a "River in Sutherland", and it is signed. Almost certainly the River Inver, with the Quinag ridge in the distance.

Another watercolour that is titled is "Slioch, Loch Maree":

Myles Tonks (1890 - 1960) was a doctor by profession, but he had received a thorough training in art at the Medway School of Art, and also from his uncle, Henry Tonks, who was the Slade Professor of Fine Art 1918 - 1930. His art was much admired in its day, perhaps less so now as much of it was done in watercolour, which has faded over time. Certainly much of what I have by Myles has this problem. But it still conveys his love of wild, rugged scenery that he did much to portray.

Untitled.                                                                                      Again untitled, but a well-preserved and beautifully                                                                                                         graded image, colour-wise.

Untitled.                                                                                             Untitled.

A rare image of Ben Mor Coigach, from Knockan Crag. Signed 'T. Train'. Train (1890-1978) was an artist based in Aberdeen.

The mountains of Assynt that rise so distinctly from the gneiss base form a vista the few artists would be able to resist:

Canisp, Suilven and Cul Mor, a painting dated 1954 by James Osborne                A similar view, this time starting with Suilven on the left,       

                                                                                                                                         and Cul Mor and Cul Beag to the right. By Clifford Thompson

Denis Peploe (1914-1993, son of Samuel) presents a less intense image of Suilven and the surrounding landscape in this oil painting of Achmelvich Bay.

Near Lochinver, Sutherland, by Irene Bache

Irene Bache (1901-1999) was head of Art at Swansea College of Education between 1942-1966. She may have made a tour of the far north of Scotland after her retirement. 

                                          Above Smoo Cave, Sutherland

Her work, often done at high speed, has an energy that matches the obvious dynamism of her personality. It is said that she would paint wherever she went, setting up her easel in public, and she would happily sell there and then if a passer-by admired what she was painting. Whilst much of her work was done in Wales, the wild landscape of the far north must have given her much inspiration.

Highland cottage, place unknown

The two images below were done by a visitor who was comparatively local: Elsie Stone gives her address as Wild Goose Cottage, Sandown Farm Lane, Nairn. Small, uncomplicated watercolours, but she has managed to capture the profiles of the Assynt hills in what looks like a single sweep of her brush. The scene on the right is painted at Aultnagalagach, by Loch Borralan on the A837 road.

Suilven and Enard Bay, Elsie Stone, 1994                                                          Distant Suilven

Another simple watercolour sketch, this one titled Ullapool, Ross-shire and signed F.J. Wilcox. 

Many artists today want to go beyond simple representational images of the landscape they see before them. Below is clever artwork by Elizabetha Fox. In both paintings, she has placed a photograph in the centre, and extended the landscape in watercolour all the way round. Like Irene Bache, there is an energy from what appears to be speedy design, and the colours have been matched beautifully.

I am a fan of Fox's artwork, which is often sold at very reasonable prices, and shows great imagination as well as style. Below is another of her paintings, which whilst not being strictly a northern Scotland view, was almost certainly inspired by her love of the region. It is a geological work, called Fault Lines.

Each rock-type, ranging from gneiss to one with igneous intrusions, is added as a collage. The collage strips extend ghost-like into the sea area, most obviously that of the igneous rock, with traces of red seen above it. I like to think that this is the ghostly remains of the rock, before it was eroded away.

Another generic image, not specifically of the far north, but clearly inspired by Highland landscape is this interesting black and white print of a Scottish coastal view. It is by the German artist Roswitha Quadflieg, dated 1975.

Scottische Landschaft

Finally, four images, each of the same view, by Don Hemming, painted in 2011. Titled simply "Sutherland", they are clearly views looking up to the Quinag summit ridge, capturing the scene under four different conditions. 

Sutherland, 2011                                                                                               Sutherland, 2011

Sutherland, 2011                                                                                                   Untitled (on the back of the previous image)

A powerful way to capture this most powerful landscape.