Gilbert Douglas, a West India merchant from Glasgow, left a legacy that intertwines the complexities of colonial enterprise, familial bonds, and acts of liberation. Born on May 28, 1749, Douglas played a prominent role in the transatlantic economy as the owner of multiple plantations, including the Mount Pleasant sugar plantation in St. Vincent and the Fairfield cotton plantation in Demerara. Though remembered for his wealth and social standing, a significant chapter of his life unfolded in March 1802 during a visit to St. Vincent.

While in St. Vincent, Gilbert Douglas took the extraordinary step of manumitting four of his illegitimate daughters, Charlotte, Eliza, and Jessy—born to an enslaved woman named Jenny—and Peggy, the daughter of another enslaved woman, Rosanna. Both Jenny and Rosanna had been enslaved on Douglas's estate in Monkton's Quarter, first named in its 1781 lease. Though records show that neither woman had children at that time, the births of the daughters followed shortly after.

Manumission, which involved the formal freeing of enslaved individuals, often came at a significant cost. For Douglas, the manumission price for his daughters amounted to £400, a considerable sum that underscores his determination to secure their freedom. This act was more than a financial transaction; it reflected a paternal acknowledgment of his offspring, albeit within the confines of a society structured by slavery and racial hierarchies.

Though Douglas is often noted for having died childless in 1807 (some records suggest 1810), this statement overlooks the lives of Charlotte, Eliza, Jessy, and Peggy. Their stories add a poignant dimension to his legacy, serving as a testament to the nuanced relationships formed within the brutal context of enslavement. By choosing to free his daughters, Douglas not only altered the course of their lives but also highlighted the human connections that could transcend oppressive systems, however limited by the societal norms of the time.

Today, Gilbert Douglas’s memory is preserved in various ways, including a plaque at St. Brides Collegiate Church in Bothwell, Lanarkshire. Yet, the liberation of his daughters in St. Vincent offers a crucial lens through which to understand his legacy—a reflection of both his privilege and his recognition of familial bonds within the framework of colonial oppression. Their freedom, secured through his actions, remains an enduring chapter of resilience and complexity amidst the history of slavery.

The Douglas collection, inherited by Cecilia Douglas from her husband Gilbert, was largely funded by profits from his West Indies estates. This notable collection of oil-on-canvas works, primarily created in the early 1800s, includes one Old Master, Still-life: Herring, Cherries and Glassware by Willem van Aelst, alongside three original pieces by 19th-century artists and several Old Master copies. Among these are View of the Roman Forum by Gaspare Gabrielli and two dramatic works by Vincenzo Camuccini: The Death of Julius Caesar and Roman Women Offering Their Jewellery in Defence of the State. Some pieces are thought to have been acquired or commissioned by Gilbert during a Grand Tour in the 1820s.
In recent years, the collection—along with a stained glass window in Glasgow Cathedral that was associated with the family—has come under scrutiny due to its links to the proceeds of slavery. As a result, these artworks have been removed from public display and are now held in storage. This reflects a growing reassessment of historical legacies tied to colonialism and enslavement.