Scottish Women Collectors: A Sharing Stories Event

Scottish Women Collectors: a Sharing Stories Event, was inspired by one of the two collections that we care for at Dunollie Museum, Castle and Grounds: The Social History Collection of Miss Hope MacDougall. Miss Hope – who was daughter, sister, and finally aunt to the last three successive Chiefs of the Clan MacDougall – dedicated her life to her passion, which was documenting the social history of Scotland’s Highlands and Islands. She devoted years to amassing her collection, along with a handwritten inventory, extensive archival research, and her own photography, corresponding with her interests. When Hope moved to nearby Ganavan house in 1966, when she was 53 years old, she transformed her home into a museum where she proudly displayed her collections and welcomed in guests from far and wide. Hope’s collections dominated her home, as they dominated her mind and heart, and were her life’s work.

Our event aimed to share stories not just about Hope and her collections, but about other women like her – collectors, historians, archivists and archaeologists. Women have historically been sidelined in these sectors as they have in most others, with their collecting not taken seriously, if it was considered at all. Hope was inspired by women – friends, mentors - and in turn inspired others, and we heard about these connections from our wonderful speakers on the day, before some of the industries Hope’s collection documented – textile production and basket weaving – were brought to life by our demonstrators.

Dr. Rhona Ramsay opened the day with her presentation, I.F. Grant and Other Women Collectors – Influence and Connections, highlighting the pioneering role of Isabel Frances Grant (1887–1983) in Scottish folk collecting. Grant, a key figure in preserving folk material culture from northern Scotland, inspired other women to contribute to this emerging field throughout the early to mid-20th century. Dr. Ramsay’s talk provided an overview of Grant’s efforts to establish a Scottish folk museum, her publications, and the influence she had on collectors like Hope MacDougall, Jean Lady Maitland, Greta Fairweather Michie, and Barbara Fairweather. The presentation also explored the post-war freedoms and new technologies that empowered these women to break new ground in collecting.

Jenny MacLeod, an AHRC/ SGSAH-funded PhD researcher at the University of Glasgow, presented The Print Collection of Catherine Spence Howden (1875-1925): A Snapshot of the Etching Revival. Jenny’s research focuses on Scottish women etchers during the Etching Revival (1880-1940). She explored Catherine Spence Howden’s print collection, held by Glasgow Museums, which was considered a "highly valuable gift" after her death in 1925. This bequest, the largest of its time, surpassed those of notable male collectors, including William Strang. Today, it is part of Glasgow Museum’s substantial collection of Scottish prints, spanning 1750 to 1960. Jenny highlighted how Howden’s decision to collect prints, during an era when women were typically encouraged to gather more "delicate" objects, can be seen as an act of resistance. She also examined the significance of Howden’s collection in the context of the Etching Revival and the broader British print market, considering why she was drawn to etchings and what these works meant to her.

Oliver Taylor, Assistant Curator of Modern and Contemporary Scottish History at National Museums Scotland, presented ‘Ivy Jardine, Curator-come-housekeeper’: Local Historian and Curator with Global Ambitions. Taylor highlighted the remarkable work of Ivy Jardine, a former chairperson of the Fife Family History Society, curator of two museums, private archivist for the Scottish Records Association, author, and prolific donor to museum collections. Despite her prominence in the 1980s, Jardine’s contributions, especially her efforts to celebrate Lower Largo’s history and promote the life of Alexander Selkirk (the inspiration for Robinson Crusoe), are now largely forgotten. Jardine’s home, Cardy House, was described in 1984 by The Scotsman as a late-19th century time capsule, thanks to her husband’s family’s habit of never discarding anything. Jardine recognized the importance of this historical trove, appointing herself as its curator. She also opened a museum in Selkirk’s birthplace to further celebrate his legacy. Taylor’s paper examined Jardine’s global outreach efforts to promote her collections and explored why her legacy has faded. It also assessed the significance of her collection—over 3,000 items, including an invaluable glass plate negative collection—now housed at National Museums Scotland.

Catherine Gillies, in a change from the layout of the other speakers, presented the audience with questions around why women's collections tend to differ from more traditional, curated museum collections. Catherine has experience in working with a wide range of museum collections, and she acknowledged that women's collections historically focused on folk collecting and traditional, domestic ways of life, which was not "how things were done". Was it because these women - who tended to be affluent and unmarried - had time that others did not to have such a small focus, travelling the length and breadth of Scotland on their journeys? Was it because they were already so far outside of society's norms and rules that they could also break the rules of museum collecting, as it were? Catherine has hinted that these questions may form the basis for her next research project, so watch this space. 

Professor Kate Hill, a historian at the University of Lincoln, presented ‘One of the ladies suggested it would be nice to have a museum’: Glencoe Folk Museum, Barbara Fairweather, and the DIY Ethos in the 1960s. Hill explored how Scottish women collectors of folk and social history blurred the lines between personal and professional curation. During the 20th century, the museum world was becoming more professionalized, with men increasingly seen as the leaders of folk and social history museums, which led to the marginalization of women like I.F. Grant, whose work was often dismissed as amateur. Despite this, the 1960s and 70s saw a surge in DIY curatorship, especially in the rise of small, independent local history museums. Glencoe Folk Museum is a prime example, run with non-professional governance and strong ties to women’s networks. Barbara Fairweather, the museum’s secretary and later curator, embodied this DIY spirit, operating outside formal curatorial structures and qualifications. Hill argued that the museum’s success was due to, not despite, its grassroots, gendered approach. Professor Hill’s research focuses on non-national museums and the history of women’s involvement in the sector, with an emphasis on folk and social history museums in the 20th century and the professionalization of museum workers, see Making Museum Professionals, 1850-the present – An AHRC research network (lincoln.ac.uk).

Unfortunately, Professor Hill was unable to attend the event in person. However, she provided us with an outstanding pre-recorded presentation, which was well-received. In her absence, we were fortunate to be joined by Parris and Catriona, who were able to represent both the Glencoe Folk Museum and Barbara Fairweather.

Dr. Nyree Finlay, a senior lecturer in Archaeology at the University of Glasgow, presented Collection, Care, and Archaeological Practice: The Potential of New Narratives from Excavating the Archives. Her paper highlighted the contributions of pioneering women like Marion Campbell, Dorothy Marshall, and Betty Rennie, who made significant strides in local archaeological heritage through surveys, excavations, and community service. Despite their achievements, their work has not received the widespread recognition it deserves.

Dr. Finlay emphasized the importance of re-evaluating these women’s contributions by examining their archive and collection legacies. She used case studies from figures such as Fiona Gorman on Arran to illustrate how careful attention to archival practices—like packaging, storage, and labelling—can reveal insights into their social networks and the broader context of their work. Her research takes a feminist perspective on curation and collection care, aiming to offer alternative views on the roles of women in archaeology and to reframe assemblage studies from a less conventional standpoint.

Dr. Ailsa Hutton, Curator of Modern and Rural History at National Museums Scotland, presented Birds, Baskets, and the SWRI: The Collecting Activity of Dr. Evelyn Baxter and Miss Leonora Rintoul. The paper explored the lives and diverse interests these two prominent ornithologists from Largo, Fife, known for their extensive studies on bird migration across Scotland. Their notable work, The Birds of Scotland (1953), is a testament to their contributions to ornithology. Beyond their ornithological achievements, Baxter and Rintoul had a keen interest in collecting, particularly baskets from across Scotland. In 1961, after their deaths, a collection of these baskets was donated to National Museums Scotland, significantly enriching the museum's rural and craft collections. The paper examined how their basket collection, gathered during their ornithological fieldwork and influenced by Evelyn’s involvement with the Scottish Women’s Rural Institute, reflects their broader interests and collecting practices. Dr. Hutton’s research delved into how Baxter and Rintoul’s passions for ornithology, travel, and traditional Scottish crafts intersected, offering a comprehensive view of their collecting methods and objectives.

Professor Hugh Cheape, representing Sabhal Mòr Ostaig and the University of the Highlands and Islands, presented ‘A Highland Folk Museum for Highland People’: I.F. Grant and the Founding of the Highland Folk Museum. Professor Cheape previously worked at National Museums Scotland until 2007, now leads the master’s program in material culture at SMO, which he established with the support of Dr. Dòmhnall Uilleam Stiùbhart. His paper focused on Dr. I.F. Grant (1887-1983), who established the Highland Folk Museum, Am Fasgadh, in Iona in 1935. Under her visionary leadership, the museum evolved into the Highland Folk Museum in Newtonmore, which earned the Scottish ‘Museum of the Year’ award in 2001. Dr. Grant’s ambition was inspired by her visits to folk museums in Sweden, Norway, Denmark, London, and the Netherlands. Her own scholarly work, such as Everyday Life on an Old Highland Farm (1924), provided an innovative look at Highland life and material culture, influencing her approach to museum creation, and highlights her pioneering contributions and the profound impact of her folk museum on Highland culture and history. Professor Cheape concluded his presentation recommending Singled Out, by Virginia Nicholson.

Deborah Gray, a textile artist and tutor from Oban, gave a captivating natural dyeing demonstration. Specializing in natural dyeing and botanical printing, Deborah blends hand spinning, knitting, and stitching to create art that reflects themes of Place and Time, drawing inspiration from the landscape. Since 2021, she’s been the Lead Practitioner for The Rockfield Centre’s Eco Creative Cluster dye garden project, where she cultivates dye plants. With over 40 years of teaching experience, she offers workshops locally and internationally. Fresh from her fourth residency at the Icelandic Textile Centre, Deborah also founded Artspace Oban in 2023, providing studios for artists. She’s a regular participant in Art Map Argyll's Open Studios.

Jane Allen presented a basket weaving demonstration. Initially trained in Graphic Design, Jane discovered basketry in 1998 and has since focused on creating functional, traditional baskets for home and garden using willow grown on her smallholding near Achnamara. Lately, she’s been experimenting with new materials like willow bark, producing unique yet still practical pieces. Growing willow supports biodiversity, providing habitats for insects and birds. Basketry, using natural materials harvested just steps away from the workshop, is one of the most sustainable, low-impact crafts. Jane is proud to help preserve this ancient art form.

Helen Cherry, a volunteer at Dunollie, demonstrated wool spinning using a spinning wheel from the Hope MacDougall Collection. Born in Ayrshire, Helen learned knitting from her mother’s side of the family and crocheting from her grandmother. After moving to Uist, she found a group of spinning enthusiasts who nurtured her interest, lending her a wheel to practice on. Helen quickly fell in love with the craft, finding it meditative and rewarding as she transforms raw fleece into beautifully crocheted or knitted garments.

Thank you again to all our speakers, demonstrators, attendees, and our photographer, Lauren Fair, for making this event a success. Your contributions and participation were invaluable and the feedback we’ve received has been overwhelmingly positive. We are already excited to be planning the next steps of the Sophy & White project, which will have a focus on the vast textile collection housed here at Dunollie.

This event was made possible thanks to the generosity of National Lottery Players through funding from the National Lottery Heritage Fund, as well as, the Oban Common Good Fund. If you have any questions or wish to get involved in Sophy & White: The Dunollie Collections Unboxed Project, please email anna@dunollie.org