Hew LorimerScotland's Silent Sculptor

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Published 31 January 2027

About this book

How the life and work of the stone carver Hew Lorimer became a vibrant expression of the culture and history of modern Scotland

  • Examines Hew Lorimer’s visual influences, from Pictish, Gaelic and Scottish symbolism to the Romanesque and Gothic traditions of Britain and France
  • Reinterprets Scottish architectural and art history through the overlooked perspective of sculpture
  • Explores Lorimer’s role in the conservation movement that preserved the burgh towns of Fife
  • Rebalances the story of the Lorimer dynasty by foregrounding the creative influence of the Wyld family
  • Uncovers the largely unexplored teaching culture of Edinburgh College of Art in the 1920s and 1930s

This first full account of the life and work of the sculptor Hew Lorimer RSA (1907–1993) places him squarely within profound social, religious and cultural change in twentieth-century Scotland.

In her revelatory study, Katharine Eustace draws on new primary material and combines illuminating biography with vivid art history. Eustace investigates Lorimer’s background and education, while exploring his association with collaborators and with many of Scotland’s leading cultural figures, some from fresh and surprising sources. Specially-commissioned photography, many of the works being recorded for the first time, highlights Lorimer’s exceptional achievement.

Lorimer has been under-appreciated and overlooked, but here his great public commissions, Scottish Beasties at Fasnakyle hydro-electric power station, Allegories for the National Library of Scotland, and Our Lady of the Isles on South Uist are examined in depth, giving full voice at last to Scotland’s silent sculptor.

Reviews

This is a timely and necessary tribute to one of Scotland’s greatest twentieth-century sculptors. Katharine Eustace combines a detailed knowledge of Lorimer’s life with a profound empathy for his work. The result is a book worthy of its subject.
Table of contents

Acknowledgements
Family Trees by Patric Dickinson
List of Illustrations
List of Abbreviations

Preface

Part 1: Dynasties and their Houses
1 ‘The house where I was born’
2 A House and its Family
3 The Wyld Side: and a Brush with Modernism

Part 2: An Education
4 Parental Training: A Paterfamilias
5 Schooling
6 A Step in the Right Direction: Edinburgh College of Art
7 The Right Direction: Sculpture under Alexander Carrick
8 With Eric Gill

Part 3: A Working Life
9 Early Patronage and the Importance of Lettering
10 Studio Practice and the Log Book
11 With Basil Spence at Broughton: A First and Last Commission
12 War and Peace

Part 4: The Great Commissions
13 Fasnakyle: The Beasties
14 The National Library of Scotland: The Allegories
15 South Uist: Bana Thighearna Nan Eilean – Our Lady of the Isles
16 A House with Many Mansions

Part 5: The Truce of Age
17 Men of Scotland
18 The Little Houses
19 And Gardens
20 Mary, Mistress of Kellie
21 ‘The stigma of being ticketed “local”’

Afterword
Bibliography
Index

About the author

Katharine Eustace

Katharine Eustace FSA, is an independent writer on British and European sculpture from 1500 to the present. She has had a long career in local authority, university and national museums and art galleries, always with a sculptural bias.
The numerous exhibitions she has curated, with benchmark catalogues, include Michael Rysbrack, Sculptor 1694–1770 (Bristol, 1982), Let’s Not Be Stupid – Richard Deacon (University of Warwick, 1992), and Canova: Ideal Heads (Ashmolean, 1995). From 2004 to 2014 she was editor of the Sculpture Journal. She is joint editor Sculpting Art History, Essays in Memory of Benedict Read (Public Monuments and Sculpture Association, 2018).
Eustace has been a member of the Royal Mint Advisory Committee and Arts Council England’s Acceptance-in-lieu Panel. She works with many public bodies, among them ArtUK’s sculpture programme and Art Detective. She writes widely on sculpture and its contexts in her book Britannia: Icon on the Coin (Royal Mint, 2016), essays on Lawrence Bradshaw's Karl Marx Memorial for the Henry Moore Institute/Whitechapel Art Gallery (2016), and reviews and articles in the Art Newspaper and the Burlington Magazine.