personifies for us both the splendour and sorrow of our sacrifice. Individually we may follow the fortunes of other units, but in the Fourth, the whole city finds glory in victory and grief in adversity,” he wrote. Artwork War artist While working for the newspapers Gray received a number of painting commissions of military subjects and some of his drawings were submitted to the newly created Imperial War Museum in September 1918. The Imperial War Museum bought seven and Gray was subsequently commissioned to paint a large oil based on one of his sketches, A Ration Party of the 4th Black Watch at the Battle of Neuve Chapelle 1915. In a letter in the War Artists’ Archive of the Museum, Gray described the real event upon which this painting is based, and provided a key showing the men he planned to depict. He explained that the appeal of doing such a composition is that it was part of a typical night operation which he himself had participated in many times, as well as being a great moment in a famous battle. Gray went on to paint several regimental commissions and he wrote to the Imperial War Museum many times requesting the loan of equipment to make his work ‘authentic.’ He wrote, “I will not do anything unreal or false… my pictures show the war as it was.” He refused to do anything in the ‘Romantic Lady Butler Woodville style’ since ...“most people want straight stuff.” The Highland Times of 23 September 1920 featured a photograph of Gray by his friend Andrew Paterson and reported on a recent painting, The 4th Seaforths at Neuve Chapelle. The newspaper wrote. "Here are shown no gay trappings, glittering swords, and noble horses, but plain, steadfast, unconquerable men, standing with their faces to the foe and grasping their fixed bayonets in the firm determination to win or die.” Gray's reputation grew and he executed war paintings for several regiments, including his own. In April 1922 the painting The 4th Black Watch Bivouac on the Night of the Battle of Neuve Chapelle was presented to the city of Dundee. Gray granted them the publication rights to the picture, and copies were sold with profits given to the Black Watch Memorial Homes at Broughty Ferry. Etchings and drypoints In the 1920s Joseph Gray and his family moved to Westbrook, Broughty Ferry, which had both a studio and