PAISLEY’s loss is GLASGOW’S GAIN: First, the good news. As it approaches its 150th anniversary, the artists collective, PAISLEY ART INSTITUTE (PAI), has cause for celebration. It is about to embark on a new chapter, a brand new life-based, at the famous Glasgow Art Club. Founded in 1867 and patronised by the Glasgow Boys, its large 1893 Gallery was designed by John Keppie, who employed a young Charles Rennie Mackintosh to undertake some of the detailed design, his distinctive style making it one of the most beautiful rooms in Scotland.
PAI’s involvement will reinvigorate the ART CLUB, thus helping both organisations at a stroke. However, the BBC didn’t mince its words with the headline “Paisley Art Institute sells a quarter of its collection after museum row.”
This is to simplify. For ten years, PAI has fought long and hard to avert this, but in the end, had no choice. Evicted by the district Council from its forever home at Paisley Art Galleries & Museum, and after organising popular annual shows for 135 years, – it was thrown out! At £45 million, Paisley Art Galleries & Museum has been “re-imagined” by deleting the words ART and galleries! Founded in 1871, designed by Honeyman of Mackintosh fame, it’s now merely Paisley Museum.
However, though they didn’t want PAI, the district council wanted to hang onto the famous PAI collection of Glasgow Boys and Colourist pictures, which dates back to the 1880s. An expensive legal battle followed, and PAI had to sell some of its images to pay the bills. However, the core remains (although OneRen retains some ‘hostage’ pictures.) PAI has moved lock, stock, and barrel to the ART CLUB in Bath Street, taking its important collection with it, which will now be on the walls and show at an upcoming Heritage Exhibition at Glasgow Art Club this autumn!
Now, these two mutually art—and artist-focused organisations are set to stimulate each other to create a much-needed new, lively, welcoming venue in the city centre. Events kick off this week with a display of paintings by Scottish heroes like Hornel, Henry, Guthrie, and Sir John Lavery (the subject of the major current SNG Edinbro Festival exhibition).
Lyon & Turnbull will hold the auctions first, with a handpicked section later at Christie’s. PAI has 400 works. L&T will sell a hundred on September 26th in Edinburgh. Already, 15 pictures have been on display in London, and this week, more will be at Glasgow Art Club, including highlights by Hornel, Henry, Guthrie, and four by Sir John Lavery, who lived in Paisley in the 1880s.
“We are sad to break up the collection, but we were forced into it,” said PAI President Joe Hargan. “This is a way to save the actual Institute, the community of artists and the good works they’ve been doing for the last 150 years.” It’s hoped to raise around £1.5m at the September auction which they plan to reinvest in their new Art Club home, in conservation of the remaining collection and in new awards and grants for artists.
Due to COVID, the Art Club lost membership and needed an infusion. The PAI brings with it a membership of 350. Together they plan exciting developments. Art Club President Robert Ferguson says he is “Delighted. OneRen chose to see the PAI collection as a problem instead of an asset. As a Paisley buddy, I’m sorry to see pictures leave, but there was no choice. With PAI’s help, we are now committed to reinvigorating the Art Club. We couldn’t have done it on our own. Gordon Yule of Rogano fame has come on board. It’s very exciting. We are all determined to survive and thrive!”
The history of the PAI (1876), Paisley Art Galleries (1871) and the Coats family has long been entwined. PAI began as ‘Paisley Fine Art Society’ in 1829 when Paisley had a government-established art school (which became Paisley Tech and now University.) It was set up to educate the textile industry workforce in sound design. In those days, Paisley was a centre of artistic excellence thanks to its prosperous textile trade, which relied on trained artists and designers. Several Glasgow Boys lived and worked in Paisley, attending its art school. Thus, PAI was at the forefront of developments in both British and European modern art, able to build up a unique and significant art collection.
Sir Peter Coats, PAI’s honorary president, gave the main gallery of Paisley Art Galleries to PAI for its exhibitions, as reiterated in his 1886 will by deed of gift.
PAI later bought adjacent land to extend this gallery, saving up for 30 years to build new galleries. Architect T.G. Abercrombie was contracted to draw up plans, and PAI negotiated with the then Paisley Council to form a contract to share all the galleries in perpetuity. Peter Coats, son of Sir Peter, paid for the new build. The PAI continued to add to its art collection for the benefit of Paisley. Many PAI members also bequeathed pictures. A contract was drawn up in 1913 for PAI (as happened at Edinburgh’s RSA) to have 3 months of the year for its exhibitions. OneRen claims PAI no longer has a right to exhibit in the museum as the land reform removed the burdens of the deed. PAI lawyers argue that 100 years of sharing made it real by custom and use. No negotiation on this could be discussed as OneRen refused to meet.
The downside of this shocking, shortsighted, savage district council decision is that PAI’s legal and storage costs have inevitably necessitated the sale of some Scottish pictures. PAI fought hard to keep their 149-year-old artist-run organisation alive, but OneRen was all too happy to deliver a death blow.
Thanks to the PAI president and committee’s hard work a flourishing future beckons. Auction funds will not only pay bills but also help the Art Club and PAI move forward, and they will also help contemporary artists. In 1886, when Sir Peter Coats, then later his son, gifted money to help PAI, little did they know how important this would be for Glasgow 138 years on. As the President says, they are all determined “to survive and thrive!” — Clare HENRY 2024
Top Photo: Glasgow Art Club Founded in 1867 Photo Courtesy Lyon & Turnbull