George Leslie Hunter

(British, 1877-1931)

Portrait of John Ressich,

Footnotes

Provenance
Collection of John Ressich; thence by descent.

Exhibited
Glasgow, Reid & Lefevre, June 1931.

In late 1930 and early 1931, Hunter embarked on an ambitious series of portraits, not wishing to be solely confined to still life painting. This was a courageous gamble for both the artist and Reid & Lefevre, who exhibited the works in June 1931. The press reaction was lively and several reviews mention this portrait of Ressich:

'Here is a portrait of Mr John Ressich by the modernist artist, Mr Leslie Hunter, whose exhibition is now open at Reid & Lefevre, 117 West George Street, Glasgow. It is interesting to see an artist's conception of the pungent and humorous author who contributes each week to the 'Something I want to Say' series of the Daily Record.' (Daily Record and Mail, 18 June 1931).

'A good many of the portraits...a decorative setting....sometimes achieved by the introduction on one side of the picture of a beautifully painted curtain. In the modelling of the figure...a marked and pleasing feeling for pictorial form and occasionally a daring use of highly-keyed colour....Attractive also...Dr James Harper, John Ressich, Dr & Mrs Honeyman, and Matthew Dickie.' (Herald, 18 June 1931).

'...one problem...does not appear to trouble Mr Hunter. The colour limitations of masculine dress are fully compensated by the free use of colour as a background. The risk of monotony is countered by the variety of treatment and the apparent liberty taken with flesh tones, and in the occasional distortion, is ultimately rendered comprehensible....Among the successes must be numbered Dr James Harper (vital and original), JSM Ressich (an excellent likeness), Mr Alan Arthur (sense of dignity and poise), Mr EN Marshall (important for its pictorial qualities) and a very happy sketch portrait of Mr W. McInnes.' (The Evening Citizen, 19 June 1931).

John Sellar Matheson Ressich (1877-1937) was a businessman, journalist and author. He was a crucial supporter of the Colourists throughout their careers. Not only did he buy their work, he organised exhibitions, introduced them to collectors, travelled with them and encouraged them to believe in their pursuit of bringing Modernism to Scottish Art.

In April 1911 Peploe came back to Edinburgh (having now moved to Paris) to sort out affairs and try to raise some money. He wrote a series of letters to his wife Margaret: 'I've just got back from Glasgow; it's 9.30; had a tremendous day. Ressich was awfully kind. I've had two huge steaks and a big sole and omelette fines herbes and cheese twice and champagne and port and liquors, so feel I don't want to see food for a week. I met George Burrell; we dined with him. He is very nice. How different these Glasgow people are from Edinburgh people. Plenty money.' (Guy Peploe, S.J. Peploe, Lund Humphries, 2012, p.86). Ressich supported Peploe and showed some of his works at his Glasgow office in 1911, when Aitken Dott refused to show his new French paintings (and when the only other dealer to take an interest was Reid).

John Ressich was also crucial to J.D. Fergusson's career. Not only was he one of Fergusson's closest friends and intellectual allies, but also a reliable source of companionship and professional support. The tours of the Scottish highlands on which he accompanied Fergusson in 1922 (and again in 1928) rekindled the artist's interest in the Scottish landscape and precipitated periods of concentrated productivity. Ressich organised for the resultant works to be exhibited, in what became Fergusson's first solo exhibition in Scotland, held in 1923 at The Scottish Gallery in Edinburgh and then at La Société des Beaux-Arts in Glasgow.

Although the term Scottish Colourist was not used until much later, Fergusson, Peploe and Hunter first exhibited together in Paris as Les Peintres De l'Ecosse Moderne (Modern Scottish Painters) in 1924. The first exhibition in the French capital came about after John Ressich wrote publicly in December 1923, calling for more opportunities for the public to see modern Scottish painting, for public galleries to buy and show their work, and for more recognition of modern Scottish painters.

Ressich encouraged Hunter to go to New York in 1929. Hunter explains more when he wrote to another of his supporters, Matthew Justice, in 1928: 'I'm hoping to go over to New York in the late autumn. Fergusson's two shows in America were very successful and they have asked him to come over and my friend Ressich is hoping to place a novel in the movies – so we will make a two'. (National Library of Scotland, T.J. Honeyman Papers, Acc.9787).

Ressich continued to be influential in Hunter's decision to move to London: 'I am certain I should come to London for good. Ressich thinks so too.' (T.J. Honeyman, Introducing Leslie Hunter, 1937, pp.187-188).

John Ressich was one of the few immediate circle of followers in Glasgow who supported the artists who went on the be known as Colourists. Together these men exerted a crucial influence on contemporary Scottish art. It is no exaggeration to state that without their foresight a whole generation of Scottish artists would be seriously disadvantaged. Most importantly for Hunter, they understood and appreciated what he was striving to achieve. (Bill Smith and Jill Marriner, Hunter Revisited: The Life and Art of Leslie Hunter, Atelier Books, Edinburgh 2012, p.71). It is fitting that Ressich wrote the catalogue introduction to Hunter's memorial exhibition at Reid's gallery in 1932.

This portrait remained in Ressich's collection and has been passed down through family members. The current owners inherited the painting in the 1980's, however the presence of the still life on the reverse was recently rediscovered during the valuation process.