National Galleries of Scotland: Publications catalogue 2015 by National Galleries of Scotland

Publications

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100 Masterpieces: National Galleries of Scotland Sir John Leighton

280 X 240MM | 240PP | MAY 2015 150 COLOUR ILLUSTRATIONS 978 1 906270 01 8 | £24.95 PAPER 978 1 906270 73 5 | £35 HARDBACK

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LEIGHTON

J O HN L E IG HTO N

National Galleries of Scotland 15/04/2015 22:05

26 JOhn cOnstaBle (1776–1837) The Vale of Dedham, 1827–8

The setting for this imposing landscape is the region now known as ‘Constable country’, the area in Suffolk where the artist was raised and which occupied his interest throughout his career. The view is taken from what was then called Gun Hill, looking along the Stour Valley and the meandering river, past the church at Dedham and out towards the Stour estuary with Harwich in the distance. Constable first painted this scene in a smaller picture of 1802 at the beginning of his career. Earlier that same year he had resolved to become what he described as a ‘natural’ painter and to base his art on the close study of nature. Yet although he did make many drawings and studies outside, working directly from his surroundings, he was also inspired by the example of past art. The vertical composition that he used for his earlier study and which he reuses in this later work was inspired by a painting by Claude, Landscape with Hagar and the Angel, 1646, which was then in the possession of his friend and patron Sir George Beaumont. As with his other large-scale paintings, The Vale of Dedham would have been produced in the studio, using earlier studies and drawings as source material. However, the effects of light and atmosphere in the finished painting are utterly convincing. Constable worked hard to preserve the sparkle of his outdoor sketches, using palette knives and his fingers as well as brushes to create an array of textures and vivid effects. When the painting was shown at the Royal Academy in 1828, one reviewer marvelled at the evocation of the weather; ‘A shower has apparently just passed over … a few flitting clouds throw their flickering light and shades over the country.’ From the

Oil on canvas, 145 x 122 cm Purchased with the aid of the Cowan Smith Bequest and the Art Fund, 1944 [ng 2016]

The National Galleries of Scotland comprises three galleries: the Scottish National Portrait Gallery, Scottish National Gallery of Modern Art and the Scottish National Gallery. Together these galleries house one of the finest collections of art to be found anywhere in the world, ranging from the thirteenth century to the present day. Many of the greatest names in Western art are represented by major works, from Titian, Rembrandt and Vermeer through to Picasso, Hockney and Warhol. This lavishly illustrated book contains 100 of the National Galleries of Scotland’s greatest and best-loved treasures. The selection made by the Director-General Sir John Leighton is intended to evoke the special character of the collection at the National Galleries with its distinctive interplay between Scottish and international art as well as the many conversations that it establishes between the art of the past and the present. Sir John Leighton is Director-General of the National Galleries of Scotland. He was formerly Director of the Van Gogh Museum in Amsterdam and Curator of nineteenth-century paintings at the National Gallery in London. He is the author of numerous publications and exhibition catalogues on nineteenth-century art.

foreground where a gypsy mother tends her child by a smoking campfire, to the villages in the distance, we can lose ourselves in countless details which are rendered accurately enough for historians to identify particular buildings, bridges and other features in the landscape. But the whole picture is pulled together by the energetic handling of paint and the bold contrasts of light and shade which add depth and grandeur to the composition. Over the years, Constable returned to the subject of Dedham Vale many times in drawings, sketches and paintings. But our painting is his last and most ambitious rendering of a motif that evidently carried many layers of memories and associations for the artist. Shortly before Constable began work on this picture, his great friend Sir George Beaumont had died, gifting his treasured Claude of Hagar and the Angel to the newly founded National Gallery in London. By re-creating his study of Dedham Vale of 1802, Constable is not only referencing his own personal journey as a ‘natural’ painter but also paying homage to his friend and to a classical landscape tradition that they both admired and found exemplified in Claude’s work. The fusion of observation with memory, fired with emotion and filtered through the lens of past art, results in one of Constable’s greatest pictures. We can surely agree with the painter’s own verdict when, writing to his friend Archdeacon Fisher, he described this picture as ‘perhaps my best’.

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95 gerhard richter (B.1932) Abstract Painting (Abstraktes Bild), 1994

Many of Richter’s works of the 1960s and early 1970s were figurative, based on photographs that he had either taken himself or had found in magazines, books or the mass media. From the mid-1970s, abstract painting became more predominant although he continued to work in realist styles and to explore innovative constructions using mirrors or panes of glass. With its vibrant colour and lively surface, the painting selected here is a superb example of Richter’s production in the 1990s. As in many of his abstract pieces of this period, the picture results from an almost mechanical process that owes as much to chance as to design. Richter manipulated his oil paint with a large, broad squeegee, using this tool to add and

Oil on canvas, 230 x 204.8 cm artist rOOms, National Galleries of Scotland and Tate. Acquired jointly through the d’Offay Donation with the aid of the National Heritage Memorial Fund and the Art Fund, 2008 [ar00027] The artist rOOms collection includes an important group of paintings, sculpture and constructions by Gerhard Richter providing a fascinating encounter with the diverse and complex art of this great modern master. Richter was born in Dresden where he trained at the Academy and worked briefly as a mural painter. He moved to West Germany in 1961, just before the construction of the Berlin Wall, and enrolled in the Academy in Düsseldorf where he quickly became part of the circle of young talent that emerged there and in nearby Cologne in the 1960s. Although Richter engaged with various new tendencies including conceptual and performance art as well as Pop Art, his focus remained on the time-honoured medium of painting. Over the ensuing decades he continued a systematic and rigorous exploration of the processes of painting, generating an abundant output that can range from photographic realism to the most uncompromising abstraction and take the form of the subtlest exercises in monochrome or the most intense colour, with every variation in between. Often pitched against prevailing fashions and trends, Richter has worked to reaffirm the status and relevance of the act of painting, viewing it as ‘one of the most basic human capacities’. In 1992 he concluded an interview with the remark: ‘All I know is that painting is useful and important, like music and art in general … painting is an indispensable necessity of life.’

scrape off paint and allowing the colours to blend and smear, mix and blur in unpredictable ways as the picture evolved. The tracks of the squeegee’s blade are clearly visible in the vertical bands which move across the composition from left to right. Despite its apparent vigour and spontaneity, a picture like this will have been carefully developed through numerous successive states so that the final result is a rich amalgam of colour with previously erased layers glinting through to the final surface. The luscious greens mingling with vivid yellows, punctuated here and there by traces of blue, are vaguely suggestive of landscape elements, while the evidence of creation and destruction in the paint layers also invites parallels with organic or natural processes.

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1 BernardO daddi (aBOut 1300–1348) Triptych, 1338

Tempera, silver (tarnished) and gold on panel; wings 58 x 15.5 cm (left); 57.7 x 15.2 cm (right); centre 53.5 x 28 cm (inside mouldings) Purchased 1938 [ng 1904] The first painting in this selection entered the collection of the Scottish National Gallery in 1938, precisely 600 years after it was made. It has survived through more than six centuries to remain in remarkably good condition and, with its exquisite craftsmanship and direct rendering of emotion, this Triptych is among the most compelling early Italian pictures in the collection. An inscription on the base gives us its exact date of 1338 and experts agree that the artist was Bernardo Daddi who ran a large and successful workshop in Florence, specialising in this kind of portable altarpiece as well as larger-scale works. With its wings closed, it could be moved easily; with the wings open, the triptych could be used for private devotion or set up in a small chapel, perhaps in a monastery or convent. Daddi is thought to have trained with Giotto, the leading artist in Florence in the early fourteenth century. Giotto introduced a more naturalistic approach to his subjects with solid figures, modelled in real light, who appear to exist in a convincing space. Daddi’s style combined elements of Giotto’s innovative approach with a more traditional emphasis on flat pattern and decoration. The artist delighted in finely wrought detail and in exquisite ornament, incorporating precious metals and expensive pigments into his work. Like Giotto, however, he was concerned to introduce a variety of gesture and real emotion into his work; in the central scene of the Triptych, it is

hard not to be moved by the swooning Madonna, the passionate grief of the red-cloaked Mary Magdalene or details such as the rivulets of blood that run down the length of the cross to gather in a pool at its base. In Florentine art of this period it is rare to have the Crucifixion as the centrepiece with the Madonna and Child displaced to the wings. Here, a Nativity occupies the larger part of the left-hand shutter and the Madonna enthroned and surrounded by saints is shown on the opposite wing. The choice of subject matter probably reflects the concerns of a private patron rather than the whims of the artist. As our eyes move across the surface, we are drawn

to the tiny scene in the upper left shutter depicting the Martyrdom of Saint Peter (who was crucified upside down). Again we see Daddi’s ability to convey narrative with expressive details such as the figure using his foot to pin down the saint’s arm while he nails him to the upturned cross. On the opposite shutter, there is an unusual rendering of Saint Nicholas, the prototype for the modern Santa Claus. According to legend, the saint saved the daughters of an impoverished nobleman from prostitution by donating money for their dowries. Saint Nicholas passes a ball of gold through the window of a room where the three daughters lie sleeping near their distressed father.

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12 diegO Velázquez (1599–1660) An Old Woman Cooking Eggs, 1618

Oil on canvas, 100.5 x 119.5 cm Purchased with the aid of the Art Fund and a special Treasury Grant, 1955 [ng 2180] Velázquez was still a teenager when he painted this captivating work. It is dated 1618 which means that it was made shortly after he had completed his apprenticeship in his native Seville. The astonishing and utterly convincing realism is nothing like the dry and unimaginative painting of his teacher, Francisco Pacheco, and there seems little doubt that this picture was a very deliberate showpiece for the young artist, a public demonstration of his skill and a declaration of his artistic emancipation. An Old Woman Cooking Eggs is one of a small group of paintings known as bodegones (from the Spanish bodega for a cellar or inn) which were naturalistic kitchen or tavern scenes with prominent still lifes. There were artistic precedents for such humble, low-life subjects in northern European art which Velázquez could have known through engravings. There is also a parallel in contemporary Spanish novels which frequently depicted roguish heroes in everyday settings. One of the most popular of these, Mateo Alemán’s picaresque novel Guzmán de Alfarache, recounts the adventures of a young street urchin and includes a passage describing an old woman cooking eggs. But whichever artistic or literary sources form the context for this work, it is the sheer dazzling skill of the young painter that seems to be the real subject. The composition thrusts the objects forward out of the shadow, each one demanding our attention in turn; rough and smooth, warm and cold, hard and soft, metal and earthenware, the picture is a catalogue of contrasting

textures and materials, running across the full range of our sense of touch. Velázquez would soon move permanently to Madrid as court painter to the young King Philip iV of Spain. His portraits of the royal family and other members of the Spanish court and aristocracy are renowned for their humanity and psychological insight. In this painting, the old woman and the young boy were certainly painted from life but they do not interact and are devoid of expression or emotion. The human presence here is entirely upstaged by the tour de force at the centre of the composition which is the rendering of the eggs frying in a

terracotta pot. Velázquez is said to have declared that he would rather be the first painter of common objects than the second in higher things. Illustrating his point, it could be argued that this pair of humble egg yolks, surrounded by thickening whites just starting to cook, is one of the most arresting pieces of painting in the entire collection of the Scottish National Gallery.

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Daubigny Monet Van Gogh

Forthcoming

Daubigny Monet Van Gogh Impressions of Landscape

Daubigny, Monet, Van Gogh: Impressions of Landscape Michael Clarke, Frances Fowle, Lynne Ambrosini, Maite van Dijk, Nienke Bakker and René Boitelle 265 X 245MM | 176PP | JANUARY 2016 140 COLOUR ILLUSTRATIONS 978 1 906270 86 5 | £24.95 PAPER

This book reassesses the French nineteenth-century landscape artist Charles-François Daubigny (1817–1878) and his influence on the Impressionists, especially Monet and Van Gogh. Daubigny helped to shape Impressionism through his working practice: routinely painting outdoors, often from his studio boat; exploring new subjects and unexpected viewpoints; and developing a radically ‘unfinished’ style and a brighter palette. 4

He supported the Impressionists at the Paris Salons and introduced both Monet and Pissarro to the art dealer Paul DurandRuel. He moved towards a more subjective interpretation of nature in his later sunsets and nocturnes, inspiring not only Monet, but Vincent van Gogh, who spent the last two months of his life close to Daubigny’s home and studio at Auvers-sur-Oise. The book accompanies a touring exhibition which following its showing at the Taft Museum of Art, Cincinnati, USA from 19 February to 26 May 2016 will visit the Scottish National Gallery, Edinburgh from 25 June to 2 October 2016, and finally the Van Gogh Museum in Amsterdam from 21 October 2016 to 29 January 2017.

Modern Scottish Women: Painters and Sculptors 1885–1965 Edited by Alice Strang 265 X 245MM | 144PP | NOVEMBER 2015 100 COLOUR ILLUSTRATIONS 978 1 906270 89 6 | £18.95 PAPER

This revelatory book concentrates on Scottish women painters and sculptors from 1885, when Fra Newbery became Director of the Glasgow School of Art, until 1965, the year of Anne Redpath’s death. It explores the experience and context of the artists and their place in Scottish art history, in terms of training, professional opportunities and personal links within the Scottish art world. Celebrated painters including Joan Eardley, Margaret Macdonald Mackintosh

and Phoebe Anna Traquair are examined alongside lesser-known figures such as Phyllis Bone, Dorothy Johnstone and Norah Neilson Gray, in order to look afresh at the achievements of Scottish women artists of the modern period. The book accompanies an exhibition to be held at the Scottish National Gallery of Modern Art Two, from 7 November 2015 to 26 June 2016. Alice Strang joined the National Galleries of Scotland in 1999 where she is now a Senior Curator at the Scottish National Gallery of Modern Art. She has curated many key touring exhibitions and contributed to accompanying publications. These include Consider the Lilies: Scottish Painting 1910–1980 (2006) and the Scottish Colourist series (F.C.B. Cadell, S.J. Peploe and J.D. Fergusson) (2010–14).

MODERN SCOTTISH WOMEN PAINTERS & SCULPTORS 1885–1965

Arthur Melville Kenneth McConkey and Charlotte Topsfield 265 X 245MM | 120PP | OCTOBER 2015 80 COLOUR ILLUSTRATIONS 978 1 906270 87 2 | £16.95 PAPER

Arthur Melville (1855–1904) was arguably the most innovative and modernist Scottish artist of his generation and one of the finest British watercolourists of the nineteenth century, yet he avoided categorisation. It was in 1943 that the Scottish Colourist John Duncan Fergusson could confess that although they never met, ‘his work opened up to me the way to free painting – not

merely freedom in the use of paint, but freedom of outlook’. This book offers a comprehensive survey of Arthur Melville’s rich and varied career as artist-adventurer, Orientalist, forerunner of the Glasgow Boys, painter of modern life and re-interpreter of the landscape of Scotland. His travels inspired spectacular watercolours and paintings. This book illustrates around sixty of his works, each with a catalogue entry, and an essay by Kenneth McConkey, which discusses his art and career. It accompanies a landmark monographic exhibition, the first devoted to the extraordinary art of Arthur Melville for over thirty-five years.

ARTHUR MELVILLE 6

W I N I Strang FRED NICHOLSON Alice

I N SCOTLAN D

her longILLUSTRATIONS career, This is the place after my heart … 28 Throughout COLOUR Not a tree, not a bush. But grey

radiance in her work and is best known for her sensitive and joyful flower paintings. In  she married Ben Nicholson and their mutually influential artistic relationship lasted, despite separation, until Winifred’s death in . During the s, Winifred made regular working trips to Scotland, often with the poet, Kathleen Raine. They frequently stayed at Sandaig on the west coast and in the Western Isles. This book, based on personal correspondence and the recollections of relatives, friends and painting partners, examines Winifred’s love of Scottish landscape and her fascination with the quality of light created by the everchanging weather conditions.

grey mountains. And bog in between – In the bog, lochs with

and rareWinifred ferns that love Throughout her longwaterlilies, career, the black peaty soil – The sea full of grey mysterious islands and Nicholson (1893–1981) was concerned rocks, seals and seabirds. White beaches and transparent with capturing light,glistening colour and radiance sea all the way across to Eriskay. Blue mountains of Barra to the in her work and is best known for west – and the Cuillins far awayher snow covered to the south. sensitive and joyful flower paintings. In 1920 she married Ben Nicholson and their mutually influential artistic relationship lasted, despite separation, until Winifred’s death in 1981. During the 1950s, Winifred made regular working trips to Scotland, often with the poet, Kathleen Raine. They frequently stayed at Sandaig on the west coast and in the Western Isles. This book, based on personal correspondence and the recollections of relatives, friends and painting partners, examines Winifred’s love of Scottish landscape and her fascination with the quality of light created by the ever-changing weather conditions. Winifred Nicholson writing to her son Andrew from South Uist in 

NATIONAL GALLERI ES OF SCOTLAN D

I S BISBN N 1978 9 0 31 2906270 7 8 4 0906 2

WINIFRED NICHOLSON I N SCOTLAN D

galleries of scotland

Winifred Nicholson was concerned

light, colour boulders, grey rocks, grey stones, 978with1 capturing 906270 90 and 2 | £9.99 HARDBACK

Winifred Nicholson in Scotland · national

195 X 175MM | 64PP | REPRINTED JULY 2015

alice strang ·

Nicholson

Winifred Nicholson in Scotland

9 78 1 906 270902

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DUMFRIES AND GALLOWAY Living in a house built on Hadrian’s Wall, Winifred was constantly aware of the proximity of Scotland. Every time she left her home to travel west towards Carlisle she could see the Scottish hills across the Solway Firth, and they appear in the background of a number of her Cumbrian landscapes. She made frequent day trips to paint in neighbouring Dumfries and Galloway, to the Borders and was particularly fond of the Galloway coast. Winifred is likely to have painted Stranraer Bronze Age Circle [plate ] on such a day trip. Its subject has been identified as the stone circle at Torhousekie, just west of Wigtown.²⁶ She was deeply interested in prehistory and was drawn to archaeology as the product of an ancient civilisation whose thought was visual rather than literary.²⁷ Kathleen recalled: ‘Megalithic stones fascinated her, in part for their “story” of a primitive human life close to the earth; but also for the shaping and placing of them, combining strength with the kind of free fluidity of line she herself knew so well how to create.’²⁸ Winifred made extended visits to other parts of Scotland which are not discussed here. For example, she painted at least one other stone circle while working in Orkney during the summer of . However, despite their archaeological sites she was not attracted to the ordered prosperity of the islands and felt that they lacked the creativity of the Western Isles. She explained in a postcard to Jane Harrison, Jake’s future wife: ‘[They] are very modern and prosperous with the most up-to-date chicken farms, happy hard working people but with no music or crafts.’ 20 Stranraer Bronze Age Circle 1950s

Oil on canvas · 51 x 76cm · Private Collection

Nicholson ok

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Nicholson ok

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New

The Amazing World of M. C. Escher

The Amazing World of M.C. Escher Micky Piller, Patrick Elliott and Frans Peterse

reserved judgement; in short, his work is ripe for rediscovery and reappraisal. This catalogue accompanies a major exhibition – the largest ever held in the U K – of nearly 100 of Escher’s greatest works.

220 X 245MM | 144PP | JUNE 2015 80 COLOUR ILLUSTRATIONS

[ 67 ] Contrast (Order and Chaos), February 1950 Lithograph, 28 x 28 cm

978 1 906270 88 9 | £19.95 PAPER

The Dutch artist M.C. Escher (1898–1972) created some of the most celebrated and extraordinary images in twentieth-century art, yet he remains an elusive figure. In the 1960s, when his reputation sky-rocketed, he was championed on the one hand by leading mathematicians who admired his grasp of geometry, and on the other by hippies who claimed him as the godfather of psychedelic art. Rock stars and teenagers were equally amazed by Escher’s ingenuity and imagination, yet the art world looked upon him – and still looks upon him – with 8

In the centre of Contrast (Order and Chaos) we see a perfectly symmetrical spatial figure: a stellated dodecahedron45 merged with a glass sphere and surrounded by broken and crumpled cast-off objects representing chaos. In April 1950, two months after Escher made this lithograph, he wrote to the artist Oey Tjeng Sit (1917–1987) about the difference between making prints and making drawings on paper. In his correspondence with the younger man, he made a number of comments about order and chaos. Although they concern his art, his remarks also seem to refer directly to his desire for order and to this print in particular: ‘The limitations imposed by printmaking techniques (and, probably more than any, the woodcut) are also unknown to the artist who makes drawings.’ He went on to assert that the printmaker: Perhaps even chooses this art form because he deliberately wants to set certain boundaries, because he chooses discipline above the temptation of multiplicity, of chaos. Though simplicity and order are perhaps not the primary guiding principles for mankind in general, they are certainly important. The desire for simplicity and order helps us to endure and inspires us in the midst of chaos; chaos is the beginning, order is the conclusion. […] order is the repetition of elements, chaos is profusion without rhythm.46 FP

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111

[ 61 ] Study for Drawing Hands, 1948

[ 62 ] Drawing Hands, January 1948

Pencil, 19.3 x 25.8 cm (image)

Lithograph, 28.2 x 33.2 cm

Escher was left-handed. In the drawing (cat.61) he depicts his free right hand drawing. In the lithographic version – one of Escher’s most celebrated and economically paradoxical works – he shows a right hand drawing a left hand (and vice versa). Just as in Reptiles (cat.45), in which a two-dimensional lizard emerges out of the flat paper and seemingly escapes into the three-dimensional world, so here the hand breaks free from the confines of the drawn sheet, and draws another version of itself. The lithograph is dated January 1948 while the drawing is marked ‘I I –48’, suggesting that it was done in February; if so, it was done after the lithograph. PE

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The Printmaker’s Art

The Printmaker’s Art Hannah Brocklehurst and Kerry Watson

Scottish National Galleries to illustrate and explain the mysteries of relief and intaglio printing, lithography, screenprint, photomechanical and digital processes.

200 X 220MM | 96PP | APRIL 2015 60 COLOUR ILLUSTRATIONS 978 1 906270 75 9 | £14.95 PAPER

The print collections of the National Galleries of Scotland reveal a diverse and dazzling variety of different techniques and approaches to printmaking. From exquisite copperplate engravings by the old masters to woodblocks cut on kitchen tables, this book examines key works by artists from Dürer to Warhol and beyond, giving readers an introduction to printmaking as an art form and an understanding of the different working methods and materials. Through technical summaries and featured examples, The Printmaker’s Art draws on the print and archive collections of the

One Relief printmaking processes use a printing block or plate (the matrix) from which the design to be printed stands proud – in relief. Usually areas of the matrix are cut away so that only the design remains at the original surface level and will receive the ink. In some instances, rather than cutting away the background, the relief design is created by building the surface upwards. Ink is applied to the raised design which is pressed onto another surface, usually paper, to create the printed image, which will appear in reverse of the original. Since the recessed or cutaway areas of the matrix do not receive ink, they appear white on the printed image. Common relief printing methods include woodcut, linocut and wood engraving. Even the potato print and rubberstamp represent basic forms of relief printmaking. Relief is by far the oldest method used to make a print. In Western Europe relief prints on paper were made as early as the fourteenth century, often designed in tandem with text as a cheaper alternative to illuminated manuscripts. Albrecht Dürer and other Northern European artists of the early sixteenth century elevated the status of the relief print to an important art form. A relief matrix can be made out of 16 witches 16 tHE pRINtmakER’S & wicked bodies aRt

Relief Processes any number of different materials; most commonly used are wood and linoleum (lino), but metals, plastics, clay, cardboard and even found objects can be used as long as the surface is rigid enough. The degree of intricacy of design will be partly dependent on the strength of the material used – metal, for example, generally allows finer detail than wood or lino. For printing, special inks made with pigment, sticky burnt oils and varnishes are used. The ink is applied to the relief areas using a dabber or roller, so that there is enough ink to capture all the subtle details without clogging fine portions of the design. The image can then be transferred by laying the paper (or other support such as textile) in contact with the inked surface and applying pressure by hand and rubbing the reverse side of the paper with a hard rounded surface, such as a wooden spoon or a clean roller, or by using a press. All forms of relief print exhibit the same basic characteristics or identifiers. As with all prints made using techniques which involve the transfer of ink from surface to surface (as opposed to, for example, screenprinting and stencilling processes), the printed image will be a reverse of that on the original matrix. Sometimes

the edges of the printed areas will show a build-up of ink, or rim, caused by the pressure which is applied in the process of transferring the ink from the block. This pressure also causes the lines of the design to be impressed a little below the surface of the paper, so that in some cases embossing is visible on the back of the sheet.

Fig.6 | Two boxwood blocks engraved by Eric Gill 1882–1940 Oak Leaf 2.3 x 2.3 x 2.3 cm · W 2.3 x 2 x 1.4 cm Archive Collection, Scottish National Gallery of Modern Art

tHE pRINtmakER’S aRt

Claude Mellan 1598–1688 Head of Christ: The Sudarium or Veil of St Veronica, 1649 Engraving on paper · 42.8 x 31.5 cm Provenance unknown · p 5980

Mellan was noted for his outstanding technical ability and was one of the leading engravers of his time. This print was made as a showpiece to demonstrate his famed virtuosity as a printmaker. The entire image – Christ’s face, the lettering below and background – has been cut into the plate using one single, unbroken engraved line. The line spirals from the centre of the plate at the tip of Christ’s nose, out to the edges. Modelling is achieved entirely from contours created by the changing width of the line cut by the burin and by variations in the tightness of the spiral at different points. The text reads: fORmatVR VNICVS VNa (‘the one formed in one’), a play on words referring to both the single line of the engraving, the veil and Christ himself. The subject is the image of Christ’s face as it miraculously appeared on Veronica’s veil after she wiped his brow. The veil is a famous example of an Acheiropoieton, meaning ‘not made by hand’ and alleged to have been formed miraculously. In his choice of subject, Mellan is suggesting that his technically astonishing print is similarly remarkable. 42

tHE pRINtmakER’S aRt

INtaGLIO pROCESSES

The Two Roberts: Robert Colquhoun & Robert MacBryde Patrick Elliott with Adrian Clark and Davey Brown 265 X 245MM | 120PP | NOVEMBER 2014 90 COLOUR ILLUSTRATIONS 978 1 906270 74 2 | £14.95 PAPER

Robert Colquhoun (1914–1962) and Robert MacBryde (1913–1966) were among the most fascinating and important artists of the post-war period in Britain. Gay, working-class Scots from Ayrshire, they electrified the London art-scene in the 1940s, holding sell-out shows and attracting international interest. Francis Bacon, Lucian Freud, Wyndham Lewis

THE TO ROBERTS Robert Colquhoun & Robert MacBryde 10

and Dylan Thomas, counted among their close friends; Sir Kenneth Clark, Sir Colin Anderson and Sir John Rothenstein, Director of the Tate Gallery, were among their most avid supporters. Yet within a decade they were penniless and they died all but forgotten. Their extraordinary lives have threatened to overshadow their art, but this publication brings their work back to centre stage. The first fully illustrated study of ‘The Two Roberts’, as they became known, it is full of new, unpublished information, and is essential reading for anyone interested in post-war British art.

john byrne sitting ducks

Sitting Ducks

Botticelli to Braque Masterpieces from the National Galleries of Scotland

John Byrne: Sitting Ducks John Byrne, Gordon Brown and Julie Lawson

Botticelli to Braque: Masterpieces from the National Galleries of Scotland

245 X 200MM | 64PP | JUNE 2014

Edited by Michael Clarke

35 COLOUR ILLUSTRATIONS 978 1 906270 82 7 | £12.95 PAPER

John Byrne is one of Scotland’s most prolific and accomplished artists. This book celebrates his contribution to the art of portraiture and includes a varied selection of drawings, paintings and multimedia works from across his career. The works illustrated demonstrate the brilliant draughtsmanship and versatility that he has brought to the genre. They not only represent some of his finest artistic achievements, but also celebrate some of his warmest relationships, being for the most part portraits of his friends and family.

280 X 225MM | 136PP | NOVEMBER 2014 72 COLOUR ILLUSTRATIONS 978 1 906270 77 3 | £12.95 HARDBACK

This book highlights fifty-five outstanding masterpieces from the National Galleries of Scotland. The works range in date from the Renaissance to the twentieth century and include many of the most famous names in the history of Western art. Artists represented include Botticelli, El Greco, Velázquez, Rembrandt, Van Dyck, Monet, Degas, Sargent and Picasso. In addition, the major figures of the national school, Ramsay, Raeburn and Wilkie, lend a distinctly Scottish flavour to this exceptional s election. All of the paintings are fully illustrated and described in this catalogue authored by the curatorial staff of the Galleries. 11

Over the last twenty-five years Scotland has had a growing reputation as an international centre of artistic innovation and experiment for the visual arts. The GEN ER ATION Guide forms the first comprehensive overview of the art of the period. It includes Turner prize winners Douglas Gordon, Simon Starling and Martin Boyce and 2014 nominees Duncan Campbell and Ciara Phillips. The GEN ER ATION Reader, edited by Moira Jeffrey, provides the first collection of key documents from the period including essays, critical writing and artists’ own texts, and offers a guide to the ideas, events and debates that shaped a generation.

Witches & Wicked Bodies Deanna Petherbridge 220 X 245MM | 128PP | JULY 2013 87 COLOUR ILLUSTRATIONS 978 1 906270 55 1 | £ 14.95 PAPER NATIONAL GALLERIES OF SCOTLAND IN ASSOCIATION WITH THE BRITISH MUSEUM, LONDON

Witches & Wicked Bodies provides an innov ative, rich survey of images of European witchcraft, from the fifteenth century to the present day. It focuses on the representation of women and the enduring stereotypes they embody, ranging from hideous old crones to beautiful young seductresses. Such imagery has ancient precedents and has been repeatedly re-invented by artists over the centuries. Deanna Petherbridge introduces this fascinating subject and includes insightful catalogue entries on each of the exhibited works; the works primarily feature drawings and prints as well as a group of important paintings, all from British collections. A wide range of artists are represented including Dürer, Cranach, Goya, Fuseli, Blake, Burra, Sherman and Rego.

The Art of Golf Michael Clarke and Kenneth McConkey 235 X 195MM | 72PP | JUNE 2014 60 ILLUSTRATIONS 978 1 906270 67 4 | £12.95 PAPER

American Impressionism: A New Vision 1880–1900 Katherine M. Bourguignon, Frances Fowle and Richard Brettell 295 X 245MM | 160PP | MARCH 2014 125 COLOUR ILLUSTRATIONS 978 0 300 206104 | £20 PAPER PUBLISHED BY THE NATIONAL GALLERIES OF

The Art of Golf illustrates how the noble game has been depicted in European art from the seventeenth century to the present day. This fascinating history is told by images in a variety of media, from paintings and prints to photographs and travel posters. The centrepiece is The Golfers, 1847, by Charles Lees, which depicts a match played on the Old Course at St Andrews and the greatest of all golfing paintings. In his essay, Michael Clarke outlines the story behind the development of the game while art historian Kenneth McConkey discusses the marvellous series of paintings of golf at North Berwick and its environs made by Sir John Lavery in the years following the Great War.

SCOTLAND AND HAZAN, FRANCE TRADE ENQUIRIES YALE UNIVERSITY PRESS T he ArT of Gol f Clarke and McConkey

The story of American Impressionism begins with Mary Cassatt and John Singer Sargent, who worked alongside their French colleagues and helped shape the avant-garde trends of their time. Along with other American artists less familiar to European audiences, such as William Merritt Chase, Childe Hassam, Edmund Tarbell and John Henry Twachtman, they were highly trained, cosmopolitan painters who sought inspiration both at home and abroad. Through several insightful essays American Impressionism offers a fresh exploration of the beginning of an American engagement with Impressionism on both sides of the Atlantic.

Children’s Publication An Arty Adventure: Around the National Galleries of Scotland Eilidh Muldoon 230 X 230MM | 28PP WITH FOLDOUT ILLUSTRATIVE MAP | OCTOBER 2015 BLACK AND WHITE ILLUSTRATIONS 978 1 906270 92 6 | £7.95 HARDBACK

Eilidh Muldoon (Muldoodles) is an Edinburgh-based illustrator and designer. Much of her work is inspired by the iconic buildings and streets of the city. This beautiful colouring and drawing book takes us on a journey through Edinburgh visiting each of the three National Galleries of Scotland. Intricately illustrated and decorative, there are drawings to complete, colour and embellish, and paintings and sculptures from the National collection to be discovered! Enjoyable for all ages.

Selected Backlist Louise Bourgeois: A Woman without Secrets Anthony d’Offay and Lucy Askew 265 X 215MM | 104PP | OCTOBER 2013 100 COLOUR ILLUSTRATIONS 978 1 906270 17 9 | £14.95 HARDBACK

Louise Bourgeois (1911–2010) is one of the most significant and influential figures in modern and contemporary art whose diverse practice has challenged conventions and captured the imagination of audiences around the world. This publication focuses on an outstanding collection of sculptures, works on paper and fabric pieces by the artist now on loan to the national A RTIST ROOMS collection. It also illustrates important sculptures and works on paper from Tate, The Easton Foundation and private collections to offer insights into the practice of this most distinguished artist.

artist rooms

Louise Bourgeois A womAn without secrets

John Bellany Keith Hartley with Alexander Moffat, John McEwan and Paul Bellany 265 X 245MM | 112PP | AUGUST 2012 88 COLOUR ILLUSTRATIONS 978 1 906270 52 0 | £ 14.95 PAPER

John Bellany helped change the course of painting in Scotland. His intensely felt images of fisherfolk and their precarious life at sea were a direct challenge to the much diluted Scottish Colourist tradition and were at odds with the decorative, drawing-room pictures of much contemporary Scottish painting in the 1960s. This book illustrates works from the key periods of the artist’s career. Beginning with the celebrated, large-scale paintings of fishermen and their boats from the mid-1960s; through the darker, harrowing pictures of the early 1970s and 1980s which seem to explode and disintegrate as Bellany battled with his inner demons; to the richly-coloured allegorical paintings that the artist produced latterly, which show a renewed vigour and optimism. 15

J.D. Fergusson

S.J. Peploe

Alice Strang, Elizabeth Cumming and Sheila McGregor 265 X 245MM | 128PP | NOVEMBER 2013

Alice Strang, Elizabeth Cumming and Frances Fowle with a preface by Guy Peploe

90 COLOUR ILLUSTRATIONS

265 X 245MM | 112PP | OCTOBER 2012

978 1 906270 62 9 | £14.95 PAPER

Mr Fergusson is the most stimulating and intriguing of this group of modern Scotsmen – so wrote the art critic P.G. Konody about J.D. Fergusson, one of the four artists collectively known as ‘the Scottish Colourists’. Fergusson is most celebrated for depictions of the female form, but he also painted landscapes in England, France and Scotland that were of great significance and exhibited sculptures for over thirty years. On the outbreak of the Second World War, he settled in Glasgow, where he did much to galvanise the Scottish arts scene. This book includes essays which offer a fascinating new insight into a Scottish artist of international standing. This publication reasserts the artist’s place as a key figure in twentieth-century art. 16

88 COLOUR ILLUSTRATIONS 978 1 906270 51 3 | £ 14.95 PAPER

Peploe was the eldest and most successful – commercially and critically – of the group known as ‘the Scottish Colourists’ and it was his friendship with the others which bound them together. Influenced by direct contact with recent developments in French painting before the First World War, Peploe is most celebrated for his still lifes. However, of equal significance are the Scottish and French landscapes that he painted throughout his career, usually en plein air and frequently of his beloved Iona. This book offers a fascinating insight into a painter whom many consider to be one of the most important modern Scottish artists and whose career was unusual for its persistent experimentation with theory, style and technique.

JOAN EARDLEY

From Death to Death and other Small Tales: Masterpieces from the Scottish National Gallery of Modern Art and the D.Daskalopoulos Collection Keith Hartley, Lucy Askew and Richard Flood 265 X 215MM | 152PP | MARCH 2013 100 COLOUR ILLUSTRATIONS 978 1 906270 57 5 | £ 19.95 HARDBACK

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Joan Eardley was one of the best loved Scottish artists of the twentieth century. Her observations of children in the back streets of Glasgow as well as her expressionistic drawings and oils of the elements on the north-east coast of Scotland have caught the imagination of the Scottish public. Eardley is cherished as a painter of the Scottish identity in both town and country, who had a unique ability to sum up a community and the timeless drama of the natural world. This book examines Eardley’s oeuvre and its place in the international and British context. It includes paintings and drawings from private collections, which have not been seen for many years, and works from the collection of the Scottish National Gallery of Modern Art.

978 1 906270 76 6 | £14.95 PAPER

100 ILLUSTRATIONS

265 X 245MM | 96PP | REPRINTED 2014

Fiona Pearson with an essay by Sara Stevenson

Ca ta Wi lo nn A gu e N e ro D ft P R at O the he D B B

Joan Eardley

This book brings together works from one of the most important private collections of modern and contemporary art, the D.Daskalopoulos Collection, with key pieces from the Scottish National Gallery of Modern Art. Providing a new context for both collections, it specifically focuses on the theme of the body, investigating the many and varied approaches that artists have taken across several decades when dealing with this most fundamental of subjects.

N IO IT D E W E N

Scottish National Portrait Gallery Guide

Gallery Guides Scottish National Portrait Gallery Guide 245 X 165MM | 208PP | 2014 185 COLOUR ILLUSTRATIONS 978 1 906270 65 0 | £12.95 PAPER

Portraits have an immediate, visceral appeal as images that provide insights into the lives and ambitions of people we are curious about: the great, the good, the notorious and sometimes the unknown. The Scottish National Portrait Gallery houses an outstanding collection, which encompasses all of these, and allows you to discover the figures that forged Scotland’s history. It also provides an insight into developments in the overlapping spheres of art, biography, fashion, patronage, fame and celebrity. This book is more than an 18

illustrated guide to the collection; it is an important visual record of Scottish history and achievement.

A Companion Guide to the Scottish National Gallery of Modern Art 245 X 165MM | 224PP | REPRINTED 2010 250 COLOUR ILLUSTRATIONS 978 0 903598 84 2 | £12.95 PAPER

Founded in 1960, the Scottish National Gallery of Modern Art in Edinburgh already boasts an outstanding collection of modern and contemporary art. More than 230 of the finest paintings, sculptures, prints and drawings are illustrated here in colour, alongside descriptions of each work. The book offers a detailed guide to the collection as well as an accessible and informative introduction to modern art.

A Companion Guide to the Scottish National Gallery

A Companion Guide to Photography in the National Galleries of Scotland

245 X 165MM | 224PP | REPRINTED 2013

245 X 165MM | 224PP | REVISED 2009

220 COLOUR ILLUSTRATIONS

978 1 903278 11 6 | ÂŁ12.95 PAPER

978 1 906270 20 9 | ÂŁ12.95 PAPER

The Scottish National Gallery is widely regarded as one of the finest small galleries in the world. Not only does it contain the most comprehensive collection of Scottish masterpieces, but its collection includes works by the greatest names in Western art. This in-depth look at the collection provides readers with an engaging and informative account of the history of art.

Scotland has been the centre of the history and development of photography since the 1840s. The Scottish National Portrait Gallery and the Scottish National Gallery of Modern Art hold outstanding collections of photographic art spanning three centuries. This book offers a wide-ranging guide to the collection and is a useful introduction to the history of photography.

Watson Gordon Lecture Series

the watson gordon lecture 2013

â&#x20AC;&#x2DC;Studying Nature as a Hunter, a Savageâ&#x20AC;&#x2122;: Vincent van Gogh and Karl Bodmer RICHARD KENDALL

national galleries of scotland & the university of edinburgh

the watson gordon lecture 2014

Unfinished Paintings: Narratives of the Non-Finito D AV I D B O M F O R D

national galleries of scotland & the university of edinburgh

Established in 2006 following the 125th anniversary of the foundation of the Chair of Fine Art at the University of Edinburgh and named after the painter Sir John Watson Gordon, the Watson Gordon Lectures typify the longstanding and positive collaboration between the University of Edinburgh and the National Galleries of Scotland: two partners in the Visual Arts Research Institute in Edinburgh. Each lecture is by a leading scholar and reveals new research on a focused topic. The lectures are delivered and published annually, and now number eight titles in the series.

Forthcoming

Previously published

THE WATSON GORDON LECTURE 2014

THE WATSON GORDON LECTURE 2013

Unfinished Paintings: Narratives of the Non-Finito

‘Studying Nature as a Hunter, a Savage’: Vincent van Gogh and Karl Bodmer

David Bomford

Richard Kendall

215 X 165MM | 48PP | OCTOBER 2015 20 COLOUR ILLUSTRATIONS 978 1 906270 91 9 | £7.95 HARDBACK

215 X 165MM | 48PP | 2014 | 21 ILLUSTRATIONS 978 1 906270 83 4 | £ 7.95 HARDBACK

THE WATSON GORDON LECTURE 2011

Faces in a Library: Sir Joshua Reynolds’s ‘Streatham Worthies’ Mark Hallett 215 X 165MM | 48PP | 2012 | 19 ILLUSTRATIONS 978 1 906270 56 8 | £ 7.95 HARDBACK

THE WATSON GORDON LECTURE 2010

‘The Hardest Kind of Archetype’: Reflections on Roy Lichtenstein the watson gordon lecture 2014

Unfinished Paintings: Narratives of the Non-Finito D AV I D B O M F O R D

national galleries of scotland & the university of edinburgh

Hal Foster 215 X 165MM | 48PP | 2011 | 19 ILLUSTRATIONS 978 1 906270 38 4 | £ 7.95 HARDBACK

THE WATSON GORDON LECTURE 2009

The Renaissance Image Unveiled: From Madonna to Venus Paul Hills 215 X 165MM | 48PP | 2010 | 19 ILLUSTRATIONS 978 1 906270 34 6 | £ 7.95 HARDBACK

THE WATSON GORDON LECTURE 2008

Picasso’s ‘Toys for Adults’: Cubism as Surrealism Neil Cox

Unfinished paintings can be seen in many of the world’s great collections, including that of the National Gallery of Scotland; they fascinate the viewer and raise intriguing questions. What circumstances left them incomplete? What do they tell us about the ways that painters worked? How do we define ‘finish’, and when did an artist consider a work to be finished? These and other questions are considered by David Bomford, in an exploration of the non-finito from the Renaissance to the twentieth century.

215 X 165MM | 48PP | 2009 | 20 ILLUSTRATIONS 978 1 906270 26 1 | £ 7.95 HARDBACK

THE WATSON GORDON LECTURE 2007

Sound, Silence and Modernity in Dutch Pictures of Manners Mariët Westermann 215 X 165MM | 32PP | 2008 | 17 ILLUSTRATIONS 978 1 906270 25 4 | £ 7.95 HARDBACK

THE WATSON GORDON LECTURE 2006

Roger Fry’s Journey: From the Primitives to the Post-Impressionists Caroline Elam 215 X 165MM | 48PP | 2007 | 18 ILLUSTRATIONS 978 1 906270 11 7 | £ 7.95 HARDBACK

Selected Backlist

The Face of Scotland: Masterpieces from the Scottish National Portrait Gallery

Another World: Dalí, Magritte, Miró and the Surrealists 245 X 165MM | 176PP | 2010 160 ILLUSTRATIONS 978 1 906270 30 8 | £12.95 PAPER

167 X 245MM | 48PP | 2009 42 COLOUR ILLUSTRATIONS 978 1 906270 23 0 | £7.95 PAPER

300 X 165MM | 144PP | 2006 75 COLOUR ILLUSTRATIONS 1 903278 85 6 | £12.95 PAPER

Sara Stevenson

Elizabeth Blackadder

210 X 165MM | 128PP | 2002 70 COLOUR ILLUSTRATIONS 1 903278 32 5 | £9.95 PAPER

Philip Long and John Leighton 265 X 245MM | 112PP | 2011 94 COLOUR ILLUSTRATIONS 978 1 906270 39 1 | £9.95 PAPER

Gauguin’s Vision Belinda Thomson with Frances Fowle and Lesley Stevenson

Alan Davie: Work in the Scottish National Gallery of Modern Art

265 X 250MM | 144PP | 2005 140 COLOUR ILLUSTRATIONS 1 903278 68 6 | £9.95 PAPER

Patrick Elliott M A RT I N B A I L E Y · N AT I O N A L G A L L E R I E S O F S C O T L A N D

VA N G O G H A N D B R I TA I N · P I O N E E R C O L L E C T O R S

English Drawings & Watercolours 1600–1900

James Holloway

Keith Hartley, Holger Broeker, Jaroslav Anděl, Ian Rankin and Michael Fried

Facing the Light: The Photography of Hill & Adamson

Patrick Elliott

300 X 245MM | 104PP | 2000 70 COLOUR ILLUSTRATIONS 978 1 903278 13 0 | £14.95 PAPER

Douglas Gordon: Superhumanatural

A History of the Scottish National Portrait Gallery Duncan Thomson

VA N G O G H A N D B R I TA I N P I O N E E R CO L L E C TO R S

250 X 195MM | 176PP | 2011 142 ILLUSTRATIONS 978 1 906270 48 3 | £ 19.95 HARDBACK

Impressionism & Scotland

VA N G O G H A N D B R I TA I N P I O N E E R C O L L E C TO R S

Christopher Baker

Vincent van Gogh has become one of the best known and best loved artists in the history of art, but he is said to have sold only a single painting in his entire life. An extraordinary

Frances Fowle with contributions by Vivien Hamilton and Jennifer Melville

figure, whose art and life were inextricably and tragically intertwined, he is seen by many

295 X 245MM | 464PP | 2011 450 COLOUR ILLUSTRATIONS 978 1 906270 35 3 SPECIAL PRICE £20 | HARDBACK as the archetypal misunderstood, tormented genius. Astonishingly, he was only active as

an artist for some ten years during which time his style changed dramatically. In his own

day, he remained relatively unacknowledged outside a small circle of admirers, his cause not helped by his difficult and unpredictable character.

N AT I O N A L G A L L E R I E S

This book examines the fascinating story of how Van Gogh’s work gradually came to be

O F S COT L A N D

appreciated and collected in Britain – a country in which he lived, albeit unhappily, from

ISBN 1 903278 77 5

1873 to 1875, whose language he spoke and wrote fluently, and whose literature he greatly admired. In focusing on this early taste for the artist, the book uncovers important new, and unpublished, research on the early collectors and on the British interest in Van Gogh.

Van Gogh and Britain: Pioneer Collectors Martin Bailey with an essay by Frances Fowle

Expanding Horizons: Giovanni Battista Lusieri and the Panoramic Landscape

265 X 245MM | 144PP | 2006 62 COLOUR ILLUSTRATIONS 1 903278 77 5 | £14.95 PAPER IN ASSOCIATION WITH COMPTON VERNEY, WARWICKSHIRE

Van Gogh’s Twin: The Scottish Art Dealer Alexander Reid 1854–1928

Aidan Weston-Lewis et al.

Frances Fowle

240 X 295MM | 236PP | 2012 180 COLOUR ILLUSTRATIONS 978 1 906270 46 9 | £29.95 HARDBACK

250 X 195MM | 180PP | 2010 92 ILLUSTRATIONS 978 1 906270 29 2 | £19.95 HARDBACK

265 X 245MM | 160PP | 2008 178 ILLUSTRATIONS 978 1 906270 07 0 | £14.95 PAPER IN ASSOCIATION WITH CULTURE & SPORT, GLASGOW

Inspired? Get Writing! Vol. I V Various authors 245 X 215MM | 72PP | 2013 30 COLOUR ILLUSTRATIONS 978 1 906270 64 3 | £9.95 PAPER

Monet and French Landscape: Vétheuil and Normandy Edited by Frances Fowle 245 X 165MM | 176PP | 2008 47 ILLUSTRATIONS 978 1 903278 91 0 | £35 HARDBACK

Portrait of the Nation: An Introduction to the Scottish National Portrait Gallery

The Naked Portrait 1900 to 2007 Martin Hammer 265 X 245MM | 152PP | 2007 150 COLOUR ILLUSTRATIONS 978 1 903278 95 6 | £19.95 PAPER IN ASSOCIATION WITH COMPTON VERNEY, WARWICKSHIRE

The Nation // Live: Work / Union/Faith/Civil War/Roots Robin Baillie and Catriona MacDonald

James Holloway et al. 245 X 220MM | 96PP | 2011 110 ILLUSTRATIONS 978 1 906270 37 7 | £6.95 PAPER

Poussin to Seurat: French Drawings from the National Gallery of Scotland Michael Clarke

265 X 265MM | 44PP | 2013 48 COLOUR ILLUSTRATIONS 978 1 906270 15 5 | £9.99 HARDBACK £18 HARDBACK WITH LP

PICASSO ON PAPER 1

Picasso on Paper Patrick Elliott 220 X 245MM | 144PP | 2007 92 COLOUR ILLUSTRATIONS 978 1 903278 87 1 | £14.95 PAPER

Portrait Miniatures from the National Galleries of Scotland

300 X 240MM | 136PP | 2010 95 ILLUSTRATIONS 978 1 906270 31 5 | £14.95 PAPER

Carol Rhodes Tom Lubbock and Merlin James 235 X 300MM | 96PP | 2007 47 COLOUR ILLUSTRATIONS 978 1 906270 05 6 | £7.50 PAPER

Rough Cut Nation Richie Cumming 210 X 210MM | 40PP | 2011 50 COLOUR ILLUSTRATIONS 978 1 906270 47 6 | £9.95 PAPER

The Scottish Colourists: 1900–1930

Phoebe Anna Traquair Elizabeth Cumming 240 X 165MM | 96PP | REVISED 2011 61 COLOUR ILLUSTRATIONS 1 903278 65 1 | £12.95 PAPER

J.M.W. Turner: The Vaughan Bequest Christopher Baker 220 X 245MM | 120PP | 2006 60 COLOUR ILLUSTRATIONS 978 1903278 89 5 | £9.95 PAPER

BENJAMIN WEST AND THE DEATH OF A STAG the story behind the painting and its conservation

Philip Long and Elizabeth Cumming

300 X 245MM | 152PP | 2000 144 COLOUR ILLUSTRATIONS 978 1 903278 04 8 | £14.95 HARDBACK

Benjamin West & The Death of the Stag: The Story Behind the Painting and its Conservation

Stephen Lloyd 165 X 155MM | 112PP | 2004 124 ILLUSTRATIONS 1 903278 51 1 | £9.95 PAPER

Timothy Clifford, Michael Gallagher and Helen Smailes

A Shepherd’s Life: Paintings of Jenny Armstrong by Victoria Crowe

244 X 210MM | 32PP | 2009 28 ILLUSTRATIONS 978 1 906270 12 4 | £7.95 PAPER

Julie Lawson and Mary Taubman 195 X 175MM | 62PP | REPRINTED 2013 25 COLOUR ILLUSTRATIONS 1 903278 02 3 | £9.95 HARDBACK

NGS Publishing Scottish National Gallery of Modern Art 75 Belford Road Edinburgh EH 4 3DR Scotland Telephone: +44 (0)131 624 6269 Fax: +44 (0)131 623 7135 Email: Publications@nationalgalleries.org Distributor (U K , US A , Europe) ACC Sandy Lane, Old Martlesham Woodbridge, Suffolk IP 12 4SD England Telephone: +44 (0)1394 389950 Fax: +44 (0)1394 389999 Email: sales@antique-acc.com National Galleries of Scotland publications can be purchased at our shops in each of our four galleries or by visiting www.nationalgalleries.org/shop.

Front cover: Arthur Melville, Dancers at the Moulin Rouge, 1889 (detail) Watercolour on paper, 15.5 x 9.4 cm Scottish National Gallery