Scotland Town Sells Rare Marble Bust of Sir John Gordon to Boost Community Fund
A town council in Scotland can sell a marble bust found in a garden shed. The bust, depicting Sir John Gordon, was bought for $5 by the Invergordon Town Council in 1930. It was created by the French artist Edme Bouchardon in 1728 during Gordon’s Grand Tour of Europe. The bust disappeared for many years and was rediscovered as a doorstop in Balintore 26 years ago.
The discovery of its multi-million dollar value caused challenges for the Highland Council. They wanted to display it to the public but faced difficulties with insurance and security due to its value. Although it was exhibited in The Louvre in 2016 and at the J. Paul Getty Museum in Los Angeles, it remained mostly locked away.
Now, the council plans to sell the bust, with proceeds going to the Invergordon Common Good Fund. A museum-quality replica could be made for public display. The area committee voted to pursue the sale, and 68% of public comments supported this decision. Some critics suggested loaning the bust to a museum.
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Interview with Art Historian Dr. Elizabeth MacLeod on the Sale of the Marble Bust of Sir John Gordon
News Directory 3: Thank you for joining us today, Dr. MacLeod. We’d like to start with your thoughts on the recent decision by the Invergordon Town Council to sell the marble bust of Sir John Gordon. What’s your impression of this landmark decision?
Dr. Elizabeth MacLeod: Thank you for having me. This decision marks a fascinating chapter in local heritage management. The bust, produced by Edme Bouchardon in 1728, not only represents a significant piece of art history, but it also connects to the broader narrative of Scotland’s cultural identity. Selling it to fund community projects is a pragmatic approach to utilizing its value effectively, especially considering the town council’s limitations on insurance and security for such a high-value item.
ND3: The bust appears to have a storied past, disappearing for many years before being found as a doorstop. How does its journey impact perceptions of provenance in art?
Dr. MacLeod: Provenance is pivotal in understanding an artwork’s context and value. The bust’s transition from a mundane object to a highly valued artwork illustrates the complexities of heritage. It raises questions about the responsibilities of custodianship in local councils—what they owe to history versus practical usage. The rediscovery emphasizes that art can reside in unexpected places, and sometimes, it takes a fresh look to uncover its true worth.
ND3: There have been suggestions to loan the bust to a museum instead of selling it. What are your views on that option?
Dr. MacLeod: Loaning the bust could indeed be beneficial for public education and appreciation. It would preserve the local connection while allowing a broader audience to experience this piece of art. However, councils often lack the resources to ensure adequate security. A loan could diminish its value as an asset, particularly if significant costs are involved in its care during that time. Ultimately, it’s a balance between immediate community benefits versus long-term cultural value.
ND3: The Highland Council has cited The Waverley Criteria regarding the sale. How does this criteria fit into the narrative of national treasures?
Dr. MacLeod: The Waverley Criteria are essential for assessing items of national importance. They guide decisions around cultural heritage items, weighing their connections to history against their aesthetic and educational significance. In this case, the bust’s historical links and artistic craftsmanship align well with this framework, bolstering its claim to being a national treasure. This adherence may facilitate the sale while still respecting the art’s national significance.
ND3: Sotheby’s has appraised the bust at £2.5 million, with potential benefits outlined for the community. What impact do you foresee this could have on local projects?
Dr. MacLeod: The financial implications are quite promising. A yearly contribution of up to £125,000 could revitalize local initiatives—from public art installations to community services. This could inspire a renewed cultural focus within Invergordon and surrounding areas, illustrating that heritage can directly impact current and future generations. The council’s investment in community projects could lead to a richer local culture, fostering a sense of pride and connection amongst residents.
ND3: how do you envision the future of the bust? Should the community continue to engage with its history and legacy?
Dr. MacLeod: Absolutely. Whether it’s through a replica or educational programs, maintaining a connection to the bust’s history is crucial. Engaging the community in discussions around local heritage encourages cultural stewardship. It’s essential to cultivate a deeper appreciation for such historical artifacts, as they are not just relics of the past but also a foundation upon which future cultural identity can be built.
ND3: Thank you, Dr. MacLeod, for enlightening us on the significance of the marble bust and the potential impacts of its sale.
The sale is subject to The Waverley Criteria, which determines if an object is a national treasure. The criteria include connections to British history, outstanding aesthetic importance, or significance for art and learning.
Sotheby’s has appraised the bust at £2.5 million. If the sale goes through, the funds could significantly benefit the community, contributing up to £125,000 a year to local projects, according to Councillor Maxine Smith.