David Inshaw: A Vision of Landscape by The Redfern Gallery Ltd

DAVID INSHAW

DAVID INSHAW A Vision of Landscape

20 Cork Street, London W1S 3H L +44 (0)20 7734 1732 redfern-gallery.com

Engine House, Botallack 2018 (detail, fully illustrated on page 43)

David Inshaw: A Vision of Landscape Andrew Lambirth

Landscape has always mattered to David Inshaw. Before he was sidetracked into making cool Pop Art paintings in the mid 1960s, some of his best student works were landscapes, surprisingly heavily impasted when you consider the thin paint of his mature work. But it was always a question of how to make the subject relevant — to himself and to his potential audience. So when a girlfriend bought him a copy of Tess of the d’Urbervilles in 1967 it was a rite of passage. As he has said: ‘Hardy seemed to me to sum up my own feelings about landscape. I’d grown up in a landscape and I had feelings for it but I didn’t know how to express them. Hardy did suggest to me a way of expressing landscape in art, though I had to translate it into painting. He gave me that emotional impetus to begin.’ His imagination fired by Hardy’s tales, Inshaw began exploring Dorset and first visited West Bay — to be such an important subject for him later — in 1969. In 1971 he moved to Devizes, in Wiltshire, which has remained the centre of his artistic universe ever since. Devizes, in the midst of the vale of Pewsey and set within the co-ordinates of the two great English prehistoric stone circles — Stonehenge to the south and Avebury to the north-east — is surrounded by the swelling uplands of the north Wessex Downs. The

town exerts a centripetal pull on Inshaw, with its very particular history and topographical setting, and its ready access to landscapes that have continued to inspire and inspirit him for more than 40 years. The discovery and personal mapping of the surrounding landscape is itself a work in progress, involving both response and projection — the artist reacting to a subject, and the subject exerting its own ancient power through the physical lineaments of earth and stone, grass and tree pattern. Inshaw paints what is both within and without: the interior landscape of his thoughts and feelings, and the exterior landscape of Wiltshire. Of course there have been brief periods away from Wiltshire, for instance when he lived in Cambridge for a two year residency as Fellow in Creative Art at Trinity College (1975-7), and later when he lived in London for a while, but Devizes has continued to be his lodestar. One of the key paintings in this exhibition, Silbury Hill from the Air (p. 5), has an unperturbed clarity that not only rings with the truth of direct observation, but also transcends the immediate to make an image that is universal and timeless. Silbury Hill is viewed from above, embedded in the landscape of pasture and harvested crop. Little areas of shadow here and there indicate that the sun is not long past its zenith, but the

Silbury Hill from the Air 2018, oil on canvas, 46 × 46 in / 117 × 117 cm

countryside as a whole is laid out in a tranquil pattern of cultivation, like a quilt pieced together from different stuffs. One of the principal pleasures offered by the painting are the patterns man leaves behind on the land: not ploughing here, but the trace of the harvester that gathered in the crop — the long lines which articulate the golden stubbly fields. And in the middle of this idyllic summer landscape sits Silbury Hill, ancient enigma and one of Inshaw’s favourite motifs. No one knows the use or purpose of Silbury Hill. It is a prehistoric man-made chalk mound dating from around 2400 BC, which is situated near the standing stones of Avebury. That much is clear, but, despite many theories and considerable research, its function remains obscure. It can’t be a burial mound because there’s nothing inside it. Some sort of temple perhaps? Inshaw’s painting Silbury Hill and Lake (p. 7) is an imaginative take on the sacred site, which is often surrounded in the winter months by a moat of water. We are shown just the edge of the hill, radically cropped to make an interesting five-sided shape on the left of the canvas; another example, like Wiltshire Monument (p. 29), of finding geometry in the landscape. The water reflects blue sky, but in the actual painting we are shown grey clouds, which adds an edge of enigma (and optimism) to the image. By

contrast, Salisbury Plain (p. 47) delivers a lumpy track going off over the horizon under a blustery sky, with fields to either side. At first sight a prosaic subject, yet Inshaw transforms it by subtle paint-handling into a poignant and richly nuanced statement about Wiltshire landscape in general, and Salisbury Plain in particular. Inshaw himself comments: ‘It’s a bit like Egdon Heath in Hardy’s Return of the Native.’ An equally lucid painting is Wiltshire Monument, another local landscape with a similar late summer subject as Silbury Hill from the Air. It depicts the Cherhill Monument, also known as the Lansdowne Monument, clearly visible from the A361 to Beckhampton. (Inshaw enjoys driving.) The 120 foot high stone obelisk was designed by Sir Charles Barry and built in 1845 as an ‘eye-catcher’ by the third Marquis of Lansdowne to mark the edge of his estate at Bowood. A great harvest moon is hanging low in the sky above verdant hills. To the right the rocket-like monument points a finger at the clouds. One of the most appealing features of this intensely satisfying composition is the reticulated cloud pattern, like a broken mesh of dull gold against the empyrean, and its negative imprint in shadow on the ground below. The land itself shows different stages of cultivation: an area of plough to the left, a broad margin path

Silbury Hill and Lake 2017, oil on canvas, 24 × 24 in / 61 × 61 cm

Sunset, Etchilhampton 2015, oil on canvas, 24 × 24 in / 61 × 61 cm

leading up to the bonfire, and a harvested field at midright, dotted with old-fashioned rectangular bales of straw. The smoke from the bonfire unfurls in awkward distraction, like a magician’s hurled silk handkerchief, but the real action is taking place on the right under the missile-monument in the bale field. The bale-scape is oddly reminiscent of some of Paul Nash’s mid-1930s paintings — I’m thinking particularly of Equivalents for the Megaliths and Objects in Relation, both 1935. In these oils, Nash was exploring symbolic geometric equivalents for standing stones and other objects in a summer landscape. He had visited Avebury in 1933 and was much struck by the whole site (which of course includes Silbury Hill). Inshaw doesn’t pursue the symbolic options, preferring to discover his geometries directly in the landscape, but it’s clear that these paintings by Nash were in the back of his mind whilst he painted his own. A wavy hill-line, like a succession of little breasts, in the distance of Wiltshire Monument appears also in the background of Objects in Relation. Like most of Inshaw’s recent paintings, Wiltshire Monument is a composite image, pieced together from photographs he himself takes in the landscape,

from the occasional diagrammatic drawing he might make to establish a composition, and then worked on and interpreted by memory and imagination. These are images filtered through the lens of personal experience. They are essentially autobiographical: about Inshaw’s sorties into the Devizes hinterland, about his feelings and responses to the landscape he knows intimately and loves, conditioned by his own emotional narrative. This is landscape not simply recorded but interpreted. Inshaw is ever mindful of Thomas Hardy’s key phrase: ‘the beauty of associations is far superior to the beauty of aspect’. Anyone can paint from photographs, more or less successfully, but only Inshaw can paint the history of associations he has with the Wiltshire landscape. This is why we come back to his paintings again and again: it is the unique blending in them of form and content. Sunset is a favourite time of day for Inshaw and often the subject of a painting. In the first version of Sunset, Etchilhampton (p. 8), a military helicopter is placed against a wonderfully brushy, vibrant, dusking sky, the sharply delineated machine contrasting with the controlled explosion of paint and colour. In Sunset Etchilhampton II, the sky is occupied by the living flight of birds: a great plume of a dozen crows whirls

through the dusk. Another dark painting, fitfully lit, is Sunbeams, West Bay (p. 20), with Blakean shafts of sunlight falling through cloud onto the sea — just as William Blake saw them when he lived on the south coast at Felpham, Sussex. Another dusk painting with a sky of dove greys and pinks is The Bristol Channel, River Parrett (p. 46), in which the serpentine bends of the river in the foreground compete with the Sugar Loaf mountain in the distance to entrance the eye. Occasionally he strays beyond his self-imposed territorial limits and paints a subject in the Thames Valley, Cornwall or Wales. Sunset, Thames Valley I (p. 25) is fascinating as well as beautiful because it shows an Inshaw painting in the process, rather than obviously ‘finished’. The artist decided to leave this image at an early stage because he was struck by the generous effect of the warm pinky underpainting against the white disc of the sun and the three flattened cones of car headlights. In one sense it may be incomplete, but in another it is arrested at a deeply compelling stage in its genesis, and offers different pleasures to the mind and eye from more worked-on paintings. Sunset, Thames Valley II (p. 37), has been taken much further, and a great orange sun hangs low over the trees, while in the foreground is a gathering of topiary which links this painting with Inshaw’s

earlier masterpiece, The Badminton Game (1972-3, Tate Gallery). Engine House, Botallack (p. 43) was inspired by the ruins of Cornish tin mines on the cliffs at Botallack, near where both Roger Hilton and Inshaw’s friend Karl Weschke lived. The wall is seen from below sharply outlined against blue sky, rendering it strangely substance-less, like a stage flat or a screen. This slightly hallucinatory realism sets off an interesting train of reflections, starting with the Duchy’s industrial past and continuing through artist inhabitants to the tourist destination it is today. True or false? History or illusion? Some would argue that Cornwall currently exists in a state of suspended animation between influxes of holidaymakers. Another Cornish subject is Sunrise, St Ives Bay (p. 21), with Godrevy lighthouse, which features in the title of Virginia Woolf’s 1927 novel To the Lighthouse, and was a favourite subject of Alfred Wallis, the fisherman painter, much admired by Inshaw. Sandcastle (p. 40), effectively an imaginary subject, is based upon castles seen at St Ives. Another non-Wiltshire subject is Quantocks Sunset (p. 11), with its dramatic red and orange sky, trees and fields. It is such a simple subject, observed when Inshaw stayed at Robin Hood’s Hut, a Landmark Trust property at Goathurst in Somerset. Yet the experienced moment,

Quantocks Sunset 2018, oil on canvas, 24 × 24 in / 61 × 61 cm

Cloud I 2017, oil on canvas, 20 × 20 in / 51 × 51 cm

Cloud II 2017, oil on canvas, 20 × 20 in / 51 × 51 cm

Vale of Pewsey 2019, oil on canvas, 20 × 20 in / 51 × 51 cm

and accompanying photographs, were only the starting point for Inshaw’s interpretation. Typically the painting is composed of present knowledge, a lifetime’s experience and the leaven of invention. Two bird paintings continue the exploration of a theme that dates back in Inshaw’s work at least to A Dramatic Incident in the Wiltshire Landscape of 1984 (crows mobbing a barn owl), if not to The Raven of 1971. Wren and Tree (p. 26) is a wonderfully chirpy painting that lifts the spirits. (Inshaw himself is particularly fond of it.) A network of leafless branches on a crisp winter morning is the context for the singing bird. Mistle Thrush and Tree (p. 27) takes us down among the birds on the ground questing for food, while a pollarded tree pokes impudent fingers at the invisible sky. Skies feature prominently in many of these new paintings, the big skies over downland. Inshaw is intrigued by the myriad different cloud formations offered by England’s ever-changing weather, and in a pair of paintings (Cloud I and II (pp. 12 & 13) explores a great anvil-shaped concatenation of cumulus or cumulonimbus that links earth and heaven like a hovering spaceship. In Vale of Pewsey (p. 14), Inshaw gives us a double horizon line above the trees, the

upper one actually composed of a band of cloud masquerading as another horizon. A red kite soaring in the upper air of The Marlborough Downs accentuates the bold simplification of the firmament: Inshaw’s masterly intervals of blue and paler sky are the perfect backdrop. Notice, too, the exquisite handling of the light on the chalk pit at mid-left. This painting celebrates the first downland place he visited when he came to the area in 1971: All Cannings Cross and Clifford’s Hill. All Cannings Cross is the first site where archaeologists identified the emergence of Iron Age technology in Britain. Clifford’s Hill and the adjoining Tan Hill (one of the highest points in Wiltshire, where the poet Edward Thomas walked), are part of the landscape surrounding the Ridgeway, called Britain’s oldest road, which extends from Wiltshire to Berkshire and the River Thames. Also here is Adam’s Grave, a chambered Neolithic long barrow on Walkers Hill. William Morris used to sit on a bench on the way up to Adam’s Grave, and so now does Inshaw. Another cloud painting is Shadows and White Horse (p. 41), which features the Alton Barnes chalk horse, with a tent (a highly-charged motif for Inshaw) in the foreground, and shadows chasing across the grass. In a previous incarnation, there was a figure in the tent, but

Inshaw painted it out, and the emptiness is somehow more intriguing. On the horizon with a pinky cloud emerging from behind it is Milk Hill, the highest point in Wiltshire, and the home of the Alton Barnes white horse, cut in 1812. Wansdyke and Landscape (p. 17) is one of Inshaw’s most brilliant pieces of pattern-play, teasing out the hidden structures in the North Wessex downland, man’s drawing on the earth. The Wansdyke is an early medieval earthwork consisting of a ditch and running embankment (made from the spoil), the eastern section of which runs through Wiltshire from Savernake Forest to Morgan’s Hill. This rampart stretches across the middle of Inshaw’s painting, half-hidden by bushes. A pale dusty farm track is far more visible, carving a flat S bend through the fields. Compare the way this track is inscribed on the earth with the green tractor tracks in the top field, and the various swoops and curves of the undulating fields surrounding Wansdyke. The complexity of mark and trace is held in resonant balance by superb pictorial design. East Kennett Long Barrow is sometimes known as the Lost Mound because it is so often overlooked: visitors and enthusiasts tend to seek out Avebury and

the West Kennet Long Barrow, but miss the Eastern version. A largely unexplored burial mound a mile away, it is somewhat hidden by the trees growing on it. Inshaw tellingly contrasts the earthwork with half-adozen airborne swifts: earth and spirit. Likewise, with the pale brown and sere palette of Sunset from Silbury Hill (p. 24), which makes this painting so mysterious. The viewpoint is the top of Silbury (which in reality is closed to the public), looking down and across to a neighbouring hill where a stand of trees seems to echo the distribution of standing stones around the landscape. Car headlights drench the road with light — remarkably bright after the subfusc twilight suffusing the natural features. Natural and man-made: the old dichotomy shines through once again. The Road to Tilshead (p. 36) explores the same territory, though the car’s approaching headlights have melded into a single beam, with a nail paring of moon hanging low in the sky, and three crows practising acrobatics above the road. A small group of earlier paintings include Studio, Clyro (p. 39), from Inshaw’s Welsh period (1989-95), which depicts the studio he built for himself, with a stable on the left. Behind the studio, which looks a little like a cross between a cricket pavilion and a scout hut (two symbolic structures in his history), is a pussy

Wansdyke and Landscape 2016, oil on canvas, 30 × 30 in / 76.2 × 76.2 cm

Water Meadows II 2015, oil on canvas, 24 × 24 in / 61 × 61 cm

willow in blossom, the subject of one of Inshaw’s finest paintings, tragically destroyed by fire. Leaping Cat and Comet (p. 23) features a celebrated Inshaw bonfire, and Water Meadows II (p. 18) depicts a tent in a storm at Hardy’s Stinsford, in some danger of flooding. The streaks of lightning dart through a sky like grey velvet. River Avon, Lacock (p. 31) captures the very place where the young Inshaw camped and swam in the river as a Boy Scout in the mid-1950s, with two heraldic herons adding their contemporary benison. Drawing has always been central to Inshaw’s art, and besides sketchbook notes and compositional studies, he has from time to time made large finished drawings intended for exhibition. There are three in this group of new work: all pencil portraits of trees. The first is of an oak at Westerham in Kent, growing on an old cricket field which has now returned to agricultural land. The second is of a willow near Devizes, at the bottom of Caen Hill on the way to Melksham, a tree which actually no longer exists, though it managed to propagate itself before it died, so it has a continued presence on the site. The third is a sycamore tree at Avebury. Inshaw presents the full grandeur of each tree, drawn with precision and élan, with faster marks for the foliage than the stable trunks or the carefully delineated foregrounds. He has drawn

chestnut palings across the front of the sycamore and clumps of grass leading up to the willow tree. Notice the varying weight of mark, the different touch for differing effects. Scribble alternates with track and dash to convey the shimmer of movement. Of course the leaf cover is distinct for each tree, and Inshaw has rendered the willow, for instance, with a more broken touch, in comparison with the curved and continuous overlapping lines of the oak. Each drawing is a portrait of a magnificent tree, but it’s also a demonstration of versatility, a virtuoso statement of the act of drawing. Since the early 1990s, Inshaw has favoured a square format for his paintings — a shape often associated with harmony and serenity. He finds the imposition of a square onto the the wide panorama of landscape a fertile way of constraining it within a structure that both enhances and explains it. This is what he has attempted to do with his paintings: make sense of the world in a very personal way. This exhibition of impressive new work is a triumphant justification of his very particular methods. Devizes: August 2019

Sunbeams, West Bay 2010, oil on canvas, 24 × 24 in / 61 × 61 cm

Sunrise, St Ives Bay 2019, oil on canvas, 20 × 20 in / 51 × 51 cm

Leaping Cat and Comet 2001, oil on canvas, 40 × 40 in / 102 × 102 cm

Sunset from Silbury Hill 2019, oil on canvas, 20 × 20 in / 51 × 51 cm

Sunset, Thames Valley I 2019, oil on canvas, 20 × 20 in / 51 × 51 cm

Wren and Tree 2019, oil on canvas, 20 × 20 in / 51 × 51 cm

Mistle Thrush and Tree 2019, oil on canvas, 20 × 20 in / 51 × 51 cm

Wiltshire Monument 2018, oil on canvas, 46 × 46 in / 117 × 117 cm

East Kennett, Long Barrow 2019, oil on canvas, 20 × 20 in / 51 × 51 cm

River Avon, Lacock 2015, oil on canvas, 24 × 24 in / 61 × 61 cm

Campsite 2007, oil on board, 8 × 8 in / 20.3 × 20.3 cm

Bonfire 2007, oil on board, 7 × 7 in / 17.8 × 17.8 cm

Oak Tree 2016, pencil on paper, 48 × 48 in / 122 × 122 cm

The Road to Tilshead 2015, oil on canvas, 20 × 20 in / 51 × 51 cm

Sunset, Thames Valley II 2019, oil on canvas, 20 × 20 in / 51 × 51 cm

Studio, Clyro 1995, oil on canvas, 30 × 30 in / 76.2 × 76.2 cm

Sandcastle 2016, oil on canvas, 20 × 20 in / 51 × 51 cm

Shadows and White Horse 2019, oil on canvas, 24 × 24 in / 61 × 61 cm

Engine House, Botallack 2018, oil on canvas, 36 × 36 in / 91.4 × 91.4 cm

Sycamore Tree 2019, pencil on paper, 48 × 48 in / 122 × 122 cm

Bristol Channel, River Parrett 2016, oil on canvas, 20 × 20 in / 51 × 51 cm

Salisbury Plain 2015, oil on canvas, 24 × 24 in / 61 × 61 cm

Willow Tree 2019, pencil on paper, 48 × 48 in / 122 × 122 cm

Oak Tree 2018, oil on board, 14 × 14 in / 35.5 × 35.5 cm

Apple Tree 2018, oil on board, 14 × 14 in / 35.5 × 35.5 cm

East Cliff, West Bay 2019, etching and carborundum on paper, 20 × 20 in / 51 × 51 cm. Edition of 10

Bonfire Night, Hay Bluff I 2019, etching and carborundum on paper, 20 × 20 in / 51 × 51 cm. Edition of 10

Bonfire Night, Red Gate I 2019, etching and carborundum on paper, 20 × 20 in / 51 × 51 cm. Edition of 10

Bonfire Night, Hay Bluff II 2019, etching and carborundum on paper, 20 × 20 in / 51 × 51 cm. Edition of 10

Bonfire Night, Red Gate II 2019, etching and carborundum on paper, 20 × 20 in / 51 × 51 cm. Edition of 10

Bonfire 2019, etching and carborundum on paper, 20 Ă&#x2014; 20 in / 51 Ă&#x2014; 51 cm. Edition of 10

David Inshaw

Solo Exhibitions 1969 Arnolfini Gallery, Bristol Dartington Hall, Totnes 1972 Arnolfini Gallery Bristol 1975 Waddington Galleries, London 1976 Wren Library, Trinity College, Cambridge (photographs) 1977 Wren Library, Trinity College, Cambridge (paintings and drawings) 1978 Royal Pavilion Art Gallery, Brighton 1980 Park Street Gallery, Bristol (drawings) Waddington Galleries, London 1984 Waddington Galleries, London 1987 Devizes Museum, Wiltshire (paintings and etchings) Nishimura Gallery, Tokyo 1989 Waddington Galleries, London 1994 Devizes Museum, Wiltshire 1995 Theo Waddington Fine Art Ltd, London The Old School Gallery, Bleddfa, Powys 1998 Theo Waddington Fine Art Ltd, London Chapel Row Gallery, Bath 2000 Chapel Row Gallery, Bath 2003 RWA Bristol - Friends and Influences 2004 Agnews, London 2005 Narborough Hall, Norfolk 2007 Sladers’ Yard Gallery, West Bay, Dorset 2008 The Millinery Works, London 2013 Fine Art Society, London Sladers’ Yard Gallery, West Bay, Dorset 2015 Fine Art Society, London

Group Exhibitions 1963 Young Contemporaries, London 1966 Young Contemporaries, RBA Galleries, London 1968 Royal Academy of Arts Bicentenary Exhibition, Royal Academy of Arts, London 1970 John Dee, John Howlin, David Inshaw, Barry Martin, Arts Council exhibition, Serpentine Gallery, London 1971 Art Spectrum South, Arts Council touring exhibition touring to City Art Gallery, Southampton; Folkestone Art Centre, Royal West of England Academy, Bristol 1972 Bath Festival Exhibition, Festival Gallery, Bath 1973 ICA Summer Studios, London 1974 John Moores Liverpool Exhibition, Walker Art Gallery, Liverpool An Element of Landscape, Blackburn Museum and Art Gallery, Arts Council touring exhibition Critic’s Choice, Arthur Tooth & Sons London Peter Blake’s Choice, Festival Gallery, Bath 1974-1975 The Recollections, Cheltenham Art Gallery, South West Arts, Touring Exhibition 1975 Bath Festival Exhibition, Festival Gallery, Bath 1976 Summer Exhibition (Brotherhood of Ruralists first exhibition as a group) Royal Academy of Arts, London 1977 The Brotherhood of Ruralists, Festival Gallery, Bath 1979 The Brotherhood of Ruralists, Charleston Festival, Sussex 1980 The Brotherhood of Ruralists Ophelia Exhibition, Wren Library, Trinity College, Cambridge 1981 The Brotherhood of Ruralists, Arnolfini Gallery, Bristol touring to Birmingham City Museum and Art Gallery; Third Eye Centre, Glasgow; Camden Arts Centre, London

1981

Photographs 1957-1981: Martin Axon, David Inshaw, Graham Ovenden, Plymouth Arts Centre touring to Park Street, Bristol; Sutton Library, Suffolk 1982 The Harveys Collection, ICA London, Arnolfini, Bristol 1983 The Definitive Nude (Peter Blake’s Retrospective with the Ruralists) Tate Gallery, London 1986 Summer Exhibition, Royal Academy of Arts, London 1988 Summer Exhibition, Royal Academy of Arts, London Mother and Child, Lefevre Gallery, London 1989 Farm Field and Fantasy, Bishops Palace, Chichester The Secret Garden, Bleddfa Trust, Knighton, Wales 1991-2004 Summer Exhibition, Royal Academy of Arts London 2008 Ancient Landscapes: Pastoral Visions, Southampton City Art Gallery touring to The Victoria Art Gallery, Bath; Falmouth Art Gallery 2009 Royal Academy Summer Exhibition RWA, Bristol 2010 Andrew Lambirth: A Critic’s Choice, Browse & Darby, London 2015 The Landscape in Art 1690 -1998 – British Artists in the Tate Collection, Pinacoteca do Estado de São Paulo Wessex Places, Wiltshire Museum Dream Visions, Sladers Yard, West Bay 2016 The Arborealists, St Barbe Museum & Art Gallery, Lymington The Romantic Thread in British Art, Southampton City Art Gallery 2017 A Wessex Scene, Messums Wiltshire British Art: Ancient Landscapes, The Salisbury Museum Night and Light and the Half Light, Sladers Yard, West Bay 2019 Fire: Flashes to Ashes in British Art, 1692-2019, Royal West of England Academy

Television Films 1974 Private Landscapes, directed by Keith Sheather, produced by 1975 1977 1984 2005 2012

John Carlaw, BBC Bristol Gallery, produced by ACH Smith, HTV Summer with the Brotherhood, produced and directed by John Read, BBC (London) Between Dreaming and Waking, in collaboration with Geoffrey Haydon, BBC Arena A Picture of Britain, presented by David Dimbleby, BBC Hidden Pictures, BBC

Public Collections Arts Council Collection, Southbank Centre, London Bristol Museum & Art Gallery British Council British Museum, London The Government Art Collection The Victoria Art Gallery, Bath Royal West of England Academy, Bristol Tyne and Wear Museums, Sunderland Tate Wiltshire Museum Publications 2019 Bonjour Mr Inshaw, Poems by Peter Robinson, Paintings by David Inshaw, published by The Two Rivers Press

Catalogue © The Redfern Gallery, 2019 Works: © David Inshaw Essay: © Andrew Lambirth Photography: Peter J Stone Photography Design: Graham Rees Design Print: The Five Castles Press Published to coincide with the Exhibition

DAVID INSHAW A Vision of Landscape

9 October – 7 November 2019 Published by The Redfern Gallery, London 2019 ISBN: 978-0-948460-79-1 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying recording or any other information storage or retrieval system without prior permission in writing from the gallery.

20 Cork Street, London W1S 3H L +44 (0)20 7734 1732 redfern-gallery.com

DAVID INSHAW