People need truth on Waterson art
Sir, Many Brechiners are following the saga about David Waterson's work with interest as it seems to be seasoned with a certain amount of intrigue.
There is no doubt that a collection of work was gifted to the 'community' by Mrs.Waterson, not to the council's collection or assets or any museum (as was clearly recorded in council minutes).
This collection was housed in the Mechanic's Institute by agreement of all parties concerned at the time in 1956, by the earlier introduction of a special clause of usage to the building's terms that would allow it to be used as a picture gallery, and for years after that no-one really took much interest in looking after these works.
Security was difficult in this building, and in the Lesser City Hall where some pieces were later re-housed, consequently some work is reputedly missing today.
The exposure to day-light, direct sunlight, acidic mounts and backings, varying temperatures and humidity, has led to cases of severe fading, paper discolouration and damp associated problems.
The pertinent, overwhelming fact is that Mrs Waterson approached her town council asking them to accept and help choose the David Waterson Memorial Collection on behalf of the community (she and her husband's sisters also had them framed, at their own expense, at the request of the council).
We must respect Mrs Waterson's intention; she did not give governance over the collection to a few self-appointed individuals on behalf of the community then and it should not be so now.
Today, most of the collection is with Angus Council who have adopted custodianship on behalf of the community. This custodianship would be acceptable if they were to have invested in the refurbishment and conservation of the work for the future benefit of the community, wherever it is to be housed; sadly, possibly due to a lack of funds, confusion on provenance, ownership and priority, this has not been the case.
Much of Waterson's work from this collection, and their own, that was re-framed or stored is undeniably not up to modern conservation standards and I did find a large, major painting (one of his best) displayed in the library computer room covered with mildew spots (this has now been remedied by conservators).
I also have worries over high day and fluorescent light levels in the computer room at the library that will fade watercolours quickly.
Certainly, the council needs to pull up its socks regarding their priorities over Waterson and possibly require financial help from the community to achieve this, maybe from an individual picture sponsorship scheme, private donations, lottery funding, a combined effort from civic organisations or the true benefactors in the Memorial Collection's case - the people of Brechin.
If the council cannot take appropriate steps to conserve this work then they should honestly admit it now and seek financial help for the sake of one of our few heritable gifts.
To many, the 'sin' has been the failure of the council to exhibit the entire collection in its true home - Brechin (because of the lack of suitable hanging space) and to recognise the fact that Mrs Waterson left the collection to the 'community' and not the council.
Hopefully this will be rectified with the plan to have a dedicated Waterson exhibition in the museum and I am sure that the remainder of this collection stored at Forfar will return home to be based here.
I am concerned that those proposing the return of this collection to the community of Brechin with the aim of creating a do-it-yourself gallery to house it, do not fully understand the implications of what they are suggesting.
Primarily who will fund, run and manage this gallery into the next century and what measures will be installed to control light exposure, humidity and security? How will the collection be refurbished to modern conservation standards and will the community then have the right to access and use this collection as their common property?
These questions need to be answered truthfully and a funding projection worked out by the proponents of this notion; until then this idea should be taken with a pinch of salt, treated very cautiously indeed and analysed for any political incentives from the individuals concerned.
Above all else, do they have the right to propose this without the common consent of the community and is this not the slippery slope to another artistic disaster for Brechin's already decimated art inheritance at the hands of pseudo art experts?
Nevertheless, a separate Waterson gallery with all the available work held by the council and individual collectors on show would be an absolute stunner for Brechin. What about the magnificent Maisondieu Church as a venue, closer to Waterson's heart and soul and giving the 'foot o' the toon' a necessary boost, in preference to the often mentioned registrars office which is entirely unsuitable.
Most importantly, it is essential and urgent to ensure that all of Waterson's work is maintained and conserved for the benefit of its artistic value to the community. The R.E. often placed after his name means that he was a member of the Royal Society of Painter-Etchers and to this day has never been highly rated amongst Scotland's artists as a painter but he surely deserves a place alongside the likes of Sir D.Y. Cameron as an etcher.
A precious few of his drawings, sketches and etchings, such as the etching 'Muckle Market', displaying outstanding draughtsmanship and genre observational skills, reminiscent of Rembrandt, are his real masterpieces revealing a fascinating insight into a part of Scottish history; it is work like this that should be truly appreciated and valued as Brechin's heritage gift from David Waterson.
Yours etc.,
D. Adam,
Scott Street,
Brechin.
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Weather for Brechin
Wednesday 08 February 2012
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